SKU: CA.2100415

ISBN 9790007197728. Language: Latin.

The Requiem was composed during Campra's tenure as the director of music at the cathedral of Notre Dame. It was commissioned for a service in memory of the deceased Archbishop of Paris. At the end of the 18th century it became a tradition in southern France to perform movements of Campra's Requiem during funerals or at memorial services: There is evidence from as late as 1805 which verifies this practice. The scoring of this work is remarkable, in that it calls for four groups of performers: a five-voice Grand Choeur, a 2-3 voice Petit Choeur, three vocal soloists as well as an instrumental group designated as a Symphonie.. Score and part available separately - see item CA.2100400.

SKU: AP.36-W706991

ISBN 9798888523452. UPC: 676737629700. English.

This collection of important piano works by the turn-of-the-century French composer, Cécile Chaminade (1857-1944) has been edited and fingered by William Scharfenberg. Affiliating herself with nationalist composers such as Saint-Saëns and Gounod, her style was very much rooted in both Romantic and French tradition, her tuneful and highly accessible works were also tremendous favorites in the United States. Volume 1 of this collection includes the following: Sérénade, Op. 29; Minuetto, Op. 23; Air de Ballet, Op. 30; Air des Amphores, Op. 37, No. 2; Calirrhoë, Op. 37, No. 4; Lolita, Op. 54; Scarf Dance, Op. 37, No. 3; Pièce romantique, Op. 9, No. 1; Gavotte, Op. 9, No. 2.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: CA.3810413

ISBN 9790007215095. Language: Latin.

At the age of just 20, Johann Christian Bach, the youngest son of Johann Sebastian Bach, the Kantor of St. Thomas's, left behind the Lutheran musical tradition of his family: he went to Italy, converted to Catholicism there and successfully composed operas for Turin, Milan and Naples. Frequently overlooked are the Catholic Bach's exquisite church music works, almost all written in the years 1757-1760, and which had a significant influence on his time in Italy. These include large-scale Vesper settings with impressive, symphonic-style instrumental introductions, sometimes anticipating Mozartian idioms. Bach's Domine ad adjuvandum me, an immediately captivating work, was written for the opening of Vespers; it seems to be carried along by a sense of euphoric purpose and a dynamic lightheartedness which positively radiates southern European temperament. The work is published in the authoritative Stuttgart Urtext edition, based on the rediscovered Hamburg autograph manuscript. Score and part available separately - see item CA.3810400.

SKU: BA.BA10576-01

ISBN 9790260108363. 33.3 x 26 cm inches. Language: CS, Text Language: CZ. Preface: Brezina, Aleš.

ThePetite Messe solennelleis the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with theStabat mater, the mass is one of the composer's mostimportant sacred works.

The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.

- Choral score based on the Urtext of the seriesWorks of Gioachino Rossini
- Supplements the already existing material available to this work

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

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.

Thesonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone.Giovannino(=Littl e, or Young John) must have been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, beassumed to be their author.

The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino(=Little Violone, or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or abass Viol, and not necessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intendedharmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)

The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It isopen to debate whether a Violone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenthcentury traditions that

SKU: BA.BA10558

ISBN 9790006553075. 33 x 26 cm inches. Language: German. Preface: Hirschmann, Wolfgang / Paech, Katharina Larissa / Röder, Thomas.

The Complete Vocal Works Johann Pachelbel is known today as a composer of organ music and of a world-famous instrumental canon which frequently features in concert programmes and recording catalogues. However, the same can be said of only a few of his vocal compositions. At most, the motets appear occasionally in church music repertoire. Pachelbel’s arias, vocal concerti and large-scale Magnificats have received little attention up to now.

Church musicians and musicologists have long wished for a critical edition of these important works, which survive in Pachelbel’s manuscript and were largely composed in his main places of work, Erfurt and Nuremberg . As always with such ventures, new discoveries are to be expected regarding the body of works, source material and the context of the works. This concerns not only beautiful music, but rather a deepening of our understanding of Pachelbel as a key figure between southern and central German traditions, and the recognition of an oeuvre which has all too often been pushed into the shadows by the mighty Bach.


The Critical Edition

The edition aims to make available all of Johann Pachelbel’s surviving vocal works in the best possible form. It is edited by the Institut für Musikwissenschaft at the University of Erlangen-Nuremberg and the Institut für Kirchenmusik at the Kunstuniversität Graz.

Two volumes per year are planned.

As a chronological order is not possible in many cases, the individual works have been arranged according to scoring within their groups. Fragments and works where Johann Pachelbel’s authorship is doubtful appear at the end of the respective group.

Each volume includes an introduction (Ger/Eng) and a Critical Commentary (Ger). Format 25.5 x 32.5 cm; cloth-bound

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

SKU: CA.4000714

ISBN 9790007057633. Language: Latin/English.

Dixi t Dominus (Ps 109), a psalm setting for double choir, is one of Vivaldi's most significant sacred works. In it, he takes up the old Venetian polychoral tradition, combining its compositional techniques with those of the instrumental concerto, the cantata and the opera. The broadly conceived cycle of movements, consisting of eight psalm verses and the doxology, is characterized by an expansive arch of tonalities connecting the two framing outer movements in D major (these are also thematically related): Dixit Dominus and Gloria Patri. The contrasting and varied inner movements are perfect examples of Vivaldi's skill in vividly portraying linguistic figures in music. Score and part available separately - see item CA.4000700.

SKU: UT.CH-335

ISBN 9790215326538. 9 x 12 inches.

The Trois airs variés for violin and piano belong to the small nucleus of compositions for this scoring which, in the Catalogo tematico, also includes the Cantabile in D major (M.S.109), the only original manuscript piece for violin and piano recently published in a critical edition, and the Quattro Notturni a quartetto (M.S.15). This ‘triptych’, whose authorship is unknown, is familiar thanks to the nineteenth-century editions Ricordi, Pacini and Hofmeister, the only evidence of the piece which is placed in the Catalogo tematico at n. 3 of the uncertain works (Section V, pp. 346-347), that is, those works whose authorship remains in doubt due to the lack of objectively valid documents. This placing does not categorically exclude the originality of the piece, at least as regards the violin part, and that Gustavo Carulli ‘completed’ them later by adding the piano part. Given that to date there is no evidence to deny Paganini’s authorship of the piece, we rely on the editorial tradition documented by the three publications mentioned above and, of course, on the style of the composition.
Regarding the instrumental aspect, the technical peculiarity is given by the exclusive use of the 4th string which must be transposed one tone above, in all three airs, including the variations. Concerning the piano part composed by Gustavo Carulli, it can only be said that it is simple and functional, aimed at highlighting the violin part, nothing more. Since the piano part is not original, the guitar has been thought of as the ideal instrument (as indeed is proved by Paganini’s considerable musical production for this scoring) to support the violin part and which is better suited to these small but pleasant pieces. In the transposition for guitar, however, the aim has been to include Gustavo Carulli’s musical lesson, where it is convincing, in other cases, however, the preference has been to find different solutions, while trying to remain within Paganini’s ‘style’ also as regards writing for the guitar. The present edition therefore seeks to be a plausible alternative to the previous editions, also in order to make these delightful but forgotten pieces more usable.

SKU: CA.4000749

Language: Latin/English.

Dixi t Dominus (Ps 109), a psalm setting for double choir, is one of Vivaldi's most significant sacred works. In it, he takes up the old Venetian polychoral tradition, combining its compositional techniques with those of the instrumental concerto, the cantata and the opera. The broadly conceived cycle of movements, consisting of eight psalm verses and the doxology, is characterized by an expansive arch of tonalities connecting the two framing outer movements in D major (these are also thematically related): Dixit Dominus and Gloria Patri. The contrasting and varied inner movements are perfect examples of Vivaldi's skill in vividly portraying linguistic figures in music. Score and part available separately - see item CA.4000700.

SKU: CY.CC2845

Cornet solos are an important part of the American Brass tradition. The Southern Cross is one of Clarke's most well known Cornet solos and was written in 1911, dedicated to the Australians and first recorded by the composer with Orchestra the next year for Victor Records.
During 1911, Clarke was the solo Cornetist of the Sousa Band while the band was on a world tour that included visits to South Africa, Tazmania and Australia from March through to August.
Below is a photo of the Sousa band from their 1911 tour. Clarke is sitting in the front row 5th in from the right with his moustache and his Cornet on his lap. He assuredly composed this solo to perform on that tour. The Southern Cross is a constellation that is only seen from the southern hemisphere and features the five stars of the Cross from the 1901 design of the Australian flag.

This 5-minute virtuosic arrangement by Geoffrey Bergler features not only the Cornet, but a bit of all the other four members of the Brass Quintet.
Instrumentat ion is for:
2 Trumpets in B-flat (Trumpet 1 solo, Trumpet 2 also plays Piccolo)
Horn,
Tr ombone
Tuba/Bass Trombone
The sound track below features Mr. Bergler from his student days as Cornet soloist

SKU: CA.3810414

ISBN 9790007215101. Language: Latin.

At the age of just 20, Johann Christian Bach, the youngest son of Johann Sebastian Bach, the Kantor of St. Thomas's, left behind the Lutheran musical tradition of his family: he went to Italy, converted to Catholicism there and successfully composed operas for Turin, Milan and Naples. Frequently overlooked are the Catholic Bach's exquisite church music works, almost all written in the years 1757-1760, and which had a significant influence on his time in Italy. These include large-scale Vesper settings with impressive, symphonic-style instrumental introductions, sometimes anticipating Mozartian idioms. Bach's Domine ad adjuvandum me, an immediately captivating work, was written for the opening of Vespers; it seems to be carried along by a sense of euphoric purpose and a dynamic lightheartedness which positively radiates southern European temperament. The work is published in the authoritative Stuttgart Urtext edition, based on the rediscovered Hamburg autograph manuscript. Score and part available separately - see item CA.3810400.

SKU: BA.BA11397

ISBN 9790006568598. 39.7 x 21 cm inches. Text Language: English. Text: Bergling, Tim / James, Etta / Woods, Pearl / Kirkland, Leroy / Pournouri, Ash.

“Oh, sometimes I get a good feeling, yeah
Get a feeling that I never, never, never, never had before …”

In its original form, “Levels” is more of an instrumental number featuring a short passage from a song by soul-singer Etta James. The energy of this exhilarating electro-pop piece with the inimitable Avicii sound is an ear-catching delight and brings audiences to their feet: a good time is guaranteed!


Th e editor:

Hans Vainikainen (b. 1976) hails from a new generation of conductors in the Swedish choral tradition. His conducting repertoire covers a wide range of genres and eras, from Mahler’s Eighth Symphony to the Swedish DJ Avicii. In 2005 he won the Swedish Conductors’ Prize, and two years later he was appointed artistic director of the Katarina kyrka, the home of Katarinakörerna, one of Sweden’s largest choral societies.

Hans Vainikainen heads Stockholm’s Katarinakörerna with more than 500 singers in various combinations. Their programmes cover both sacred and secular music. In his search for suitable arrangements, his eye fell on one the world’s best-known pop artists, Tim Bergling, known professionally as Avicii. He then arranged three of Avicii’s best songs for classical choirs, intending them to be encore pieces.

“Hey Brother”, “Levels” and “Without you” are now available for six-part mixed or female choir. The arrangements offer a wide variety of vocal and choral possibilities and attention has been paid that all parts are of the same musical standard. Whether homophonic or unisono, they artfully intertwine from one passage to the next. However, for all their sophistication the arrangements remain manageable and easy to learn, displaying the typical groove of each Avicii song within a multi-layered texture.

SKU: HP.C6221

UPC: 763628162214. Joel Raney.

Original anthem
In the tradition of Joel Raney's top-selling Christmas anthems Christmas Is Coming and Somebody Build a Manger, this SATB original is an up-tempo seasonal celebration. The optional handbell and instrumental parts add lots of sparkle to this jazzy setting. Strains of the familiar We Three Kings are introduced as the piece reaches a rousing, pull-out-all-the-stops conclusion. The Orchestration contains a Conductor's Score and parts for: Harp, Flute, Trumpet, French Horn, Violin, Cello, Bass, Percussion, and Handbells.

SKU: CA.3810403

ISBN 9790007143978. Language: Latin.

At the age of just 20, Johann Christian Bach, the youngest son of Johann Sebastian Bach, the Kantor of St. Thomas's, left behind the Lutheran musical tradition of his family: he went to Italy, converted to Catholicism there and successfully composed operas for Turin, Milan and Naples. Frequently overlooked are the Catholic Bach's exquisite church music works, almost all written in the years 1757-1760, and which had a significant influence on his time in Italy. These include large-scale Vesper settings with impressive, symphonic-style instrumental introductions, sometimes anticipating Mozartian idioms. Bach's Domine ad adjuvandum me, an immediately captivating work, was written for the opening of Vespers; it seems to be carried along by a sense of euphoric purpose and a dynamic lightheartedness which positively radiates southern European temperament. The work is published in the authoritative Stuttgart Urtext edition, based on the rediscovered Hamburg autograph manuscript. Score available separately - see item CA.3810400.

SKU: PR.114423140

ISBN 9781491136362. UPC: 680160688906.

ST. PAUL’S BLUES is inspired by early jazz and blues traditions, yet with a fresh twist. This 5-minute recital work begins with a slow, dark melody full of vocal-styled nuances, leading to variations and embellishments with the freedom afforded by unaccompanied instrumental solos. ST. PAUL’S BLUES was commissioned by the St. Paul Chamber Orchestra for flutist Alicia McQuerrey to premiere on the SPCO’s website during the 2020-21 pandemic season.

SKU: AP.36-A213002

UPC: 659359873225. English.

Richard Strauss (1864-1949) wrote his VIOLIN CONCERTO IN D MINOR, Op. 8, between 1881 and 1882, and it remained his only foray in that genre. Composed while a teenager and still in school. While still very much a product of the Romantic era tradition, the work is not considered as distinctive as the works he would produce only a few years later, and Strauss himself later ridiculed the work. Still, with inventive and bold writing in the solo and hints of his mature harmonic style to come, there is much to enjoy in the work, including its warmth, youthful sincerity, and lyrical expression, so that it should not be dismissed as mere juvenilia, either by contemporary audiences or Strauss himself. The chamber version of the concerto was first performed in Vienna on December 5, 1882, with the dedicatee Benno Walter on the violin while Strauss played his own piano reduction. The premiere for the orchestral version would take place seven years later in Cologne on March 4, 1890, with Walter again performing the solo with an orchestra conducted by Franz Wüllner. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: BO.B.3610

The concerto establishes a dialogue which alternates constantly between the guitar and the symphony orchestra, with the two sound worlds being maintained in perfect balance while also exploring the unique possibilities presented by each: the guitar develops a surprising array of resources which enhance its expressive capacity to the utmost, while the orchestra envelops it in an extensive range of textures which at times give rise to subtle tones, and at others, all the tonal vigour of the tutti.

The language I employ is intended as a means of achieving an efficient symbiosis between modernity and tradition, continuing in the line of my previous works as a composer. It contains no references to popular music and at all times veers away from the expectations created by the language of folklore exploited in concertos of this kind by the majority of recognised composers. In Concerto de Rialp, modernity is reflected through a search for unique expressive forms, experimentation with new means of thematic development and a unique presentation of formal solutions, all the while, however, respecting expressiveness and lyricism as the foundations of communicating with the audience.

The concerto also explores the guitar's new technical resources. Thanks to specific work on left hand extensions, mechanical formulas have been developed which allow certain scales to be played at unprecedented speeds. In the cadenza of the first movement, the guitar develops the main theme in the form of an instrumental motif that has never been used before in guitar scores, producing a polyphonic effect of new dimensions.

I have worked to exploit the distinctive sound differences existing between the guitar and the orchestra -both from the dynamic and the tonal points of view- in order to really develop the dramatic effect that their being brought together affords. In the second movement -calmo assai- this dramatic quality is expressed in a way that is particularly powerful by means of a tension never before achieved in a concerto for guitar and orchestra.

SKU: BT.EMBZ627

Gyula Dávid (1913-1977) was one of the most important members of the generation of Hungarian composers who followed Bartók and Kodály. His ?uvre includes stage, orchestral, oratorial, chamber, and solo instrumental works. Although he rarely quoted folk material directly in his music, folksong, popular music and the spirit of the Hungarian musical tradition permeates his works. In the last two decades of his life he wrote atonal and twelve-tone compositions. With his Wind Quintet (composed 1949) he created a genre which plays an important role in the new Hungarian music. Gyula Dávid studied composition with Albert Siklós and Zoltán Kodály at the Academy of Music in Budapest,graduating in 1938. Between 1938 and 1945 he worked in several orchestras as viola player. From 1945 to 1949 he was conductor at Hungarian National Theatre, than he became leader of the Ensemble of the Hungarian Army. From 1961 to his retirement he was professor at the Teacher Training Faculty of the Academy of Music in Budapest. Between 1951 and 1960 he taught wind chamber music, music theory and wind orchestration at the Academy of Music. He was one of the founders of the Hungarian Artists' Union. He was awarded the Erkel Prize (1952, 1955) and the Kossuth Prize (1957).

SKU: CA.4000712

ISBN 9790007057619. Language: Latin/English.

Dixi t Dominus (Ps 109), a psalm setting for double choir, is one of Vivaldi's most significant sacred works. In it, he takes up the old Venetian polychoral tradition, combining its compositional techniques with those of the instrumental concerto, the cantata and the opera. The broadly conceived cycle of movements, consisting of eight psalm verses and the doxology, is characterized by an expansive arch of tonalities connecting the two framing outer movements in D major (these are also thematically related): Dixit Dominus and Gloria Patri. The contrasting and varied inner movements are perfect examples of Vivaldi's skill in vividly portraying linguistic figures in music. Score and part available separately - see item CA.4000700.