(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
(Parts). By Ralph Vaughan Williams (1872-1958). Masterworks; Part(s); Quartet; S...(+)
(Parts). By Ralph Vaughan
Williams (1872-1958).
Masterworks; Part(s);
Quartet; String Quartet.
Faber Edition. 20th
Century; Masterwork.
Published by Faber Music
Guitar SKU: FG.55011-071-7 Hommage to Paul Klee. Composed by Kai N...(+)
Guitar
SKU:
FG.55011-071-7
Hommage to Paul
Klee. Composed by Kai
Nieminen. Fennica Gehrman
#55011-071-7. Published
by Fennica Gehrman
(FG.55011-071-7).
ISBN
9790550110717.
Comp
leted in Karstula,
Finland during late July
2010, this carefully
structured, but also
free-ranging work is
drawn from ideas for a
much earlier work in four
movements, Fantasy dating
from the 1980s. Kai
Nieminen has been for a
long time an admirer of
the work of artist Paul
Klee (1879-1940), and the
solo presented in its
final form here is
influenced by the
painting Dances caused by
Fear or as it is often
refered to Dancing from
Fear painted towards the
end of Klee's life in
Bern, 1938. Having
left Germany for
Switzerland in December
1933, Klee's later works
were often full of signs
and lines, very often
represented in black,
depicting human figures
or various objects
against a variety of
coloured backgrounds, in
the case of this painting
of a brownish hue. This
development in his
painting style and
technique is felt by some
to be an effect perhaps
of his long-term illness,
systemic sclerosis, but
in the case of Dances
caused by Fear there is
suggested an atmosphere
of panic and terror, an
attempt to escape from
horrors to come (World
War II), represented in
the violent movement of
the arms and legs of the
figures, and the dark,
indeed brooding nature of
the colours. In Kai
Nieminen's guitar work
Images of Fear, there is
only a very brief passage
of calm at the very
beginning, after which
come three main connected
sections in which a wide
range of musically
unsettling ideas emerge
one by one, making use of
the tritone, minor
seconds, glissandos,
tamboura, campanella,
etc. The third and final
section incorporates the
grouping of 5
sixteenth-notes, to give
an uneasy feeling to the
music, with a short
haunting and pleading
five-note phrase
(Cantando) heard
immediately following
this passage, before the
work ends with further
glissandos, and distant
and diminishing
harmonics. As with
Kai Nieminen's other
guitar works, the use of
'orchestral colour' is
vital to the performance,
and passages suggestive
of for example brass,
strings, woodwind, etc.,
should be taken into
account and played with
suitably considered
contrast of tone.
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Set
of parts. 90 pages.
Duration 43'. Breitkopf
and Haertel #OB 3210-30.
Published by Breitkopf
and Haertel
(BR.OB-3210-30).
ISBN
9790004300749. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-16. Published by
Breitkopf and Haertel
(BR.OB-3210-16).
ISBN
9790004300701. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-27. Published by
Breitkopf and Haertel
(BR.OB-3210-27).
ISBN
9790004300732. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-23. Published by
Breitkopf and Haertel
(BR.OB-3210-23).
ISBN
9790004300725. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
12 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-19. Published by
Breitkopf and Haertel
(BR.OB-3210-19).
ISBN
9790004300718. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
By Nathaniel Gunod and Lou Manzi. For Guitar. Guitar Method or Supplement. Acous...(+)
By Nathaniel Gunod and
Lou Manzi. For Guitar.
Guitar Method or
Supplement. Acoustic;
Fingerstyle. Book and CD.
96 pages. Published by
Alfred Publishing.
Transcription from Partita No. 1 in D Minor BWV1004 Piano Solo. Composed by ...(+)
Transcription from
Partita
No. 1 in D Minor BWV1004
Piano Solo. Composed by
Martin Stadtfeld. Piano
Solo.
Classical. Softcover. 24
pages. Schott Music
#ED23299.
Published by Schott Music
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Solo: pno - 2.2.2.2 -
4.2.0.0 - timp - str.
Solo concerto; Romantic.
Part. 8 pages. Duration
43'. Breitkopf and
Haertel #OB 3210-15.
Published by Breitkopf
and Haertel
(BR.OB-3210-15).
ISBN
9790004300695. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin in C. Quartet...(+)
By Various. Arranged by
Daniel Kelley. For Flute
or Oboe or Violin in C.
Quartets. Intermediate
Music for Four.
Classical. Level:
Intermediate. Part 1.
Published by Last Resort
Music Publishing.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Chor-Bibliothek (Choral
Library). Mass;
Classical. Choral score.
Composed 1780. 44 pages.
Duration 20'. Breitkopf
and Haertel #ChB 5289-02.
Published by Breitkopf
and Haertel
(BR.CHB-5289-02).
ISBN
9790004412046. 7.5 x 10.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Choir; Softbound.
Partitur-Bibliothek
(Score Library). Mass;
Classical. Full score.
Composed 1780. 68 pages.
Duration 20'. Breitkopf
and Haertel #PB 5329.
Published by Breitkopf
and Haertel (BR.PB-5329).
ISBN 9790004210420. 10
x 12.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
Composed by
Anton Bruckner. Arranged
by Kirk Moss. Set of
Score and Parts.
20+24+3+15+10+10+2 pages.
Duration 4 minutes, 56
seconds. Carl Fischer
Music #SAS6. Published by
Carl Fischer Music
(CF.SAS6).
ISBN
9781491159286. UPC:
680160917860.
Bruck
ner began composing the
Eighth Symphony, his last
completed symphony, in
July 1884, working mainly
during the summer
vacations from his duties
at the University of
Vienna and the Vienna
Conservatory. When he
finished the work's
revelatory finale, he
signed it Hallelujah, and
reported
enthusiastically, The
Finale is the most
significant movement of
my life. Following the
premiere performance, a
peer composer penned, Its
success was almost
without precedent. It was
the absolute victory of
light over darkness. This
work leaps to life with
awe-inspiring power in
this first-ever setting
for string orchestra with
optional timpani.
Transposed from its
original key of C
minor/major to D
minor/major, the music
sits nicely for all
parts, ready for any
concert or festival. The
conductor should
encourage students to
vary the bow lanes,
weight, and speed to
produce powerful forte
and expressive piano
dynamics. Encourage
mature players to make
expressive fingering
choices and to use
vibrato. Students should
practice coloring the
tone and intensity
through bowing lanes,
variable bow weight, and
appropriate bow
speeds. Bruckner began
composing the Eighth
Symphony, his last
completed symphony, in
July 1884, working mainly
during the summer
vacations from his duties
at the University of
Vienna and the Vienna
Conservatory. When he
finished the work's
revelatory finale, he
signed it
Hallelujah,†and
reported
enthusiastically,
“The Finale is the
most significant movement
of my life. Following the
premiere performance, a
peer composer penned,
“Its success was
almost without precedent.
It was the absolute
victory of light over
darkness.â€This work
leaps to life with
awe-inspiring power in
this first-ever setting
for string orchestra with
optional timpani.
Transposed from its
original key of C
minor/major to D
minor/major, the music
sits nicely for all
parts, ready for any
concert or festival.The
conductor should
encourage students to
vary the bow lanes,
weight, and speed to
produce powerful forte
and expressive piano
dynamics. Encourage
mature players to make
expressive fingering
choices and to use
vibrato. Students should
practice coloring the
tone and intensity
through bowing lanes,
variable bow weight, and
appropriate bow
speeds.
Composed by
Anton Bruckner. Arranged
by Kirk Moss. Full score.
20 pages. Carl Fischer
Music #SAS6F. Published
by Carl Fischer Music
(CF.SAS6F).
ISBN
9781491159453. UPC:
680160918034.
Bruck
ner began composing the
Eighth Symphony, his last
completed symphony, in
July 1884, working mainly
during the summer
vacations from his duties
at the University of
Vienna and the Vienna
Conservatory. When he
finished the work's
revelatory finale, he
signed it Hallelujah, and
reported
enthusiastically, The
Finale is the most
significant movement of
my life. Following the
premiere performance, a
peer composer penned, Its
success was almost
without precedent. It was
the absolute victory of
light over darkness. This
work leaps to life with
awe-inspiring power in
this first-ever setting
for string orchestra with
optional timpani.
Transposed from its
original key of C
minor/major to D
minor/major, the music
sits nicely for all
parts, ready for any
concert or festival. The
conductor should
encourage students to
vary the bow lanes,
weight, and speed to
produce powerful forte
and expressive piano
dynamics. Encourage
mature players to make
expressive fingering
choices and to use
vibrato. Students should
practice coloring the
tone and intensity
through bowing lanes,
variable bow weight, and
appropriate bow
speeds. Bruckner began
composing the Eighth
Symphony, his last
completed symphony, in
July 1884, working mainly
during the summer
vacations from his duties
at the University of
Vienna and the Vienna
Conservatory. When he
finished the work's
revelatory finale, he
signed it
Hallelujah,†and
reported
enthusiastically,
“The Finale is the
most significant movement
of my life. Following the
premiere performance, a
peer composer penned,
“Its success was
almost without precedent.
It was the absolute
victory of light over
darkness.â€This work
leaps to life with
awe-inspiring power in
this first-ever setting
for string orchestra with
optional timpani.
Transposed from its
original key of C
minor/major to D
minor/major, the music
sits nicely for all
parts, ready for any
concert or festival.The
conductor should
encourage students to
vary the bow lanes,
weight, and speed to
produce powerful forte
and expressive piano
dynamics. Encourage
mature players to make
expressive fingering
choices and to use
vibrato. Students should
practice coloring the
tone and intensity
through bowing lanes,
variable bow weight, and
appropriate bow
speeds.
Cantata
for the 9th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Ulrich Bartels.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Tue Rechnung,
Donnerwort. Sacred vocal
music, Cantatas, Trinity.
Vocal score. Composed
1725. BWV 168. 24 pages.
Duration 17 minutes.
Carus Verlag #CV
31.168/03. Published by
Carus Verlag
(CA.3116803).
ISBN
9790007166724. Language:
German/English. Text:
Franck, Salomo. Text by
Salomo Franck.
The
text of Bach's cantata
Tue Rechnung! Donnerwort
was published in 1715,
that is during Bach's
Weimar period, in the
Evangelisches
Andachts-Opffer by
Salomon Frank. This
concisely-written but
powerful work was,
however, only composed
ten years later in
Leipzig, and was heard
for the first time on 29
July 1725, the 9th Sunday
after Trinity. Its main
dramatic-musical emphasis
lies clearly in the first
movement, a dark, almost
operatic movement for
baritone and string
orchestra in B minor. By
contrast, the ensuing
aria for tenor with
obbligato oboe
accompaniment is
distinctly more intimate,
and the duet between
soprano and alto - just
accompanied by continuo -
is more restrained in its
musical language and
expression than the first
movement. In between
there are two extended
recitatives, the first of
which leads into an
arioso. The breadth of
expression within the
cantata is striking, its
opening movement a
masterpiece of Bach's
dramatic writing. Score
available separately -
see item CA.3116800.