Composed by Various. Edited by Friedemann Gottschick. This edition: Paperbound. ...(+)
Composed by Various.
Edited by Friedemann
Gottschick. This edition:
Paperbound. Rheinisches
Orgelbuch. Organ music
based on hymns, Advent,
New year, Holy Week,
Easter and Eastertide,
Christmas, Praise and
thanks, Morning, midday,
evening. Collection. 136
pages. Published by Carus
Verlag
Organ solo SKU: CA.1805220 Composed by Various. Edited by Helmut Volkl. T...(+)
Organ solo
SKU:
CA.1805220
Composed
by Various. Edited by
Helmut Volkl. This
edition: Paperbound.
Hymns by Martin Luther:
Ausgaben mit mehreren
Luther-Liedern. German
title: Vorspiele
+Begleitsatze. Organ
music based on hymns,
Advent, End of the church
year, Epiphany, Lent and
Passiontide, Ascension,
Easter and Eastertide,
Whitsun, Trinity,
Christmas, Eucharist,
Communion, Wedding,
Confirmation, Morning,
midday, evening.
Collection. 160 pages.
Carus Verlag #CV
18.052/20. Published by
Carus Verlag
(CA.1805220).
ISBN
9790007100223.
Scor
e available separately -
see item CA.1805200.
SKU: CA.206600 Composed by Various. Edited by Karl Heinz Mertens. This ed...(+)
SKU: CA.206600
Composed by Various.
Edited by Karl Heinz
Mertens. This edition:
Paperbound. Choral
collections (mixed
choir). Geistliche Musik
fur Chor und Blaser.
Sacred vocal music,
Special days, Easter and
Eastertide, Whitsun,
Morning, midday, evening.
Collection. Carus Verlag
#CV 02.066/00. Published
by Carus Verlag
(CA.206600).
Female choir (SSAA), 2 horns in F and harp (piano) - advanced SKU: HL.4901524...(+)
Female choir (SSAA), 2
horns in F and harp
(piano) - advanced
SKU: HL.49015240
Zyklus. Composed
by Heinrich Poos. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Choral Score.
20 pages. Duration 19'.
Schott Music #ED 6933-01.
Published by Schott Music
(HL.49015240).
Female choir (SSAA), 2 horns in F and harp (piano) - advanced SKU: HL.4901524...(+)
Female choir (SSAA), 2
horns in F and harp
(piano) - advanced
SKU: HL.49015241
Zyklus. Composed
by Heinrich Poos. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Individual
part. 8 pages. Duration
19'. Schott Music #ED
6933-11. Published by
Schott Music
(HL.49015241).
Female choir (SSAA), 2 horns in F and harp (piano) - advanced SKU: HL.4901524...(+)
Female choir (SSAA), 2
horns in F and harp
(piano) - advanced
SKU: HL.49015243
Zyklus. Composed
by Heinrich Poos. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Individual
part. 18 pages. Duration
19'. Schott Music #ED
6933-13. Published by
Schott Music
(HL.49015243).
Female choir (SSAA), 2 horns in F and harp (piano) - advanced SKU: HL.4900681...(+)
Female choir (SSAA), 2
horns in F and harp
(piano) - advanced
SKU: HL.49006811
Zyklus. Composed
by Heinrich Poos. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score. 52
pages. Duration 19'.
Schott Music #ED 6933.
Published by Schott Music
(HL.49006811).
Female choir (SSAA), 2 horns in F and harp (piano) - advanced SKU: HL.4901524...(+)
Female choir (SSAA), 2
horns in F and harp
(piano) - advanced
SKU: HL.49015242
Zyklus. Composed
by Heinrich Poos. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Individual
part. 8 pages. Duration
19'. Schott Music #ED
6933-12. Published by
Schott Music
(HL.49015242).
By Various. Magnificat, Mass Sections; Choral Collections, Mixed Choir; Occasion...(+)
By Various. Magnificat,
Mass Sections; Choral
Collections, Mixed Choir;
Occasions: Praise and
thanks. Choral
collection. 112 pages.
Published by Carus Verlag
(German import).
Organ solo SKU: CA.1805200 Composed by Various. Edited by Helmut Volkl. T...(+)
Organ solo
SKU:
CA.1805200
Composed
by Various. Edited by
Helmut Volkl. This
edition: Paperbound.
Hymns by Martin Luther:
Ausgaben mit mehreren
Luther-Liedern. German
title: Intonationen +
Begleitsatze. Organ music
based on hymns, Whole
church year / Omni
tempore. Collection. 440
pages. Carus Verlag #CV
18.052/00. Published by
Carus Verlag
(CA.1805200).
By Various. Edited by Volkl, Helmut. This edition: paperbound. Organ Music (hymn...(+)
By Various. Edited by
Volkl, Helmut. This
edition: paperbound.
Organ Music (hymns);
Occasions: Eucharist,
Peace and Justice,
Wedding, Confirmation,
Praise and thanks,
Morning, Midday, Evening,
Psalms, Baptism,
Mourning, Death, Our
Father, Advent, End of
the church year,
Epiphany, Lent and
Passion, Ascension, New
Year. Collection. 96
pages
Organ solo SKU: CA.1952700 Composed by Various. Edited by Joachim Schwarz...(+)
Organ solo
SKU:
CA.1952700
Composed
by Various. Edited by
Joachim Schwarz. This
edition: Paperbound.
Choral collections.
German title:
Orgel-Begleitsatze.
Collection. 176 pages.
Carus Verlag #CV
19.527/00. Published by
Carus Verlag
(CA.1952700).
Er ist das Brot Chorale 3 parties SSA [Conducteur] Carus Verlag
SAM / SSA choir SKU: CA.1942120 Satze fur Chor SAM und SSA. Compos...(+)
SAM / SSA choir
SKU:
CA.1942120
Satze
fur Chor SAM und SSA.
Composed by Joachim
Schwarz and Lothar Graap.
German title: Er Ist Das
Brot, Er Ist Der Wein.
Hymn settings. Full
score. 2 pages. Carus
Verlag #CV 19.421/20.
Published by Carus Verlag
(CA.1942120).
ISBN
9790007192662. Language:
German. Text: Bucken,
Eckart. Text: Eckart
Bucken.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Piano (NOTEN+CD) - advanced SKU: HL.49033071 Ein Marchen mit 21 leicht...(+)
Piano (NOTEN+CD) -
advanced
SKU:
HL.49033071
Ein
Marchen mit 21 leichten
Klavierstucken.
Composed by Stefan
Heucke. This edition:
Hardback/Hard Cover. Book
with CD. Edition Schott.
Oscar Wildes anruhrendes
Marchen - zum Lesen,
Schauen und Horen.
Edition with CD. Composed
1998. Op. 28. 48 pages.
Schott Music #ED 9406.
Published by Schott Music
(HL.49033071).
ISBN
9783795755898. German.
Brigitte Smith.
In
Oscar Wildes bekanntem
Marchen hat der
Gluckliche Prinz auf den
ersten Blick alles, was
eine Statue sich nur
wunschen kann: Er steht
hoch uber der Stadt, uber
und uber mit Gold
bedeckt, mit Edelsteinen
geschmuckt und von den
Menschen respektvoll
bewundert. Und dennoch
gibt er all das auf: Er
verschenkt sein Gold und
seine Edelsteine. Eine
kleine Schwalbe hilft
ihm, die Kostbarkeiten an
Notleidende zu verteilen,
an Vergessene und
Verlassene, an hungrige
Kinder, die davon Brot
kaufen konnen. Sommer und
Herbst vergehen, Schnee
fallt und es wird kalt.
Die Schwalbe aber will
den Prinzen nicht
verlassen - sie erfriert
und fallt tot zu Fussen
des Prinzen nieder.
Dieser ist inzwischen so
unansehnlich geworden,
dass ihn die Menschen,
die ihn zuvor mit
Ehrfurcht betrachteten,
von seinem Sockel sturzen
und einschmelzen. Nur das
Bleiherz will im Hochofen
nicht schmelzen, und so
wird es auf einen
Kehrichthaufen geworfen,
auf dem auch die tote
Schwalbe liegt. So
bleiben am Ende in Oscar
Wildes Marchen Liebe und
Freundschaft als Werte
bestehenDie 21 kleinen
Klavierstucke von Stefan
Heucke beleuchten die
Episoden des Marchens
musikalisch, vertiefen
den emotionalen Gehalt
und sind fur Kinder sehr
hubsch anzuhoren.
Fortgeschrittene
Klavierschuler oder
Erwachsene werden die
Stucke auch selbst
spielen konnen.Auf der
beiliegenden CD wird das
Marchen von Elfi von
Kalckreuth erzahlt.
By Franz Schubert. Voice and piano. Selected by SERGIUS KAGEN. German with liter...(+)
By Franz Schubert. Voice
and piano. Selected by
SERGIUS KAGEN. German
with literal English
translations and notes by
G. Contains all the
cycles plus 42 selected
songs. Published by
International Music Co.
By Franz Schubert. Voice and piano. Selected by SERGIUS KAGEN. German with liter...(+)
By Franz Schubert. Voice
and piano. Selected by
SERGIUS KAGEN. German
with literal English
translations and notes by
G. Contains all the
cycles plus 42 selected
songs. Published by
International Music Co.
Voice and piano - advanced SKU: M7.AST-26 For voice and piano. Com...(+)
Voice and piano -
advanced
SKU:
M7.AST-26
For
voice and piano.
Composed by Wilhelm
Rettich. Sheet music. Op.
65. Duration 13'. MDS
(Music Distribution
Services) #AST 26.
Published by MDS (Music
Distribution Services)
(M7.AST-26).