Book with Media Online Violin SKU: HL.49047334 A Creative Violin Metho...(+)
Book with Media Online
Violin
SKU:
HL.49047334
A
Creative Violin Method
for Children Book with
Media Online. String
Method. Educational,
Instruction, Theory.
Softcover Audio Online.
Schott Music #ED23112.
Published by Schott Music
(HL.49047334).
UPC:
196288201854.
Violi
n Junior is a fun and
creative violin method
for children from the age
of 5 years upwards. The
repertoire covers a wide
rangeof styles from
classical music to folk,
world and popular music.
Join Fiocco the Frog in
this new approach and
find out just how much
fun playing the violin
can be! Lesson Books
include many duets for
two students to play
together as well as
imaginative technical,
aural, rhythm and
improvisation exercises.
Piano and Violin
Accompaniments are
available for the Lesson
Books. Theory Books cover
fun games and creative
exercises on music
reading, music writing,
aural training,
composition and music
theory. Concert Books
provide additional
repertoire and enjoyable
concert pieces. Audio
tracks (full version and
play-along mp3s) are
available for the Lesson
Books, Theory Books and
Concert Books. Tutorial
videos are also available
with technical and
musical advice on many of
the pieces and exercises
in the Lesson Books.
Additional online
materials round off the
method. The series will
be continued (5 levels).
Please visit
www.violin-junior.com.
Clarinet SKU: HL.14005667 Composed by Charles Camilleri. Music Sales Amer...(+)
Clarinet
SKU:
HL.14005667
Composed
by Charles Camilleri.
Music Sales America.
Classical. Book
[Softcover]. Music Sales
#NOV120774. Published by
Music Sales
(HL.14005667).
ISBN
9780853604105.
The
Sonatina Folkloristica
for Clarinet Solo
explores both native
music forms - Tarantella
and Cantilena - and the
'atomisation of the beat'
in the untimed beginning
of the Cantilena. This
short three-movement work
is demanding with playful
moments.Charles Camilleri
was one of the very few
Maltese composers to gain
international
recognition. He was
largely self-taught and
was fascinated with the
traditional music of his
own country. Years spend
in Australia and London
led him to a successful
career in light music and
he later created a
celebrated music
programme for the
Canadian Broadcasting
System. Later in life he
studied music of Africa
and Asia and developed a
systemhe termed
'atomisation of the beat'
to accommodate the
shifting rhythms and
accents of more folkloric
music.
Flute; Piano Accompaniment (Score and Solo Part) SKU: HL.49044897 From...(+)
Flute; Piano
Accompaniment (Score and
Solo Part)
SKU:
HL.49044897
From
Children's Corner for
Flute and Piano.
Composed by Claude
Debussy. Arranged by
Wolfgang Birtel. This
edition: Saddle
stitching. Sheet music.
Woodwind Solo. Classical.
Softcover. 14 pages.
Schott Music #ED09976.
Published by Schott Music
(HL.49044897).
ISBN
9790001192200. UPC:
841886019935.
9.25x12.0x0.096
inches.
The famous
Golliwogg's Cakewalk is
the final piece from
Debussy's cycle
Children's Corner which
consists of 6 miniatures
for piano, written for
his daughter in the years
1906-1908.The style
corresponds to that of
ragtime, a dance which
was in vogue around the
turn of the century. In
the middle section, he
parodies several times
the beginning of the
opera Tristan and Isolde
by Richard Wagner with
whom Debussy had a rather
ambiguous
relationship.The present
arrangement now allows
musicians to play the
popular movement in a
version for melodic
instrument with
accompaniment.
Composed by Claude Debussy (1862-1918). Edited by Thomas Kabisch. This edition...(+)
Composed by Claude
Debussy
(1862-1918). Edited by
Thomas
Kabisch. This edition:
urtext
edition. Paperback.
Barenreiter Urtext. 2me
Livre.
Performance score.
Baerenreiter Verlag
#BA10819.
Published by Baerenreiter
Verlag
Voice (female choir, men's choir, mixed choir), strings and other instruments ad...(+)
Voice (female choir,
men's choir, mixed
choir), strings and other
instruments ad libitum
SKU: HL.49019746
(In Praise of
Music). Composed by
Paul Hindemith. Edited by
Luitgard Schader. This
edition: Saddle
stitching. Sheet music.
String. Softcover.
Composed 1943. 8 pages.
Schott Music #ED20447-14.
Published by Schott Music
(HL.49019746).
ISBN
9790001169257.
We
owe it to Paul
Hindemith's interest in
education, which, in
turn, was owed not only
to the professional
musicians and composers,
that he composed for
children and amateur
musicians as well. Dame
Music stands for this
dialogue to make
contemporary music for
amateurs accessible not
only in theory but also
in practice. Dame Music
was composed during his
stay in the USA after he
had been asked for an
American edition of his
composition Frau Musica.
Musik zum Singen und
Spielen auf Instrumenten
nach einem Text von
Luther, Op. 45 No. 1 from
1928. In 1942 he wrote
the successful American
version Dame Music for
which Hindemith also
revised some instrumental
parts. The vocal setting
was adopted without any
changes and its text
translated into English.
With great success:
Within just a few years,
Dame Music had been
included in the
repertoire of amateur
musicians in the United
States.
String quartet SKU: M7.DOHR-88815 Variations for String Quartet. C...(+)
String quartet
SKU:
M7.DOHR-88815
Variations for String
Quartet. Composed by
Adrian Connell. Sheet
music. Score and parts.
48 pages. Duration 15'.
MDS (Music Distribution
Services) #DOHR 88815.
Published by MDS (Music
Distribution Services)
(M7.DOHR-88815).
ISBN
9790202098158.
On
the workFor many years I
was the director of
festive music at our
local church in
Orpington. I always
carried a little music
notebook on me for use
during the sermons. I
remember writing a series
of notes, as a challenge
to use as a melody when I
got home, then I realised
it used all twelve notes
of the scale. Having been
penned during a sermon, I
decided to use this as a
structure. The tone row
became the sermon and the
following variations the
reactions to this sermon.
As a clue to the ideas
behind the music, I added
sectional headings to
each variation. While
this is a serious work
musically, it is actually
meant to be a piece of
fun! (Adrian
Connell)Duration: 15
minutes.
Piano - Grade 5 SKU: ET.PNO103 Composed by Richard Lane. Contemporary. Ed...(+)
Piano - Grade 5
SKU:
ET.PNO103
Composed by
Richard Lane.
Contemporary. Editions
BIM #PNO103. Published by
Editions BIM (ET.PNO103).
ISBN
9790207009777.
A
bold and invigorating
first movement, a
mysterious and tender
second movement and a
third movement with
several mood shifts from
lyrical to highly
rhythmical. In 1971,
Lane wrote his Piano
Sonata 3 for piano. For
whom this piece was
intended remains unknown.
Karl Tricomi, a student
of Lane’s and also
a graduate of the Eastman
School of Music,
performed its world
premiere five years later
in 1976 at Carnegie Hall
(NY), in an all-Lane
piano recital. This is
the only documented
performance of this
piece. In 1971, Lane only
composed another three
pieces which were for
tenor saxophone and wind
band, soprano voice and
piano and a trio for
violin, cello and piano,
which was dedicated to
Paul Van Ness, the
dedicatee of Piano Sonata
2.
Cello and Piano SKU: HL.14016246 Composed by Ludwig van Beethoven. Arrang...(+)
Cello and Piano
SKU:
HL.14016246
Composed
by Ludwig van Beethoven.
Arranged by Hugo Cole.
Music Sales America.
Classical. Book
[Softcover]. Music Sales
#NOV120308. Published by
Music Sales
(HL.14016246).
8.25x11.75x0.054
inches.
It is a
surprising fact of
Beethoven's life that of
all the categories of
pieces he composed, there
are more settings of
Irish songs than of any
other type of music.
Scottish poet Robert
Burns convinced a
Scottish music publisher
to commission Beethoven
to set his own words to
Irish airs. The death of
Burns in 1796 ended the
project, but Beethoven
went on to harmonise and
arrange the songs in 1814
through 1816, mainly, and
they were published,
though never achieved as
great a popularity as a
rival set by Thomas
Moore.This simplified
version for easy Cello
and Piano was arranged by
composer Hugo Cole, an
accomplished cellist who
was for many years a
music critic for
theGuardian
newspaper.
(Haydn Quartets) Study
Score. Composed by
Wolfgang Amadeus Mozart.
Edited by Wolf-Dieter
Seiffert. Study Score.
Paperbound. Henle Music
Folios. Classical.
Softcover. 192 pages. G.
Henle #HN7122. Published
by G. Henle
(HL.51487122).
ISBN
9790201871226. UPC:
888680950736.
6.5x9.25x0.524
inches.
Each of
these four-movement works
is a real jewel. Mozart
worked hard on these six
string quartets, and
dedicated them to none
other than the
“inventor†of
the genre himself: Joseph
Haydn. They were first
published in 1785, and
have since then been
reprinted innumerable
times. Wolf-Dieter
Seiffert, the editor of
this new Henle Urtext
edition, already penned
the Critical Report for
these Haydn Quartets in
the New Mozart Edition,
25 years ago. He is now
presenting this core
repertoire in an edition
of its own. This Urtext
edition clarifies
numerous inaccuracies in
other editions,
especially with regard to
dynamics and
articulation, and even
corrects a few wrong
notes that had gone
unnoticed up to now.
Special attention has
here been paid to making
the music as easy-to-read
as possible, with ideally
placed page turns.
Score and Parts Soprano; String Quartet (Score & Parts) SKU: HL.48024678 ...(+)
Score and Parts Soprano;
String Quartet (Score &
Parts)
SKU:
HL.48024678
String
Quartet and Soprano Score
and Parts. Composed
by Martin Christoph
Redel. Boosey & Hawkes
Chamber Music. Classical.
Softcover. 104 pages.
Duration 900 seconds.
Bote & Bock #M202535141.
Published by Bote & Bock
(HL.48024678).
ISBN
9781540058546. UPC:
888680952525.
40
years lie between the
composer's multiple
award-winning String
Quartet No. 2 and this
new contribution to the
genre. Martin Christoph
Redel was motivated by
the world's current
political situation: by
the violation of human
rights, by war, torture,
violence and expulsion.
He includes a soprano
part and responds to
texts of the Tunisia-born
poetess Najet Adouani who
had to flee her home
country several times
herself because she had
advocated human rights
and freedom of speech
there. In my throat nests
the pain of all those to
whom I lend a voice, is
one of her statements
that was set to
music.
Alto Saxophone; Piano
Accompaniment (Alto Sax)
- Grade 3
SKU:
HL.4008610
E-Flat
Alto Saxophone and
Piano. Composed by
Nico Samitz. Symphonic
Dimensions. Classical.
Softcover. Duration 235
seconds. Hal Leonard
#SDP212-23. Published by
Hal Leonard (HL.4008610).
ISBN 9798350112597.
UPC:
196288183204.
Nico
Samitz has been composing
for chamber ensembles
since his school days.
For over ten years he has
been writing works in a
wide variety of genres
for the “BlechReiz
BrassQuintettâ€
ensemble, in which he
himself plays trumpet and
piano. His field of
expertise ranges from
classical pieces to jazz
and meditative
music—and even to
pop-oriented
compositions. While
honing his skills in
ear-training and
composition at the
Mozarteum, Salzburg, Nico
became acquainted with a
wide repertoire of works
as a trumpet player with
the Munich Symphony
Orchestra, The Munich
Philharmonic Orchestra,
and the Bavarian State
Opera, all of which have
influenced his writing
style. The driving force
behind his creative work
is a winning combination
of passion, the fun of
music-making and a desire
to express, through the
medium of music, feelings
that are difficult to put
into words. Like many of
his works, Nico
composedThe Joy of
Freedom for the
“BlechReiz
BrassQuintetâ€. The
catchy tune is reworked
in a variety of styles
throughout the entire
work, giving it the
quality of a true
'earworm'.
Viola SKU: CA.3123213 Composed by Johann Sebastian Bach. Edited by Ulrich...(+)
Viola
SKU:
CA.3123213
Composed
by Johann Sebastian Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal;
Carus sheet music series:
Vocal scores XL. Viola.
Innovative practice aids,
Masses, Latin, Lent and
Passiontide. Individual
part. BWV 232. 24 pages.
Duration 100 minutes.
Carus Verlag #CV
31.232/13. Published by
Carus Verlag
(CA.3123213).
ISBN
9790007211028. Language:
Latin.
Bach's B
minor Mass is among the
greatest and most
ambitious works of all
time. The various stages
of composition of the
Mass occupied the
composer for over two
decades: beginning with
the Sanctus (1724), by
way of the Missa of 1733,
to the remaining
movements of the
Ordinary, which were
composed during his last
years. Thus the Mass, in
its wealth of forms with
arias, duets, as well as
concertante and fugal
choruses, displays the
essence of Bach's skill
and personal style. The
greatest musical work of
art of all times and all
peoples (to quote the
enthusiastic Hans Georg
Nageli, who first edited
the Mass in 1818) and one
of the most demanding
choral works in the
repertoire is presented
by Frieder Bernius, the
Kammerchor Stuttgart and
the Barockorchester
Stuttgart in a stellar
recording based on the
principles of historical
performance practice
(Carus 83.211). Awarded
the Gramophone - Editor's
Choice. Score and part
available separately -
see item CA.3123200.
SATB vocal soli, SATB
choir, 2 english horn, 2
horns, 2 violins,
cello/contrabass, organ
solo, [2
clarinos/trumpets,
timpani]
SKU:
CA.4060319
Missa
in honorem Beatissimae
Virginis Mariae.
Composed by Franz Joseph
Haydn. Edited by
Christoph Grosspietsch.
This edition: urtext.
Stuttgart Urtext Edition:
Joseph Haydn, Sacred
vocal music. HAYDN:
GROssE ORGELSOLOMESSE IN
ES XXII:4. Sacred vocal
music, Masses, Latin. Set
of Orchestra Parts. Hob.
XXII:4. Duration 40
minutes. Carus Verlag #CV
40.603/19. Published by
Carus Verlag
(CA.4060319).
ISBN
9790007133207. Key: E
flat major. Language:
Latin.
Haydn's
so-called Great Organ
Solo Mass in E flat major
is among those works by
Joseph Haydn which early
in its history enjoyed
widespread dissemination.
The E flat major Mass,
with an unusual scoring
including two English
horns in the orchestra,
was composed around 1770
during the first years of
Haydn's tenure as Music
Director for the Court of
Esterhazy. Despite the
readily playable,
effective part for organ,
employed prominently as a
solo instrument in the
piece, the Missa in
honorem Beatissimae
Virginis Mariae, which
was composed for a Feast
to the Blessed Virgin
Mary, is seldom performed
today. The new critical
edition hopes to
stimulate new interest in
this work. Score and
parts available
separately - see item
CA.4060300.
Composed
by Heinrich Ignaz Franz
von Biber. Edited by
Armin Kircher. Arranged
by Paul Horn. Sacred
music from Salzburg.
Missa Sti Henrici. Sacred
vocal music, Masses,
Latin. Single Part,
Cello/Double Bass.
Composed 1696. 12 pages.
Carus Verlag #CV
40.676/16. Published by
Carus Verlag
(CA.4067616).
ISBN
9790007220143. Language:
Latin.
The Missa
Sancti Henrici is a work
of Biber's later years.
It is one of his largest
and most mature pieces of
church music. With the
skillful alternation of
the stile antico and the
stile moderno, as well as
the contrast between Solo
and Tutti, Biber attained
a structure within the
individual movements rich
in variety. In its
original architectural
conception, Salzburg
Cathedral had four
galleries, each with its
own organ, on the piers
supporting the dome at
the crossing. This
conception created the
spatial prerequisite for
double- and polychoral
performance tradition on
the Venetian model.
Biber's magnificent
sacred music brought this
tradition to a point of
culmination in a
,,colossal style that was
unique in transalpine
Europe. Score and part
available separately -
see item CA.4067600.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
SATB choir and keyboard, with optional string quartet - Intermediate SKU: MN....(+)
SATB choir and keyboard,
with optional string
quartet - Intermediate
SKU: MN.56-0009
Composed by Howard
Goodall. 21st Century.
Choral score. MorningStar
Music Publishers
#56-0009. Published by
MorningStar Music
Publishers (MN.56-0009).
UPC: 688670220098.
English.
This
seven-minute SATB setting
of a section of the 1640
text from the Bay Psalm
Book takes wing like the
birds it first mentions.
What would normally be a
somber litany of
affliction is set to
music that hints at
eternal things and the
saving power of God. The
middle section “I
said, ‘In the
middle of my days, O my
God, do not take away
me†is set,
amazingly, in Latin,
which gives a wonderful
contrast to the more
lyrical beginning. The
beginning material
returns as the Latin text
is now sung in English,
concluding “Thy
years throughout all ages
are.†This music is
sublime and
transcendent.
Clarinet, piano (clarinet/piano) SKU: HL.48181192 For Clarinet and Pia...(+)
Clarinet, piano
(clarinet/piano)
SKU:
HL.48181192
For
Clarinet and Piano.
Composed by Raymond
Gallois Montbrun. Leduc.
Classical. Score and
part. 16 pages. Alphonse
Leduc #AL20471. Published
by Alphonse Leduc
(HL.48181192).
UPC:
888680864644.
9.0x12.0x0.06
inches.
Raymond
Gallois Montbrun
(1918-1994) composed his
Concertstuck for Clarinet
and Piano in 1946, two
years after he won the
Grand Prix de Rome. His
Violin Concerto, Japan
Symphony and Concertstuck
for Clarinet and Piano
remain popular to this
day. Concertstuck for
Clarinet and Piano begins
with a virtuosic clarinet
cadenza, covering a wide
range on the instrument.
The piece remains
virtuosic throughout,
with many changes of
tempo, articulation,
dynamics, rhythms, key
signatures and time
signatures throughout. As
a suitable and varied
piece for the repertoire
of advanced clarinetists,
Gallois Montbrun's
Concertstuck for Clarinet
and Piano cannot be
missed.
Cantata
for the Sunday after
Christmas. Composed
by Johann Sebastian Bach.
Edited by Peter
Thalheimer. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Complete orchestral
parts. Sacred vocal
music, Cantatas,
Epiphany. Set of
Orchestra Parts. Composed
1714. BWV 152. Duration
21 minutes. Carus Verlag
#CV 31.152/19. Published
by Carus Verlag
(CA.3115219).
ISBN
9790007164584. Text
language: German/English.
Text: Franck,
Salomo.
For his
cantata BWV 152 Bach
chose a remarkable
chamber music scoring
which still sounds very
colorful and lively
today: the two solo
voices are accompanied by
recorder, oboe, viola
d'amore, viola da gamba
and organ. The cantata
was written for the
Sunday after Christmas
and was performed for the
first time on 30 December
1714 in the Schlosskirche
Weimar. Nowadays the last
aria is often performed
during weddings. Exactly
300 years later, it is
now being published in a
practical Urtext edition.
Score and parts available
separately - see item
CA.3115200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Oboe 1.
Cantatas, End of the
church year, Trinity.
Single Part, Oboe 1.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/21. Published by
Carus Verlag
(CA.3105221).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Oboe 2.
Cantatas, End of the
church year, Trinity.
Single Part, Oboe 2.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/22. Published by
Carus Verlag
(CA.3105222).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Stabat Mater Chorale 2 parties [Partition] Alfred Publishing
By Giovanni Battista Pergolesi. For Orch. (SA with SA Soli). Choral Worship Can...(+)
By Giovanni Battista
Pergolesi. For Orch. (SA
with SA Soli). Choral
Worship Cantata. Kalmus
Edition. Masterwork;
Sacred. Book. 44 pages.
Published by Alfred
Publishing.
By Johann Sebastian Bach. Arranged by David Marlatt. For Brass Quintet and Sopra...(+)
By Johann Sebastian Bach.
Arranged by David
Marlatt. For Brass
Quintet and Soprano.
Brass Ensemble - Quintet.
Baroque. Level:
Medium-Difficult.
Duration 00:03:05.
Published by Eighth Note
Publications.
Guitar SKU: HL.49046978 Second Sonata on Shakespearean Characters for ...(+)
Guitar
SKU:
HL.49046978
Second
Sonata on Shakespearean
Characters for
Guitar. Composed by
Hans Werner Henze. Edited
by Otto Tolonen. Guitar.
Classical, Shakespeare.
Softcover. 28 pages.
Duration 1200 seconds.
Schott Music #GA574.
Published by Schott Music
(HL.49046978).
UPC:
842819103219.
9.0x12.0x0.158
inches.
Five years
after the first, I set
out to write a second
sonata for the guitar I
loved. And not only in
order to be able to keep
the overall title of the
cycle (which is hereby
closed), with its clear
relation to Richard III,
but also because of my
attachment to
Shakespeare's characters,
or at least some of them,
whose musical portrait I
also want to make in of
the second sonata, which
was formed in a
completely different way,
felt compelled to do so.
Aguecheek (Bleichenwang)
is one of my favorite
characters when I was a
student in Braunschweig.
Perhaps it was not only
Shakespeare, but also the
director and the
Bleichenwang of a
production in the theater
there, around 1943, that
caused me not to miss a
performance of it. -
Hans-Werner Henze
Includes preface by
editor in English,
German, French.