Composed
by Anton Bruckner. Edited
by Ernst Herttrich. This
edition: urtext.
Stuttgart Urtext Edition:
Urtext Editions; Carus
sheet music series: Vocal
scores XL. Violin 1.
Innovative practice aids,
Sacred vocal music,
Praise and thanks. Single
Part, Violin 1. WAB 45.
12 pages. Duration 25
minutes. Carus Verlag #CV
27.190/11. Published by
Carus Verlag
(CA.2719011).
ISBN
9790007200749. Text
language:
Latin.
Anton
Bruckner's Te Deum - a
high point in the
composer's output and one
of the most important
works of the sacred
choral repertoire in the
19th century - is now
available in a modern,
scholarly edition. The
Carus edition draws on
both the two sources
regarded as important,
the autograph score and
the first printed
edition, with careful
consideration given to
variant readings. And so
a music text has been
prepared which reflects
the composer's intentions
as closely as possible.
Great emphasis has been
placed on a clear-to-read
layout of the full score
pages, as well as
excellent legibility for
the parts, which are
available on sale. With
current performance
practice in mind, the
clarinet parts are
notated in B flat instead
of A, corresponding with
the first printed
edition. The vocal score
has been newly prepared
to reflect current
practical requirements.
As an economical
alternative, a chorus
score is available.
Bruckner's Te Deum is
also available in carus
music, the choir app. The
app contains the music
and a recording, as well
as a coach to help with
learning each choral
part. In preparation:
arrangement of the Te
Deum for soli, choir,
brass quintet and organ.
Score and part available
separately - see item
CA.2719000.
Brass Instruments; Choral; Piano Accompaniment (Score) SKU: HL.49046059 <...(+)
Brass Instruments;
Choral; Piano
Accompaniment (Score)
SKU: HL.49046059
Volume II for Choir
and Brass Instruments
Score. Composed by
Paul Hindemith. Study
Score. Classical.
Softcover. 40 pages.
Schott Music #ED20092.
Published by Schott Music
(HL.49046059).
These canons,
published for the first
time, document
Hindemith's penchant for
composing small parodic
works with a wink on
given occasions. Over 30
artful pieces in the
picture postcard format
wrote the composer. He
packed Christmas
greetings,
congratulationson
anniversaries and thanks
to friends, colleagues
and cultural institutions
in a counterpoint. After
the first band for chorus
a capella, the second
band is now available,
containing canons for
mixed choir accompanied
by a small brass
ensemble.
Composed
by Anton Bruckner. Edited
by Ernst Herttrich. This
edition: urtext.
Stuttgart Urtext Edition:
Urtext Editions; Carus
sheet music series: Vocal
scores XL. Viola.
Innovative practice aids,
Sacred vocal music,
Praise and thanks. Single
Part, Viola. WAB 45. 12
pages. Duration 25
minutes. Carus Verlag #CV
27.190/13. Published by
Carus Verlag
(CA.2719013).
ISBN
9790007200763. Text
language:
Latin.
Anton
Bruckner's Te Deum - a
high point in the
composer's output and one
of the most important
works of the sacred
choral repertoire in the
19th century - is now
available in a modern,
scholarly edition. The
Carus edition draws on
both the two sources
regarded as important,
the autograph score and
the first printed
edition, with careful
consideration given to
variant readings. And so
a music text has been
prepared which reflects
the composer's intentions
as closely as possible.
Great emphasis has been
placed on a clear-to-read
layout of the full score
pages, as well as
excellent legibility for
the parts, which are
available on sale. With
current performance
practice in mind, the
clarinet parts are
notated in B flat instead
of A, corresponding with
the first printed
edition. The vocal score
has been newly prepared
to reflect current
practical requirements.
As an economical
alternative, a chorus
score is available.
Bruckner's Te Deum is
also available in carus
music, the choir app. The
app contains the music
and a recording, as well
as a coach to help with
learning each choral
part. In preparation:
arrangement of the Te
Deum for soli, choir,
brass quintet and organ.
Score and part available
separately - see item
CA.2719000.
Composed
by Anton Bruckner. Edited
by Ernst Herttrich. This
edition: urtext.
Stuttgart Urtext Edition:
Urtext Editions; Carus
sheet music series: Vocal
scores XL. Double bass.
Innovative practice aids,
Sacred vocal music,
Praise and thanks. Single
Part, Double Bass. WAB
45. 8 pages. Duration 25
minutes. Carus Verlag #CV
27.190/15. Published by
Carus Verlag
(CA.2719015).
ISBN
9790007200787. Text
language:
Latin.
Anton
Bruckner's Te Deum - a
high point in the
composer's output and one
of the most important
works of the sacred
choral repertoire in the
19th century - is now
available in a modern,
scholarly edition. The
Carus edition draws on
both the two sources
regarded as important,
the autograph score and
the first printed
edition, with careful
consideration given to
variant readings. And so
a music text has been
prepared which reflects
the composer's intentions
as closely as possible.
Great emphasis has been
placed on a clear-to-read
layout of the full score
pages, as well as
excellent legibility for
the parts, which are
available on sale. With
current performance
practice in mind, the
clarinet parts are
notated in B flat instead
of A, corresponding with
the first printed
edition. The vocal score
has been newly prepared
to reflect current
practical requirements.
As an economical
alternative, a chorus
score is available.
Bruckner's Te Deum is
also available in carus
music, the choir app. The
app contains the music
and a recording, as well
as a coach to help with
learning each choral
part. In preparation:
arrangement of the Te
Deum for soli, choir,
brass quintet and organ.
Score and part available
separately - see item
CA.2719000.
Comedy in one act in
verses, with ariettes and
vaudevilles. Composed
by Adolphe Benoît
Blaise and
Marie-Justine-Benoîte
Favart. Edited by Andreas
Münzmay and Janine
Droese. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 2.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Baerenreiter
Verlag #BA08812_01.
Published by Baerenreiter
Verlag (BA.BA08812-01).
ISBN 9790006543182.
33.1 x 26.5 cm inches.
Text Language: French.
Preface: Münzmay,
Andreas. Text: nach
Jean-Francois
Marmontel.
Annette
et Lubin
Justine
Favart and Adolphe
Blaise'sAnnette et
Lubinwas premiered on 15
February 1762 at the
Paris Opera-Comique - the
first new production at
that theater following
its merger with the
Comedie-Italien. It was a
resounding success: by
the time the season came
to an end, on 3 April, it
had been almost
continuously on the
program with no decline
in interest from the
public, and it remained
in the repertoire for
more than thirty years.
Countless new editions,
translations, and
parodies of the play bear
witness to its impact far
beyond the borders of
Paris. Like all of
Favart's works, it deals
with the subject of
natural love,
unencumbered by
considerations of money
or social status
endangering it from the
outside through powerful
aristocratic or wealthy
rivals. The plot is based
on a literary model, the
like-named tale by
Jean-Francois Marmontel,
which is in turn based on
a contemporary
occurrence.
Annette and her
cousin Lubin are sharply
reprimanded for their
love by an estate
administrator (Le Bailli)
who himself has designs
on Annette. He takes
advantage of Annette's
illegitimate pregnancy to
extort her: only by
marrying him can she
escape condemnation by
society and the church.
But Annette and her lover
are able to gain the
protection of the local
squire (Le Seigneur), and
the story ends happily
with a conciliatory
gesture from the lord of
the manor.
The
second volume in our
series OPERA, Annette et
Lubin, consists of a
cloth-bound book and an
Edirom file stored on a
USB card in credit-card
format. The number of
simultaneous users of the
edition's digital
component is
unlimited. Further
information on the work
and the OPERA series can
be found at http://www.
opera-edition.com/en/anne
tteetlubin_en.htm.
OPERA: Spectrum
of European Music Theatre
in Separate Editions is
dedicated to critical
editions of outstanding
works of European music
theatre from the 17th to
the 20th centuries.
Compositions of
French, Italian, German,
English, Scandinavian and
Slavic origin are being
edited. These include
specific genres which
have seldom been given
attention in editorial
undertakings until now
and which present their
own editorial problems,
such as ballet, theatre
music, melodrama or
operetta.
A new
feature is the form of
the presentation in
so-called hybrid
editions. While the
scores appear in
traditional cloth-bound
volumes, the musical and
textual sources, the
editions of the dramatic
texts, as well as the
critical commentaries are
prepared and presented on
an electronic platform
(Edirom). Thanks to
this ability to access
the underlying sources,
the editorial decisions
are completely
transparent to the
user.
This
special editorial access
being implemented by
OPERA's editions uses the
software Edirom, which
was developed in a
project of the Deutsche
Forschungsgemeinschaft
(German Research
Foundation) based at the
University of Paderborn.
All components of the
electronic part are
encoded according to the
modern standard of XML.
The text components
follow the standard of
the Text Encoding
Initiative (TEI).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Cantata
for harvest festivals
(Tempore Messis) and
other festivals of
thanksgiving.
Composed by Georg Philipp
Telemann. Edited by
Jurgen Neubacher. This
edition: urtext. 1x
39.109/21 flute, 3x
39.109/31
trumpet/timpani.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Nun danket alle
Gott 4. Sacred vocal
music, Cantatas, Praise
and thanks. Set of
Orchestra Parts. TVWV
1:1166. 26 pages.
Duration 15 minutes.
Carus Verlag #CV
39.109/09. Published by
Carus Verlag
(CA.3910909).
ISBN
9790007215422. Language:
German/English.
Tel
emann's cantata Now thank
we all our God cannot be
assigned to any of the
composer's known annual
cycles of cantatas. The
given designation,
Tempore Messis, which
appears in the title in
the sole surviving
source, suggests it was
composed on the occasion
of a harvest thanksgiving
festival, but the general
nature of the text means
that other occasions for
performance such as New
Year, Reformation Day,
church or organ
consecrations and
weddings are conceivable.
Musically, the work is
distinguished by two
spirited choral movements
reinforced by trumpets
which frame a duet for
tenor and bass and an
aria for alto and
transverse flute. Score
and parts available
separately - see item
CA.3910900.
Composed
by Anton Bruckner. Edited
by Ernst Herttrich. This
edition: urtext.
Stuttgart Urtext Edition:
Urtext Editions; Carus
sheet music series: Vocal
scores XL. Violin 2.
Innovative practice aids,
Sacred vocal music,
Praise and thanks. Single
Part, Violin 2. WAB 45.
12 pages. Duration 25
minutes. Carus Verlag #CV
27.190/12. Published by
Carus Verlag
(CA.2719012).
ISBN
9790007200756. Text
language:
Latin.
Anton
Bruckner's Te Deum - a
high point in the
composer's output and one
of the most important
works of the sacred
choral repertoire in the
19th century - is now
available in a modern,
scholarly edition. The
Carus edition draws on
both the two sources
regarded as important,
the autograph score and
the first printed
edition, with careful
consideration given to
variant readings. And so
a music text has been
prepared which reflects
the composer's intentions
as closely as possible.
Great emphasis has been
placed on a clear-to-read
layout of the full score
pages, as well as
excellent legibility for
the parts, which are
available on sale. With
current performance
practice in mind, the
clarinet parts are
notated in B flat instead
of A, corresponding with
the first printed
edition. The vocal score
has been newly prepared
to reflect current
practical requirements.
As an economical
alternative, a chorus
score is available.
Bruckner's Te Deum is
also available in carus
music, the choir app. The
app contains the music
and a recording, as well
as a coach to help with
learning each choral
part. In preparation:
arrangement of the Te
Deum for soli, choir,
brass quintet and organ.
Score and part available
separately - see item
CA.2719000.
Composed
by Jan Dismas Zelenka.
Edited by Thomas
Kohlhase. Arranged by
Wolfgang Horn. 1x
40.471/21 oboe 1, 1x
40.471/22 oboe 2, 1x
40.471/31 trumpet 1, 1x
40.471/32 trumpet 2, 1x
40.471/41 timpani.
Harmony parts. Sacred
vocal music, Praise and
thanks. Set of Orchestra
Parts. ZWV 145. 40 pages.
Duration 35 minutes.
Carus Verlag #CV
40.471/09. Published by
Carus Verlag
(CA.4047109).
ISBN
9790007069667. Key: D
major. Language:
Latin.
The division
of the Te Deum into two
parts at Dresden (and
probably also elsewhere)
clearly originated in the
fact that the Eucharistic
blessing was given before
the Salvum fac populum
tuum. Score and parts
available separately -
see item CA.4047100.
(SATB) SKU: HL.14032609 Music Sales America. Chester Music #CH6978411. Pu...(+)
(SATB)
SKU:
HL.14032609
Music
Sales America. Chester
Music #CH6978411.
Published by Chester
Music (HL.14032609).
UPC: 884088813970.
8.5x11.75x0.168
inches.
Path of
Miracles was commissioned
by Tenebrae with grateful
thanks to Barbara
Pollock. The first
performance, given by
Tenebrae and conducted by
Nigel Short, took place
on 17th July 2005 at the
church of St
Bartholomew-the-Great,
London as part of the
City of London Festival.
5 Sopranos 4 Altos 4
Tenors 4 Basses
Crotales.
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano -
Advanced
SKU:
CY.CC3136
Composed by
John W. Ware. Classical.
Score and Parts. Cherry
Classics #CC3136.
Published by Cherry
Classics (CY.CC3136).
ISBN 9790530111055.
8.5 x 11 in
inches.
This fine
work has sat dormant for
many years and has now
come to light thanks to
the efforts of Charlie
Vernon, Bass Trombonist
of the Chicago Symphony,
who performed this
virtuoso work as a young
performer. The concerto
is in the standard three
movement form: Fast,
slow, fast. This
publication is a
reduction from the
original orchestral
version (to be released
at some point in the
future). Here is a
description of the
Concerto by the composer,
John W. Ware. I started
on the trombone concerto
in my junior year
studying composition at
Indiana University. While
working on it, I learned
of an opportunity to make
it sort of a thesis piece
(though students didn't
write a thesis in
composition while an
undergrad). The original
version was for trombone
with string orchestra,
and it was performed by
the IU String Orchestra,
conducted by Dr. Arthur
Corra, with Robert Priez,
trombone, as part of my
senior composition
recital. I thought the
performance was quite
good (Priez played
extraordinarily well),
and the piece received a
newspaper review in the
Indiana Daily Student, in
which the reviewer wrote
that the work was almost
too exciting. I thought
at the time that he had
given me and my music a
fine compliment. I made a
piano version of the
accompaniment, shortening
and tightening the first
movement, for
performances in 1966; I
made a second revision in
1967 for a performance by
E. J. Eaton, trombonist
at the University of
Tennessee at Martin,
arriving at the form in
which the work exists
now. The first movement
is in fairly normal
sonata-allegro form, in
the key of A minor. It
alternates between
assertive and more
thoughtful moods. There
is no introduction; the
soloist enters
immediately and dominates
much of the movement. The
main theme is--by some
manipulation--a source
for most of the other
themes, and all of the
themes are used in close
proximity to each other,
including contrapuntal
combinations, especially
near the end. Originally
the movement included a
lengthy fugato, now much
shortened and including a
stretto that builds and
subsides before a cadenza
leading to a coda based
on both the principal and
secondary themes. Key
relations in this
movement, as in the other
two, are quite free and
often chromatic, with
frequent third-relations;
but returns to the tonic
at the end are emphatic.
The writing is
challenging for both
soloist and accompanist;
the piece is substantial,
requiring technique and
stamina. The second
movement is in F minor
and is also built on both
contrast and close
relationships between the
main and secondary
themes. The main theme is
heard in the piano part
before the soloist
enters. The mood is more
lyric than in the first
movement, but with
dramatic episodes also.
In this movement are some
definite derivations from
themes in the first
movement. The ending is a
sort of lengthened shadow
of the opening. The
finale returns to A
minor, with themes
slightly related to
polonaise rhythms, but
with strong echoes of
first-movement themes.
Here, too, dramatic and
lyric episodes alternate,
with dotted rhythms
frequently propelling the
music forward. The
introduction is a brief
and simple preparation
for the solo entry. Later
in the movement, a very
brief, slightly slower
section is soon overtaken
by the original tempo.
Toward the end, there is
a second cadenza, again
leading to a swift and
energetic coda. The work
is about 20 minutes in
length and is appropriate
for advanced
performers.
Guitar SKU: UT.CH-360 Composed by John W. Duarte. Edited by Brian Roberts...(+)
Guitar
SKU:
UT.CH-360
Composed by
John W. Duarte. Edited by
Brian Roberts. Saddle
stitching. Classical. Ut
Orpheus #CH 360.
Published by Ut Orpheus
(UT.CH-360).
ISBN
9790215327252. 9 x 12
inches.
I am very
grateful to Andrea
Schiavina and Ut Orpheus
Edizioni for their
interest in my father's
unpublished works. I hope
that these new pieces
will pique the interest
of guitarists the world
over and contribute to an
overview of the work of
one of the guitar's most
prolific composers. My
thanks go to Brian
Roberts, of Wayne State
University, who has
offered to oversee the
technical and musical
aspects concerned with
presenting this music and
to all the individual
editors who have
generously given of their
time. Any mistakes in the
transmission of their
ideas are entirely
mine.
Composed
by Jan Dismas Zelenka.
Edited by Thomas
Kohlhase. Arranged by
Wolfgang Horn. Viola.
Sacred vocal music,
Praise and thanks. Single
Part, Viola. ZWV 145. 8
pages. Duration 35
minutes. Carus Verlag #CV
40.471/13. Published by
Carus Verlag
(CA.4047113).
ISBN
9790007069698. Key: D
major. Language:
Latin.
The division
of the Te Deum into two
parts at Dresden (and
probably also elsewhere)
clearly originated in the
fact that the Eucharistic
blessing was given before
the Salvum fac populum
tuum. Score and part
available separately -
see item CA.4047100.
Cantata
for harvest festivals
(Tempore Messis) and
other festivals of
thanksgiving.
Composed by Georg Philipp
Telemann. Edited by
Jurgen Neubacher. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Nun danket alle
Gott. Sacred vocal music,
Cantatas, Praise and
thanks. Single Part,
Violin 1. TVWV 1:1166. 4
pages. Duration 15
minutes. Carus Verlag #CV
39.109/11. Published by
Carus Verlag
(CA.3910911).
ISBN
9790007215439. Language:
German/English.
Tel
emann's cantata Now thank
we all our God cannot be
assigned to any of the
composer's known annual
cycles of cantatas. The
given designation,
Tempore Messis, which
appears in the title in
the sole surviving
source, suggests it was
composed on the occasion
of a harvest thanksgiving
festival, but the general
nature of the text means
that other occasions for
performance such as New
Year, Reformation Day,
church or organ
consecrations and
weddings are conceivable.
Musically, the work is
distinguished by two
spirited choral movements
reinforced by trumpets
which frame a duet for
tenor and bass and an
aria for alto and
transverse flute. Score
and part available
separately - see item
CA.3910900.
Cantata
for harvest festivals
(Tempore Messis) and
other festivals of
thanksgiving.
Composed by Georg Philipp
Telemann. Edited by
Jurgen Neubacher. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Nun danket alle
Gott. Sacred vocal music,
Cantatas, Praise and
thanks. Single Part,
Organ. TVWV 1:1166. 12
pages. Duration 15
minutes. Carus Verlag #CV
39.109/49. Published by
Carus Verlag
(CA.3910949).
ISBN
9790007215477. Language:
German/English.
Tel
emann's cantata Now thank
we all our God cannot be
assigned to any of the
composer's known annual
cycles of cantatas. The
given designation,
Tempore Messis, which
appears in the title in
the sole surviving
source, suggests it was
composed on the occasion
of a harvest thanksgiving
festival, but the general
nature of the text means
that other occasions for
performance such as New
Year, Reformation Day,
church or organ
consecrations and
weddings are conceivable.
Musically, the work is
distinguished by two
spirited choral movements
reinforced by trumpets
which frame a duet for
tenor and bass and an
aria for alto and
transverse flute. Score
and part available
separately - see item
CA.3910900.
Guitar SKU: UT.CH-395 Composed by Giorgio Signorile. Classical. Score. Ut...(+)
Guitar
SKU:
UT.CH-395
Composed by
Giorgio Signorile.
Classical. Score. Ut
Orpheus #CH 395.
Published by Ut Orpheus
(UT.CH-395).
ISBN
9790215328587. 9 x 12
inches.
Il
grande larice rosso;
Piccole vite; Requiem per
un bosco
Never
before have I felt the
urgency within myself to
communicate with my
instrument something
which goes beyond just
the notes, a desire to
embrace with music parts
of the world which I see
as being so neglected and
abandoned, as if man were
no longer able to see
beyond the narrow
confines of his home and
work spaces. The
environment which
surrounds us, free and
pure, seems to bow more
and more to the base
instincts of abuse which
man brings into play...
the destruction of
centuries-old forests and
glaciers, the
construction of harmful
and disturbing, useless
and polluting elements...
and I wonder what we can
do, what I, as a
musician, can do, at
least to show my
disapproval of these
situations. I have no
straight answer but I
know that writing the
music I love to play,
often born in natural and
wild environments can
help to dream of, or
imagine a present time
which is more on a human
scale, thanks to the
strong evocative power
which music possesses and
emanates. This is the
meaning of these
compositions, dedicated
to a tree, a 700-year-old
specimen of the Stura
Valley, Lu Merze Gros
(The Big Larch), to the
small beings which
inhabit it, in the bark,
among its foliage, in the
surrounding soil and to
my sense of frustration
at seeing a forest of fir
trees razed to the ground
to allow the construction
of a bobsleigh
run. This action of
mine has been useless and
nostalgic perhaps, but it
has given me intense
moments of emotion in the
writing and moves me
enormously during its
performance.
Orchestra SKU: BR.SON-620 Okeaniden, Tapiola. Composed by Jean Sib...(+)
Orchestra
SKU:
BR.SON-620
Okeaniden,
Tapiola. Composed by
Jean Sibelius. Edited by
Kari Kilpelainen. Linen.
Complete Works.
The
American tone poems
Late-romantic; Early
modern. Complete Works.
228 pages. Breitkopf and
Haertel #SON 620.
Published by Breitkopf
and Haertel (BR.SON-620).
ISBN 9790004803226. 10
x 12.5 inches.
Jean
Sibelius wrote his last
two tone poems
Aallottaret op. 73 and
Tapiola op. 112 as
commissions for the
United States.
Aallottaret is the
original Finnish title of
op. 73, as is found on
the autograph. Discreetly
concealed behind this
title, however, is the
title The Oceanides,
which also stems from
Sibelius, and which
Breitkopf & Hartel gladly
placed in first position
for the first edition of
1915, thus facilitating
the diffusion of the
work. The previously
unpublished early version
of Aallottaret is also
presented in the volume
of the Complete Edition;
it had been hastily
rejected shortly before
the world premiere.
Compared with this
genesis, the origin of
Tapiola , Sibelius last
great symphonic poem, is
relatively unspectacular:
though he was under
pressure to write and
publish the work,
Sibelius produced no
different versions. There
was only one printed
edition from Breitkopf
and no further revisions.
Thanks are given to
Professor Nors S.
Josephson for his
valuable work on this
volume, the editing of
which he began.
Trumpet and orchestra SKU: BR.MR-2239B Set of parts. Composed by G...(+)
Trumpet and orchestra
SKU: BR.MR-2239B
Set of parts.
Composed by Giacomo
Antonio Perti. Edited by
Keith Wright and Mark
Latham. Orchestra;
stapled. Musica Rara.
Symphony; Baroque. Score
and parts. 28 pages.
Breitkopf and Haertel #MR
2239b. Published by
Breitkopf and Haertel
(BR.MR-2239B).
ISBN
9790004488478. 9 x 12
inches.
There are
two known manuscript
sources for the present
edition of this sinfonia
avanti l'opera. In the
Dean and Chapter Library
of Durham Cathedral it
appears as the twelfth,
and last, piece in a
collection of late
seventeenth-century
Italian instrumental
music. No composer is
given and identification
was only possible
following the discovery,
in 1993, of a concordant
source in the Biblioteca
Estense, Modena, where
the work appears as the
sinfonia to Perti's opera
L'Inganno scoperto per
Vendetta, first performed
in Venice as part of the
1690/1 season.It is
sometimes hard to
ascertain the original
functional purpose behind
many of the trumpet works
written by composers of
the Bolognese school as
it would appear that some
were used as sonate da
chiesa, to celebrate mass
in the basilica of San
Petronio, Bologna, whilst
also serving as operatic
sinfonie. To confuse the
issue further, there are
several instances of
composers 'borrowing'
each other's works: for
example, it has recently
been discovered that the
Torelli trumpet sinfonia
a 4 catalogued as G4 in
Giegling was used as the
overture to Perti's opera
Nerone fatto Cesare
(1693). So far as the
present edition is
concerned, however,
stylistic considerations
would appear to confirm
that the work is indeed
by Perti and that it was
originally conceived as
the overture to L'Inganno
scoperto per Vendetta. A
couple of clues hint at a
secular raison d'etre:
the Durham source is
marked Serenatto
(presumably a corruption
of serenata, a term often
used in lieu of sinfonia)
and the last movement of
the Modena source is
marked Menuet, a term
more often associated
with sonate da camera
than with works of
ecclesiastical
provenance.Both the
Modena and Durham sources
for the present edition
are virtually
note-perfect and
occasional inaccuracies
were easily corrected by
comparing the sources
with each other and with
the part-books in Durham.
Whilst the Modena source
lacks the second violin
part in the outer
movements it contains
fuller dynamic markings
and tempi indications
than the Durham source
and these have been
followed in the present
edition with no editorial
additions. Notation has
been modernised and, in
the piano reduction
edition, right-hand
arpeggio-figurations
rendered more pianistic.
Parts are provided for
trumpet in D and B flat.
I am grateful to the Dean
and Chapter of Durham and
to the Biblioteca
Estense, Modena, for
providing microfilm of
the manuscripts. I should
also record my thanks to
Keith Wright for
realising the
figured-bass which
appears in the full-score
edition.Mark Latham,
Brancepeth Castle, June
1997.
Composed
by Jan Dismas Zelenka.
Edited by Thomas
Kohlhase. Arranged by
Wolfgang Horn. Violin 1.
Sacred vocal music,
Praise and thanks. Single
Part, Violin 1. ZWV 145.
12 pages. Duration 35
minutes. Carus Verlag #CV
40.471/11. Published by
Carus Verlag
(CA.4047111).
ISBN
9790007069674. Key: D
major. Language:
Latin.
The division
of the Te Deum into two
parts at Dresden (and
probably also elsewhere)
clearly originated in the
fact that the Eucharistic
blessing was given before
the Salvum fac populum
tuum. Score and part
available separately -
see item CA.4047100.
Tre Volti Ensemble de Trombones De Haske Publications
Trombone Ensemble - very difficult SKU: BT.DHP-1125253-070 For Trombon...(+)
Trombone Ensemble - very
difficult
SKU:
BT.DHP-1125253-070
For Trombone
Ensemble. Composed by
Jan Van der Roost. De
Haske Brass Series.
Concert Piece. Set (Score
and Parts). Composed
2012. 44 pages. De Haske
Publications #DHP
1125253-070. Published by
De Haske Publications
(BT.DHP-1125253-070).
9x12 inches.
International.
T
re Volti (Three
Faces) has been
commissioned by the
renowned
ââ¬ÅNew
Trombone
Collectiveââ¬Â,
exclusively existing of
top-trombonists from the
Dutch symphony
orchestras. The world
première was given
by the commissioners and
took place in
ââ¬ÅDe
Doelenââ¬Â in
Rotterdam on april 16th
2011 - during the
ââ¬ÅSlide
Factoryââ¬Â -
European Trombone
Festival.The composer
aimed to illustrate 3
different aspects of the
instrument in as many
movements. Effetti e
Tecniche (Effects and
Techniques) displays a
large amount of specific
spectacular and acrobatic
possibilities and also
various colors and sounds
by using different mutes.
It contains many
ââ¬ÅglissandiÃ
¢â¬Â as well as
clusters with semi tones
andquarter tones, all
being
ââ¬Åtypicalâ
â¬Â for the
trombone indeed. The
Lamento Lirico
(Lyrical Lamento)
combines the rather
serious and noble voice
of the trombone with an
aspect which not
automatically is
connected to that
instrument: the melodical
character. The overall
atmosphere of this
movement is somewhat sad
and strained and refers
to the many beautiful but
rather dark passages in
the orchestral and opera
literature where the
trombone section as such
is used ...The final
movement is called
Sonata Antica
(Antique Sonata) and is
directly inspired by two
ââ¬Åsonatasâ
â¬Â for 3 and 4
trombones by Daniel Speer
(1636 - 1707). It
illustrates the
ââ¬Åhistorical
¢â¬Â dimension
of the trombone: indeed
it was the only brass
instrument being able to
play chromatically - many
centuries before all
other brass instruments -
thanks to the unique
slide system which even
during the Middle Ages
was applicable already.
The antiphonal position,
the dialoguing motives
and the
ââ¬Åneo-early-b
aroqueââ¬Â
idiom really pay homage
to Daniel Speer: he
composed a certain number
of pieces for brass
instruments indeed and
the composer used
thematic material from
his Sonatas in d and a in
various ways, thus
concluding this varied
composition in a festive
way.
Een
driedelige - uitdagende -
suite voor trombone
ensemble.
Tre
Volti (zu deutsch:
Drei Gesichter) - In drei
deutlich kontrastierenden
Bewegungen versucht der
Komponist, ebenso viele
Facetten der Posaune zu
beleuchten. Der erste
Teil EFFETTI E TECNICHE
präsentiert eine
Reihe akrobatischer und
spektakulärer
Effekte, die auf diesem
vielseitigen Instrument
möglich sind,
sowie einige Klangfarben
(letztere mit einem
Dämpfer gespielt).
Das LAMENTO LIRICO
enthält die eher
ernsten Töne,
welche die Posaune in der
Regel spielt und
kombiniert diese mit
einem Aspekt, der doch
eher ungewöhnlich
für dieses
Instrument ist: einem
melodischen Charakter.
Der dritte Satz - SONATA
ANTICA - wurde
unmittelbar von zwei der
bekanntesten Sonaten
vonDaniel Speer
(1636-1701) inspiriert.
Hier geht es um die
historische Dimension der
Posaune:
Tatsächlich war
sie das erste
Blechblasinstrument, auf
dem man - Jahrhunderte
vor allen anderen - schon
chromatisch spielen
konnte.
Brass Instruments; Choral; Piano Accompaniment (Choral Score) SKU: HL.4904605...(+)
Brass Instruments;
Choral; Piano
Accompaniment (Choral
Score)
SKU:
HL.49046057
Volume
II: for Choir and Brass
InstrumentsChoral
Score. Composed by
Paul Hindemith. Study
Score. Classical.
Softcover. 40 pages.
Schott Music #ED20092-01.
Published by Schott Music
(HL.49046057).
These canons,
published for the first
time, document
Hindemith's penchant for
composing small parodic
works with a wink on
given occasions. Over 30
artful pieces in the
picture postcard format
wrote the composer. He
packed Christmas
greetings,
congratulationson
anniversaries and thanks
to friends, colleagues
and cultural institutions
in a counterpoint. After
the first band for chorus
a capella, the second
band is now available,
containing canons for
mixed choir accompanied
by a small brass
ensemble. German.
Trumpet, piano SKU: BR.MR-2239A Piano reduction. Composed by Giaco...(+)
Trumpet, piano
SKU:
BR.MR-2239A
Piano
reduction. Composed
by Giacomo Antonio Perti.
Edited by Mark Latham.
Arranged by Mark Latham.
Solo instruments;
Softcover. Musica Rara.
Symphony; Baroque. Piano
reduction. 8 pages.
Breitkopf and Haertel #MR
2239a. Published by
Breitkopf and Haertel
(BR.MR-2239A).
ISBN
9790004487877. 9 x 12
inches.
There are
two known manuscript
sources for the present
edition of this sinfonia
avanti l'opera. In the
Dean and Chapter Library
of Durham Cathedral it
appears as the twelfth,
and last, piece in a
collection of late
seventeenth-century
Italian instrumental
music. No composer is
given and identification
was only possible
following the discovery,
in 1993, of a concordant
source in the Biblioteca
Estense, Modena, where
the work appears as the
sinfonia to Perti's opera
L'Inganno scoperto per
Vendetta, first performed
in Venice as part of the
1690/1 season.It is
sometimes hard to
ascertain the original
functional purpose behind
many of the trumpet works
written by composers of
the Bolognese school as
it would appear that some
were used as sonate da
chiesa, to celebrate mass
in the basilica of San
Petronio, Bologna, whilst
also serving as operatic
sinfonie. To confuse the
issue further, there are
several instances of
composers 'borrowing'
each other's works: for
example, it has recently
been discovered that the
Torelli trumpet sinfonia
a 4 catalogued as G4 in
Giegling was used as the
overture to Perti's opera
Nerone fatto Cesare
(1693). So far as the
present edition is
concerned, however,
stylistic considerations
would appear to confirm
that the work is indeed
by Perti and that it was
originally conceived as
the overture to L'Inganno
scoperto per Vendetta. A
couple of clues hint at a
secular raison d'etre:
the Durham source is
marked Serenatto
(presumably a corruption
of serenata, a term often
used in lieu of sinfonia)
and the last movement of
the Modena source is
marked Menuet, a term
more often associated
with sonate da camera
than with works of
ecclesiastical
provenance.Both the
Modena and Durham sources
for the present edition
are virtually
note-perfect and
occasional inaccuracies
were easily corrected by
comparing the sources
with each other and with
the part-books in Durham.
Whilst the Modena source
lacks the second violin
part in the outer
movements it contains
fuller dynamic markings
and tempi indications
than the Durham source
and these have been
followed in the present
edition with no editorial
additions. Notation has
been modernised and, in
the piano reduction
edition, right-hand
arpeggio-figurations
rendered more pianistic.
Parts are provided for
trumpet in D and B flat.
I am grateful to the Dean
and Chapter of Durham and
to the Biblioteca
Estense, Modena, for
providing microfilm of
the manuscripts. I should
also record my thanks to
Keith Wright for
realising the
figured-bass which
appears in the full-score
edition.Mark Latham,
Brancepeth Castle, June
1997.
Composed
by Anton Bruckner. Edited
by Ernst Herttrich. This
edition: urtext. 1x
27.190/21 flute 1, 1x
27.190/22 flute 2, 1x
27.190/23 oboe 1, 1x
27.190/24 oboe 2, 1x
27.190/25 clarinet 1, 1x
27.190/26 clarinet 2, 1x
27.190/27 bassoon 1, 1x
27.190/28 bassoon 2, 1x
27.190/31 horn 1, 1x
27.190/32 horn 2, 1x
27.190/33 horn 3, 1x
27.19. Stuttgart Urtext
Edition: Urtext Editions;
Carus sheet music series:
Vocal scores XL. Harmony
parts. Innovative
practice aids, Sacred
vocal music, Praise and
thanks. Set of Orchestra
Parts. WAB 45. Duration
25 minutes. Carus Verlag
#CV 27.190/09. Published
by Carus Verlag
(CA.2719009).
ISBN
9790007200732. Text
language:
Latin.
Anton
Bruckner's Te Deum - a
high point in the
composer's output and one
of the most important
works of the sacred
choral repertoire in the
19th century - is now
available in a modern,
scholarly edition. The
Carus edition draws on
both the two sources
regarded as important,
the autograph score and
the first printed
edition, with careful
consideration given to
variant readings. And so
a music text has been
prepared which reflects
the composer's intentions
as closely as possible.
Great emphasis has been
placed on a clear-to-read
layout of the full score
pages, as well as
excellent legibility for
the parts, which are
available on sale. With
current performance
practice in mind, the
clarinet parts are
notated in B flat instead
of A, corresponding with
the first printed
edition. The vocal score
has been newly prepared
to reflect current
practical requirements.
As an economical
alternative, a chorus
score is available.
Bruckner's Te Deum is
also available in carus
music, the choir app. The
app contains the music
and a recording, as well
as a coach to help with
learning each choral
part. In preparation:
arrangement of the Te
Deum for soli, choir,
brass quintet and organ.
Score and parts available
separately - see item
CA.2719000.
Cantata
for harvest festivals
(Tempore Messis) and
other festivals of
thanksgiving.
Composed by Georg Philipp
Telemann. Edited by
Jurgen Neubacher. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Nun danket alle
Gott. Sacred vocal music,
Cantatas, Praise and
thanks. Single Part,
Violin 2. TVWV 1:1166. 4
pages. Duration 15
minutes. Carus Verlag #CV
39.109/12. Published by
Carus Verlag
(CA.3910912).
ISBN
9790007215446. Language:
German/English.
Tel
emann's cantata Now thank
we all our God cannot be
assigned to any of the
composer's known annual
cycles of cantatas. The
given designation,
Tempore Messis, which
appears in the title in
the sole surviving
source, suggests it was
composed on the occasion
of a harvest thanksgiving
festival, but the general
nature of the text means
that other occasions for
performance such as New
Year, Reformation Day,
church or organ
consecrations and
weddings are conceivable.
Musically, the work is
distinguished by two
spirited choral movements
reinforced by trumpets
which frame a duet for
tenor and bass and an
aria for alto and
transverse flute. Score
and part available
separately - see item
CA.3910900.
Composed by Ludwig van Beethoven (1770-1827). Edited by Jens Dufner. For Orchest...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Jens Dufner.
For Orchestra (Study
Score). Henle Study
Scores. Softcover. 119
pages. G. Henle #HN9816.
Published by G. Henle
Cantata
for harvest festivals
(Tempore Messis) and
other festivals of
thanksgiving.
Composed by Georg Philipp
Telemann. Edited by
Jurgen Neubacher. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Nun danket alle
Gott. Sacred vocal music,
Cantatas, Praise and
thanks. Set of Orchestra
Parts. TVWV 1:1166.
Duration 15 minutes.
Carus Verlag #CV
39.109/19. Published by
Carus Verlag
(CA.3910919).
ISBN
9790007139278. Language:
German/English.
Tel
emann's cantata Now thank
we all our God cannot be
assigned to any of the
composer's known annual
cycles of cantatas. The
given designation,
Tempore Messis, which
appears in the title in
the sole surviving
source, suggests it was
composed on the occasion
of a harvest thanksgiving
festival, but the general
nature of the text means
that other occasions for
performance such as New
Year, Reformation Day,
church or organ
consecrations and
weddings are conceivable.
Musically, the work is
distinguished by two
spirited choral movements
reinforced by trumpets
which frame a duet for
tenor and bass and an
aria for alto and
transverse flute. Score
and parts available
separately - see item
CA.3910900.
Composed
by Anton Bruckner. Edited
by Ernst Herttrich. This
edition: urtext.
Stuttgart Urtext Edition:
Urtext Editions; Carus
sheet music series: Vocal
scores XL. Organ.
Innovative practice aids,
Sacred vocal music,
Praise and thanks. Single
Part, Organ. WAB 45. 8
pages. Duration 25
minutes. Carus Verlag #CV
27.190/49. Published by
Carus Verlag
(CA.2719049).
ISBN
9790007200794. Language:
Latin.
Anton
Bruckner's Te Deum - a
high point in the
composer's output and one
of the most important
works of the sacred
choral repertoire in the
19th century - is now
available in a modern,
scholarly edition. The
Carus edition draws on
both the two sources
regarded as important,
the autograph score and
the first printed
edition, with careful
consideration given to
variant readings. And so
a music text has been
prepared which reflects
the composer's intentions
as closely as possible.
Great emphasis has been
placed on a clear-to-read
layout of the full score
pages, as well as
excellent legibility for
the parts, which are
available on sale. With
current performance
practice in mind, the
clarinet parts are
notated in B flat instead
of A, corresponding with
the first printed
edition. The vocal score
has been newly prepared
to reflect current
practical requirements.
As an economical
alternative, a chorus
score is available.
Bruckner's Te Deum is
also available in carus
music, the choir app. The
app contains the music
and a recording, as well
as a coach to help with
learning each choral
part. In preparation:
arrangement of the Te
Deum for soli, choir,
brass quintet and organ.
Score and part available
separately - see item
CA.2719000.