Edited by Tim Price, compiled by Tim Price. For tenor saxophone. Format: instrum...(+)
Edited by Tim Price,
compiled by Tim Price.
For tenor saxophone.
Format: instrumental solo
songbook. With leadsheet
notation (chords and
melody), introductory
text and instructional
text. Bebop and
standards. Series: Hal
Leonard Artist
Transcriptions. 112
pages. 9x12 inches.
Published by Hal Leonard.
Piano - easy SKU: HL.49004673 Piano Solo. Composed by Various. Edi...(+)
Piano - easy
SKU:
HL.49004673
Piano
Solo. Composed by
Various. Edited by
Richard Krentzlin. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 48 pages.
Schott Music #ED4175.
Published by Schott Music
(HL.49004673).
ISBN
9790001049016. UPC:
073999690668.
9.0x12.0x0.144
inches.
Terzenkrimi Piano seul - Facile Hofmeister Musikverlag
Piano - Grade 2-3 SKU: HF.FH-3098 13 kleine Studien fur Tastentater, d...(+)
Piano - Grade 2-3
SKU:
HF.FH-3098
13
kleine Studien fur
Tastentater, die keine
Etuden mogen.
Composed by Rodolphe
Haimann. Sheet music. 36
pages. Friedrich
Hofmeister Musikverlag
#FH 3098. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-3098).
ISBN 9790203430988. 9
x 12 inches.
Der
Terzenkrimi - das sind 13
kleine Studien fur
Tastentater, die keine
Etuden mogen. Die Stucke
sind witzig und
einfallsreich. Der
Etudencharakter ist nicht
vordergrundig. Trotzdem
kommt er nicht zu kurz.
Ideal fur alle, die zwar
viel lernen mochten, aber
den Etuden im Allgemeinen
nichts abgewinnen konnen.
Der Komponist Rodolphe
Haimann wurde 1960 in
Arras (Frankreich)
geboren. Er studierte
Musikwissenschaft und
Kunstgeschichte in
Gottingen und danach
Klavier (bei Agathe
Wanek), Violine (bei
Doris Spemann),
Liedgestaltung (bei
Burkhardt Schaeffer)
sowie Komposition (bei
Friedrich K. Wanek) am
Peter-Cornelius-Konservat
orium in Mainz. Es folgte
ein Studium an der
California State
University in Fresno
(USA) in den Fachern
Klavier (bei Philip
Lorenz) und Komposition
(bei Jack Fortner).
Rodolphe Haimann
bestreitet zahlreiche
Konzerte als Solist,
Liedbegleiter und im
Klavier-Duo mit Thomas
Noichl im In- und
Ausland. Seit 1991 ist
Rodolphe Haimann
Lehrbeauftragter fur
Klavier und Komposition
am Camerloher-Gymnasium
in Freising (Musisches
Gymnasium). Er ist
Gastdozent an der
Musikakademie
Marktoberdorf und
Mitglied der EPTA
(European Piano Teachers
Association).
Piano SKU: M7.DOHR-17600 Composed by Franz Joseph Haydn. This edition: Ha...(+)
Piano
SKU:
M7.DOHR-17600
Composed by Franz Joseph
Haydn. This edition:
Hardback/Hard Cover.
Sheet music. Performance
book. 104 pages. MDS
(Music Distribution
Services) #DOHR 17600.
Published by MDS (Music
Distribution Services)
(M7.DOHR-17600).
ISBN
9790202036006.
Von
der Existenz der sieben
verschollenen
Klaviersonaten Hob. XVI:
2a-e und g-h wissen wir
lediglich durch die
Eintragungen in den
sogenannten
Entwurf-Katalog, dessen
Hauptteil Ende 1765
entstand. Haydn führte
den Katalog bis 1777
fort, indem er von Zeit
zu Zeit die jeweils neu
komponierten Werke
ergänzte. Entstanden
sind die Sonaten
vermutlich in der Zeit
zwischen 1766 und 1772.
Die Tatsache, dass die
Sonaten verschollen sind,
wird häufig mit dem
Brand, dem Haydns Haus in
Eisenstadt im Jahr 1768
zum Opfer fiel, in
Verbindung gebracht. Der
Zeitraum 1766 bis 1772
deckt sich ziemlich genau
mit der häufig, jedoch
nur unzureichend
charakterisierend Sturm
und Drang-Zeit genannten
Schaffensphase des
Komponisten, die den
Höhepunkt einer Phase
intensiven
Experimentierens und
Suchens nach neuen Wegen
auf fast allen für
Haydn besonders
bedeutsamen Gebieten der
Instrumentalmusik, der
Symphonie, dem
Streichquartett und der
Klaviersonate, bildet. Da
die Eintragungen im
Entwurf-Katalog lediglich
die ersten zwei bis vier
Takte der je ersten
Sätze der Sonaten
wiedergeben, musste der
Verfasser nicht nur den
restlichen Verlauf der
Eröffnungssätze
weitgehend selbst
erdichten, er war auch
bei der Gesamtanlage der
Sonaten (Anzahl und
musikalischer Inhalt der
übrigen Sätze)
insofern auf sich allein
gestellt, als der
Entwurf-Katalog
hierüber keine
Auskunft gibt. Als
stilistische Vorbilder
dienten naturgemäß
die im genannten Zeitraum
komponierten und
erhaltenen Sonaten.
Darüber hinaus hat der
Verfasser versucht, eine
möglichst große
Bandbreite der
verschiedenen Formen, die
in Haydns Musik dieses
Zeitraums zu finden sind,
abzubilden. Ebenso
differenziert und zur
Nachahmung herausfordernd
ist der
Abwechslungsreichtum der
Satztechniken, die Haydn
verwendet. Dem Vorbild
Haydns folgend sind vor
allem die dynamischen
Angaben auf ein Minimum
reduziert und sollen
bewusst Raum zur eigenen
fantasievollen
Interpretation lassen.
(Thomas Enselein).
Cantata for Pentecost
- Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Partitur-Bibliothek
(Score Library). Cantata;
Baroque. Sheet Music.
Duration 25'. Breitkopf
and Haertel #PB 32117.
Published by Breitkopf
and Haertel
(BR.PB-32117).
ISBN
9790004215845. 10 x 12.5
inches.
The cantata
Schmucket das Fest mit
Maien has survived
without any information
about the time of its
composition, its purpose,
or its scoring. The
librettist is also
unknown, although there
is a comparatively
similar text in the work
of the Silesian poet Hans
Assmann Freiherr von
Abschatz (1646-1699),
printed in Leipzig in
1704. Since the copy of
the score that serves as
the source for this
edition was probably
written after 1708, and
the work is closely
related to the cantata
Daran erkennen wir (PB
32090), it could have
been written during
Kuhnau's first years as
Thomaskantor from 1701
on.The text set to music
provides information
about the purpose of the
cantata. In the course of
the work, the image of
the bridegroom and his
bride from the Song of
Songs is reinterpreted as
the sending of the Holy
Spirit upon the
congregation of
Christians. In the first
part, passages from the
Song of Songs predominate
while the second part
quotes their symbolic
interpretations or treats
them in free poetry. In
the concluding chorale, a
stanza from Philipp
Nicolai's Wie schon
leuchtet der Morgenstern
(How beautifully the
morning star shines), the
outpouring and the flames
are also mentioned, so
the purpose to the feast
of Pentecost is
clear.Another special
feature of the cantata is
the varied and colorful
instrumentation with the
scoring of two flutes,
two oboes and bassoon in
individual movements, in
addition to the usual,
sometimes divided
strings.
Piano SKU: M7.DOHR-17604 Composed by Franz Joseph Haydn. Sheet music. Sin...(+)
Piano
SKU:
M7.DOHR-17604
Composed by Franz Joseph
Haydn. Sheet music.
Single sheet. 24 pages.
MDS (Music Distribution
Services) #DOHR 17604.
Published by MDS (Music
Distribution Services)
(M7.DOHR-17604).
ISBN
9790202036044.
Von
der Existenz der sieben
verschollenen
Klaviersonaten Hob. XVI:
2a-e und g-h wissen wir
lediglich durch Haydns
Eintragungen ihrer
Incipits im sogenannten
Entwurf-Katalog.
Entstanden sind die
fraglichen sieben Sonaten
nach derzeitigem
Forschungsstand
vermutlich in der Zeit
zwischen 1766 und 1772.
Die vom
Haydn-Spezialisten Thomas
Enselein erstellten
Rekonstruktionen dieser
sieben Sonaten sind
sowohl in Einzelausgaben
wie auch in einem
Sammelband (E.D. 17600)
erhältlich. Zur jeder
Neufassung hat Enselein
einen Werkstattbericht
(deutsch/englisch)
erstellt, in dem er sein
Vorgehen bei der
Rekonstruktion der
einzelnen Sonate
erläutert.
Piano SKU: M7.DOHR-17606 Composed by Franz Joseph Haydn. Sheet music. Sin...(+)
Piano
SKU:
M7.DOHR-17606
Composed by Franz Joseph
Haydn. Sheet music.
Single sheet. 12 pages.
MDS (Music Distribution
Services) #DOHR 17606.
Published by MDS (Music
Distribution Services)
(M7.DOHR-17606).
ISBN
9790202036068.
Von
der Existenz der sieben
verschollenen
Klaviersonaten Hob. XVI:
2a-e und g-h wissen wir
lediglich durch Haydns
Eintragungen ihrer
Incipits im sogenannten
Entwurf-Katalog.
Entstanden sind die
fraglichen sieben Sonaten
nach derzeitigem
Forschungsstand
vermutlich in der Zeit
zwischen 1766 und 1772.
Die vom
Haydn-Spezialisten Thomas
Enselein erstellten
Rekonstruktionen dieser
sieben Sonaten sind
sowohl in Einzelausgaben
wie auch in einem
Sammelband (E.D. 17600)
erhältlich. Zur jeder
Neufassung hat Enselein
einen Werkstattbericht
(deutsch/englisch)
erstellt, in dem er sein
Vorgehen bei der
Rekonstruktion der
einzelnen Sonate
erläutert.
Piano (PS) - difficult SKU: HL.49008422 Composed by Heinz Holliger. Sheet...(+)
Piano (PS) - difficult
SKU: HL.49008422
Composed by Heinz
Holliger. Sheet music.
Edition Schott.
Classical. Composed 1999.
44 pages. Duration 32'.
Schott Music #ED 9459.
Published by Schott Music
(HL.49008422).
ISBN
9790001131940.
12.0x8.75x0.13
inches.
Composed in
anticipation of the Bach
anniversary in 2000. The
forms and religious
symbolism in Holliger's
piece are not restricted
in their reference to the
Cantor of St Thomas'
Leipzig, but include the
interwoven contradictory
attitudes towards Bach of
Schumann and Liszt. A
technically and musically
demanding concert piece.
Prelude (Inner Voice) *
Fugue * Barcarole *
Sphinxes (Intermezzo I) *
petit Csardas obstine *
Sphinxes (Intermezzo II)
* Ciacona
monoritmica.
Guitar - intermediate SKU: M7.VOGG-816 Composed by Gernot Roedder. This e...(+)
Guitar - intermediate
SKU: M7.VOGG-816
Composed by Gernot
Roedder. This edition:
Ring/Spiral binding.
Sheet music with 2 CDs.
152 pages. Voggenreiter
#VOGG 816. Published by
Voggenreiter
(M7.VOGG-816).
ISBN
9783802408168.
German.
Für
Gitarristen der
Mittelstufe Ãœber 60
der bekanntesten und
wichtigsten Stücke
für die Konzertgitarre
(Solo und Duo) aus drei
Jahrhunderten in
traditioneller Notation -
die unentbehrliche
Stückesammlung, die in
keinem gutsortierten
Notenregal fehlen darf!
Endlich alle Stücke,
die man sich bisher in
Einzelausgaben anschaffen
oder aus Dutzenden von
Sammlungen
zusammenstellen musste,
in einem einzigen Band!
Von Aguado und Bach bis
zu Sor und Tárrega,
hier findet sich für
jeden
Gitarristengeschmack das
Richtige. Alle Stücke
spielfertig eingerichtet
mit Fingersätzen und
Lagenangaben. Die beiden
aufwendig produzierten
Begleit-CDs sind nicht
nur ein idealer Begleiter
beim Ãœben, sondern
auch ein absoluter
Hörgenuss für jeden
Liebhaber klassischer
Gitarrenmusik.
Cantata for Pentecost
- Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 25'.
Breitkopf and Haertel #OB
32117-16. Published by
Breitkopf and Haertel
(BR.OB-32117-16).
ISBN
9790004350843. 10 x 12.5
inches.
The cantata
Schmucket das Fest mit
Maien has survived
without any information
about the time of its
composition, its purpose,
or its scoring. The
librettist is also
unknown, although there
is a comparatively
similar text in the work
of the Silesian poet Hans
Assmann Freiherr von
Abschatz (1646-1699),
printed in Leipzig in
1704. Since the copy of
the score that serves as
the source for this
edition was probably
written after 1708, and
the work is closely
related to the cantata
Daran erkennen wir (PB
32090), it could have
been written during
Kuhnau's first years as
Thomaskantor from 1701
on.The text set to music
provides information
about the purpose of the
cantata. In the course of
the work, the image of
the bridegroom and his
bride from the Song of
Songs is reinterpreted as
the sending of the Holy
Spirit upon the
congregation of
Christians. In the first
part, passages from the
Song of Songs predominate
while the second part
quotes their symbolic
interpretations or treats
them in free poetry. In
the concluding chorale, a
stanza from Philipp
Nicolai's Wie schon
leuchtet der Morgenstern
(How beautifully the
morning star shines), the
outpouring and the flames
are also mentioned, so
the purpose to the feast
of Pentecost is
clear.Another special
feature of the cantata is
the varied and colorful
instrumentation with the
scoring of two flutes,
two oboes and bassoon in
individual movements, in
addition to the usual,
sometimes divided
strings.
Cantata for Pentecost
- Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 25'.
Breitkopf and Haertel #OB
32117-26. Published by
Breitkopf and Haertel
(BR.OB-32117-26).
ISBN
9790004350867. 10 x 12.5
inches.
The cantata
Schmucket das Fest mit
Maien has survived
without any information
about the time of its
composition, its purpose,
or its scoring. The
librettist is also
unknown, although there
is a comparatively
similar text in the work
of the Silesian poet Hans
Assmann Freiherr von
Abschatz (1646-1699),
printed in Leipzig in
1704. Since the copy of
the score that serves as
the source for this
edition was probably
written after 1708, and
the work is closely
related to the cantata
Daran erkennen wir (PB
32090), it could have
been written during
Kuhnau's first years as
Thomaskantor from 1701
on.The text set to music
provides information
about the purpose of the
cantata. In the course of
the work, the image of
the bridegroom and his
bride from the Song of
Songs is reinterpreted as
the sending of the Holy
Spirit upon the
congregation of
Christians. In the first
part, passages from the
Song of Songs predominate
while the second part
quotes their symbolic
interpretations or treats
them in free poetry. In
the concluding chorale, a
stanza from Philipp
Nicolai's Wie schon
leuchtet der Morgenstern
(How beautifully the
morning star shines), the
outpouring and the flames
are also mentioned, so
the purpose to the feast
of Pentecost is
clear.Another special
feature of the cantata is
the varied and colorful
instrumentation with the
scoring of two flutes,
two oboes and bassoon in
individual movements, in
addition to the usual,
sometimes divided
strings.
Cantata for Pentecost
- Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 25'.
Breitkopf and Haertel #OB
32117-15. Published by
Breitkopf and Haertel
(BR.OB-32117-15).
ISBN
9790004350836. 10 x 12.5
inches.
The cantata
Schmucket das Fest mit
Maien has survived
without any information
about the time of its
composition, its purpose,
or its scoring. The
librettist is also
unknown, although there
is a comparatively
similar text in the work
of the Silesian poet Hans
Assmann Freiherr von
Abschatz (1646-1699),
printed in Leipzig in
1704. Since the copy of
the score that serves as
the source for this
edition was probably
written after 1708, and
the work is closely
related to the cantata
Daran erkennen wir (PB
32090), it could have
been written during
Kuhnau's first years as
Thomaskantor from 1701
on.The text set to music
provides information
about the purpose of the
cantata. In the course of
the work, the image of
the bridegroom and his
bride from the Song of
Songs is reinterpreted as
the sending of the Holy
Spirit upon the
congregation of
Christians. In the first
part, passages from the
Song of Songs predominate
while the second part
quotes their symbolic
interpretations or treats
them in free poetry. In
the concluding chorale, a
stanza from Philipp
Nicolai's Wie schon
leuchtet der Morgenstern
(How beautifully the
morning star shines), the
outpouring and the flames
are also mentioned, so
the purpose to the feast
of Pentecost is
clear.Another special
feature of the cantata is
the varied and colorful
instrumentation with the
scoring of two flutes,
two oboes and bassoon in
individual movements, in
addition to the usual,
sometimes divided
strings.
Cantata for Pentecost
- Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 25'.
Breitkopf and Haertel #OB
32117-11. Published by
Breitkopf and Haertel
(BR.OB-32117-11).
ISBN
9790004350829. 10 x 12.5
inches.
The cantata
Schmucket das Fest mit
Maien has survived
without any information
about the time of its
composition, its purpose,
or its scoring. The
librettist is also
unknown, although there
is a comparatively
similar text in the work
of the Silesian poet Hans
Assmann Freiherr von
Abschatz (1646-1699),
printed in Leipzig in
1704. Since the copy of
the score that serves as
the source for this
edition was probably
written after 1708, and
the work is closely
related to the cantata
Daran erkennen wir (PB
32090), it could have
been written during
Kuhnau's first years as
Thomaskantor from 1701
on.The text set to music
provides information
about the purpose of the
cantata. In the course of
the work, the image of
the bridegroom and his
bride from the Song of
Songs is reinterpreted as
the sending of the Holy
Spirit upon the
congregation of
Christians. In the first
part, passages from the
Song of Songs predominate
while the second part
quotes their symbolic
interpretations or treats
them in free poetry. In
the concluding chorale, a
stanza from Philipp
Nicolai's Wie schon
leuchtet der Morgenstern
(How beautifully the
morning star shines), the
outpouring and the flames
are also mentioned, so
the purpose to the feast
of Pentecost is
clear.Another special
feature of the cantata is
the varied and colorful
instrumentation with the
scoring of two flutes,
two oboes and bassoon in
individual movements, in
addition to the usual,
sometimes divided
strings.
Cantata for Pentecost
- Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 25'.
Breitkopf and Haertel #OB
32117-19. Published by
Breitkopf and Haertel
(BR.OB-32117-19).
ISBN
9790004350850. 10 x 12.5
inches.
The cantata
Schmucket das Fest mit
Maien has survived
without any information
about the time of its
composition, its purpose,
or its scoring. The
librettist is also
unknown, although there
is a comparatively
similar text in the work
of the Silesian poet Hans
Assmann Freiherr von
Abschatz (1646-1699),
printed in Leipzig in
1704. Since the copy of
the score that serves as
the source for this
edition was probably
written after 1708, and
the work is closely
related to the cantata
Daran erkennen wir (PB
32090), it could have
been written during
Kuhnau's first years as
Thomaskantor from 1701
on.The text set to music
provides information
about the purpose of the
cantata. In the course of
the work, the image of
the bridegroom and his
bride from the Song of
Songs is reinterpreted as
the sending of the Holy
Spirit upon the
congregation of
Christians. In the first
part, passages from the
Song of Songs predominate
while the second part
quotes their symbolic
interpretations or treats
them in free poetry. In
the concluding chorale, a
stanza from Philipp
Nicolai's Wie schon
leuchtet der Morgenstern
(How beautifully the
morning star shines), the
outpouring and the flames
are also mentioned, so
the purpose to the feast
of Pentecost is
clear.Another special
feature of the cantata is
the varied and colorful
instrumentation with the
scoring of two flutes,
two oboes and bassoon in
individual movements, in
addition to the usual,
sometimes divided
strings.
Chorus a cappella SKU: BR.CHB-5366 Composed by Kurt Thomas. Choir; staple...(+)
Chorus a cappella
SKU:
BR.CHB-5366
Composed
by Kurt Thomas. Choir;
stapled. Chor-Bibliothek
(Choral Library). Mass;
Early modern; Music
post-1945. Sheet Music.
Composed 1925. Breitkopf
and Haertel #CHB 5366.
Published by Breitkopf
and Haertel
(BR.CHB-5366).
ISBN
9790004412961. 7.5 x 10.5
inches. Latin.
Kurt
Thomas' Mass in a op. 1
for Soloists and two
mixed choirs a cappella
was composed in 1925 at
the end of his music
studies in Leipzig. It is
dedicated to his patron,
Thomaskantor (choirmaster
of St. Thomas) Karl
Straube, in highest
gratitude and reverence.
It was published in the
same year as his first
printed work by Breitkopf
& Hartel, founding a
long-term collaboration
which later enabled the
publication of the Small
Sacred Choral Music op.
25 (CHB 5344) and the
conducting tutorial
Lehrbuch der Chorleitung
(BV 271). In 1927, it was
awarded with the
Beethoven-Preis of the
Prussian Academy of Arts.
The work is set for
double choir throughout,
partly also giving way to
eight-part passages and
shorter sections in which
the choir sings in turn
with the four solo
voices. The Venetian
polychorality is also
used as a stylistic
device, emphasizing the
model character of
baroque choral music.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-19. Published by
Breitkopf and Haertel
(BR.OB-32034-19).
ISBN
9790004350911. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-15. Published by
Breitkopf and Haertel
(BR.OB-32034-15).
ISBN
9790004350898. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Organ (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc) SKU...(+)
Organ (solos: SATB -
0.0.0.0. - 0.0.0.0. - 2
cornetts ad lib. - str -
bc)
SKU:
BR.OB-32034-11
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-11. Published by
Breitkopf and Haertel
(BR.OB-32034-11).
ISBN
9790004350881. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-20. Published by
Breitkopf and Haertel
(BR.OB-32034-20).
ISBN
9790004350928. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-26. Published by
Breitkopf and Haertel
(BR.OB-32034-26).
ISBN
9790004350935. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-16. Published by
Breitkopf and Haertel
(BR.OB-32034-16).
ISBN
9790004350904. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-54. Published by
Breitkopf and Haertel
(BR.OB-32034-54).
ISBN
9790004350966. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-53. Published by
Breitkopf and Haertel
(BR.OB-32034-53).
ISBN
9790004350959. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Piano SKU: M7.DOHR-17607 Composed by Franz Joseph Haydn. Sheet music. Sin...(+)
Piano
SKU:
M7.DOHR-17607
Composed by Franz Joseph
Haydn. Sheet music.
Single sheet. 20 pages.
MDS (Music Distribution
Services) #DOHR 17607.
Published by MDS (Music
Distribution Services)
(M7.DOHR-17607).
ISBN
9790202036075.
Von
der Existenz der sieben
verschollenen
Klaviersonaten Hob. XVI:
2a-e und g-h wissen wir
lediglich durch Haydns
Eintragungen ihrer
Incipits im sogenannten
Entwurf-Katalog.
Entstanden sind die
fraglichen sieben Sonaten
nach derzeitigem
Forschungsstand
vermutlich in der Zeit
zwischen 1766 und 1772.
Die vom
Haydn-Spezialisten Thomas
Enselein erstellten
Rekonstruktionen dieser
sieben Sonaten sind
sowohl in Einzelausgaben
wie auch in einem
Sammelband (E.D. 17600)
erhältlich. Zur jeder
Neufassung hat Enselein
einen Werkstattbericht
(deutsch/englisch)
erstellt, in dem er sein
Vorgehen bei der
Rekonstruktion der
einzelnen Sonate
erläutert.
Piano SKU: M7.DOHR-17601 Composed by Franz Joseph Haydn. Sheet music. Sin...(+)
Piano
SKU:
M7.DOHR-17601
Composed by Franz Joseph
Haydn. Sheet music.
Single sheet. 16 pages.
MDS (Music Distribution
Services) #DOHR 17601.
Published by MDS (Music
Distribution Services)
(M7.DOHR-17601).
ISBN
9790202036013.
Von
der Existenz der sieben
verschollenen
Klaviersonaten Hob. XVI:
2a-e und g-h wissen wir
lediglich durch Haydns
Eintragungen ihrer
Incipits im sogenannten
Entwurf-Katalog.
Entstanden sind die
fraglichen sieben Sonaten
nach derzeitigem
Forschungsstand
vermutlich in der Zeit
zwischen 1766 und 1772.
Die vom
Haydn-Spezialisten Thomas
Enselein erstellten
Rekonstruktionen dieser
sieben Sonaten sind
sowohl in Einzelausgaben
wie auch in einem
Sammelband (E.D. 17600)
erhältlich. Zur jeder
Neufassung hat Enselein
einen Werkstattbericht
(deutsch/englisch)
erstellt, in dem er sein
Vorgehen bei der
Rekonstruktion der
einzelnen Sonate
erläutert.
Piano SKU: M7.DOHR-17603 Composed by Franz Joseph Haydn. Sheet music. Sin...(+)
Piano
SKU:
M7.DOHR-17603
Composed by Franz Joseph
Haydn. Sheet music.
Single sheet. 20 pages.
MDS (Music Distribution
Services) #DOHR 17603.
Published by MDS (Music
Distribution Services)
(M7.DOHR-17603).
ISBN
9790202036037.
Von
der Existenz der sieben
verschollenen
Klaviersonaten Hob. XVI:
2a-e und g-h wissen wir
lediglich durch Haydns
Eintragungen ihrer
Incipits im sogenannten
Entwurf-Katalog.
Entstanden sind die
fraglichen sieben Sonaten
nach derzeitigem
Forschungsstand
vermutlich in der Zeit
zwischen 1766 und 1772.
Die vom
Haydn-Spezialisten Thomas
Enselein erstellten
Rekonstruktionen dieser
sieben Sonaten sind
sowohl in Einzelausgaben
wie auch in einem
Sammelband (E.D. 17600)
erhältlich. Zur jeder
Neufassung hat Enselein
einen Werkstattbericht
(deutsch/englisch)
erstellt, in dem er sein
Vorgehen bei der
Rekonstruktion der
einzelnen Sonate
erläutert.
Piano SKU: M7.DOHR-17602 Composed by Franz Joseph Haydn. Sheet music. Sin...(+)
Piano
SKU:
M7.DOHR-17602
Composed by Franz Joseph
Haydn. Sheet music.
Single sheet. 16 pages.
MDS (Music Distribution
Services) #DOHR 17602.
Published by MDS (Music
Distribution Services)
(M7.DOHR-17602).
ISBN
9790202036020.
Von
der Existenz der sieben
verschollenen
Klaviersonaten Hob. XVI:
2a-e und g-h wissen wir
lediglich durch Haydns
Eintragungen ihrer
Incipits im sogenannten
Entwurf-Katalog.
Entstanden sind die
fraglichen sieben Sonaten
nach derzeitigem
Forschungsstand
vermutlich in der Zeit
zwischen 1766 und 1772.
Die vom
Haydn-Spezialisten Thomas
Enselein erstellten
Rekonstruktionen dieser
sieben Sonaten sind
sowohl in Einzelausgaben
wie auch in einem
Sammelband (E.D. 17600)
erhältlich. Zur jeder
Neufassung hat Enselein
einen Werkstattbericht
(deutsch/englisch)
erstellt, in dem er sein
Vorgehen bei der
Rekonstruktion der
einzelnen Sonate
erläutert.
Piano SKU: M7.DOHR-17605 Composed by Franz Joseph Haydn. Sheet music. Sin...(+)
Piano
SKU:
M7.DOHR-17605
Composed by Franz Joseph
Haydn. Sheet music.
Single sheet. 16 pages.
MDS (Music Distribution
Services) #DOHR 17605.
Published by MDS (Music
Distribution Services)
(M7.DOHR-17605).
ISBN
9790202036051.
Von
der Existenz der sieben
verschollenen
Klaviersonaten Hob. XVI:
2a-e und g-h wissen wir
lediglich durch Haydns
Eintragungen ihrer
Incipits im sogenannten
Entwurf-Katalog.
Entstanden sind die
fraglichen sieben Sonaten
nach derzeitigem
Forschungsstand
vermutlich in der Zeit
zwischen 1766 und 1772.
Die vom
Haydn-Spezialisten Thomas
Enselein erstellten
Rekonstruktionen dieser
sieben Sonaten sind
sowohl in Einzelausgaben
wie auch in einem
Sammelband (E.D. 17600)
erhältlich. Zur jeder
Neufassung hat Enselein
einen Werkstattbericht
(deutsch/englisch)
erstellt, in dem er sein
Vorgehen bei der
Rekonstruktion der
einzelnen Sonate
erläutert.