Cantata for the 17th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Michael Marker. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Wer sich selbst erhohet.
Sacred vocal music,
Cantatas, Trinity. Study
score. Composed 1726. BWV
47. 48 pages. Duration 24
minutes. Carus Verlag #CV
31.047/07. Published by
Carus Verlag
(CA.3104707).
ISBN
9790007103071. Key: G
minor. Language:
German/English. Text:
Helbig, Johann Friedrich.
Text: Johann Friedrich
Helbig.
Composed by Franz
Schubert. Edited by
Manuela Jahrmarker. This
edition: urtext.
Stuttgart Urtext Edition:
Schubert. German title:
Messe In B Rev.2001.
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. Composed
1815. D 324. 60 pages.
Duration 30 minutes.
Carus Verlag #CV
40.657/08. Published by
Carus Verlag
(CA.4065708).
ISBN
9790007085261. Key: B
flat major. Language:
Latin.
With a total
duration of about 30
minutes, Schubert's Mass
in B flat major (D 324),
written in 1815, is
considerably longer than
Mozart's and Haydn's
classical Brevis masses,
and its large
instrumental ensemble
with strings, woodwinds,
brass and timpani even
gives it a clearly solemn
character. Overall,
Schubert was inspired by
the late Haydn style of
the symphonic mass (e.g.,
the division into six
large movements, the
omission of arias for the
vocal soloists who are
instead juxtaposed with
the choir, singing short
passages either singly or
as a group) without, of
course, achieving its
temporal expansion. This
is a representative,
musically appealing work
that excels with its
multi-layered, detailed
text treatment. It is,
therefore, suitable for
special occasions and the
high feasts of the church
year and can be mastered
well by experienced
church choirs. Score and
parts available
separately - see item
CA.4065700.
Organ SKU: BR.EB-9305 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9305
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
84 pages. Breitkopf and
Haertel #EB 9305.
Published by Breitkopf
and Haertel (BR.EB-9305).
ISBN 9790004187692. 12
x 9 inches.
This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions);
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only)); good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility); contains
facsimiles. Contains the
Critical Commentary of
the subvolumes I/1 and
I/2.
Descant recorder (S) - very easy SKU: HL.49007510 Tutor book for desca...(+)
Descant recorder (S) -
very easy
SKU:
HL.49007510
Tutor
book for descant
[soprano] recorder (with
baroque fingering
style). Composed by
Gerhard Engel, Gudrun
Heyens, Hans-Martin
Linde, and Konrad
Huenteler. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Tonumfang von c1 - d2,
ohne chromatische
Halbtone. Konsequente
Arbeit an Atmung und
Tonbildung. Entwicklung
von rhythmischer
Sicherheit mit den
Notenwerten (viertel,
halbe, punktierte halbe,
ganze, achtel).
Classical. Student book.
80 pages. Schott Music
#ED 7770. Published by
Schott Music
(HL.49007510).
ISBN
9783795750664.
9.0x12.0x0.171 inches.
German. Christa
Estenfeld-Kropp.
Th
is successful tutorial
book for descant
[soprano] recorder is now
available in a revised
new edition. The German
text has been revised in
the light of recent
spelling reforms and the
layout in four colours is
now even clearer. For
many of the songs
harmonic symbols have
been added to facilitate
accompaniment on the
guitar or piano. The
first volume places
emphasis on correct and
musical breathing and
tonguing technique.
Plenty of space is given
to ideas for little
improvisations and a
selection of well-known
songs and pieces
encourage motivation and
enjoyment as children
learn. This
child-friendly,
practically tested
introduction to the
recorder is suitable for
children from the age of
about 5.
Mixed choir SKU: FG.55011-110-3 Composed by Jean Mouton. Published by Fen...(+)
Mixed choir
SKU:
FG.55011-110-3
Composed by Jean Mouton.
Published by Fennica
Gehrman (FG.55011-110-3).
ISBN
979-0-55011-110-3.
Nesciens mater is an
exquisite setting of an
antiphon for the Octave
of the Nativity, with a
tenor voice based on
Gregorian melody. It is
an undulating tapestry of
sonority created,
remarkably, by means of a
four-voice imitative
texture in canon with
itself a fifth higher and
one bar later. Fazer
Editions of Early Music
is a choral series under
the editorial supervision
of Paul Hillier, founder
and artistic director of
the renowned Hilliard
Ensemble. Although each
title in this series is
the result of careful
scholarly research and is
a reliable source for
musicologists, the
series' main purpose is
to make practical
performing editions
available to choirs and
other vocal ensembles.
The original C clefs have
been replaced by G and F
clefs and the note values
adapted to conform to
modern practice. All the
works in the series are
intended for mixed
voices. Each title
includes a lengthy
introduction in English
and notes on the
editorial principles.
Where necessary, an
English translation of
the text and a guide to
pronunciation are
provided.
Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet
SKU:
PR.16400222S
Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S).
UPC:
680160037841.
This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Classical.
Part. 8 pages. Duration
15'. Breitkopf and
Haertel #OB 15129-15.
Published by Breitkopf
and Haertel
(BR.OB-15129-15).
ISBN
9790004342053. 10 x 12.5
inches.
Wolfgang
Amadeus Mozart's horn
concertos: the Mozart
expert Henrik Wiese edits
the central work genre of
Viennese classicism
according to the current
status of international
Mozart research. Mozart
wrote the Horn Concerto
K. 417 - like the other
works of this genre as
well - for his
horn-playing friend
Joseph Leutgeb. The jokes
which the composer made
at Leutgeb's expense are
wellknown. For example,
he called the dedicatee a
donkey in the autograph,
and, as Henrik Wiese
evidences in his preface,
Mozart also occasionally
enjoyed a bit of
tomfoolery with the
soloist in the musical
text as well.Otherwise
the editor's task was
anything but amusing. The
main source - the
autograph score - is
incomplete: missing are
the close of Movement I
as well as the entire
slow middle movement. For
these two sections, Wiese
used a copy of the score
from the archive of the
publisher Johann Andre.
The unusual circumstance
that Mozart generally
left the horn part almost
unmarked recurs in the
Concerto K. 417 and was
deliberately maintained
in the Urtext
edition.
Cantata for the 17th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Michael Marker. This
edition: urtext. 1x
31.047/21 oboe 1, 1x
31.047/22 oboe 2.
Stuttgart Urtext Edition:
Bach vocal. German title:
Wer sich selbst erhohet.
Sacred vocal music,
Cantatas, Trinity. Set of
Orchestra Parts. Composed
1726. BWV 47. 12 pages.
Duration 24 minutes.
Carus Verlag #CV
31.047/09. Published by
Carus Verlag
(CA.3104709).
ISBN
9790007206079. Key: G
minor. Language:
German/English. Text:
Helbig, Johann Friedrich.
Text: Johann Friedrich
Helbig.
Composed by William Bay and Mike Christiansen. Spiral-bound. Instructional metho...(+)
Composed by William Bay
and Mike Christiansen.
Spiral-bound.
Instructional method.
Book and online audio.
168 pages. Published by
Mel Bay Publications, Inc
(MB.99618M).
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Classic...(+)
Arranged by Deborah
Greenblatt. Cello Duet.
For 2 cellos. Tunes for
Two. Classical. Tune
book. Standard Notation.
68 pages. Published by
Greenblatt & Seay
Cantata for the 17th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Michael Marker. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Wer sich selbst erhohet.
Sacred vocal music,
Cantatas, Trinity. Set of
Orchestra Parts. Composed
1726. BWV 47. Duration 24
minutes. Carus Verlag #CV
31.047/19. Published by
Carus Verlag
(CA.3104719).
ISBN
9790007136161. Key: G
minor. Language:
German/English. Text:
Helbig, Johann Friedrich.
Text: Johann Friedrich
Helbig.
Score and
parts available
separately - see item
CA.3104700.
Cantata
for Ascension.
Composed by Johann
Sebastian Bach. Edited by
Michael Marker. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gott fahret auf mit
Jauchzen. Sacred vocal
music, Cantatas,
Ascension. Single Part,
Violin 2. Composed 1726.
BWV 43. 8 pages. Duration
25 minutes. Carus Verlag
#CV 31.043/12. Published
by Carus Verlag
(CA.3104312).
ISBN
9790007205911. Key: C
major / g major.
Language:
German/English.
On
the 30th May 1726, as
part of his third Leipzig
annual cycle of cantatas,
Bach directed the first
performance of his
Ascension Cantata Gott
fahret auf mit Jauchzen.
The libretto was
published at Rudolstadt
during the same year
without any indication of
the autor's name, in a
collection entitled Sonn-
und Fest-Tags-Andachten
uber die ordenlichen
Evangelia. The libretti
in that collection had
already been used during
the Church year 1704/05
at the Court of
Meiningen; their author
may have been Duke Ernst
Ludwig von
Sachsen-Meiningen. Score
and part available
separately - see item
CA.3104300.
Composed by Marilyn Lowe; Edwin E. Gordon. This edition: Student edition with CD...(+)
Composed by Marilyn Lowe;
Edwin E. Gordon. This
edition: Student edition
with CD. Children. Music
Moves. Music Education.
Book and CD. 64 pages.
GIA Publications #6439.
Published by GIA
Publications
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Classical.
Part. 8 pages. Duration
15'. Breitkopf and
Haertel #OB 15129-26.
Published by Breitkopf
and Haertel
(BR.OB-15129-26).
ISBN
9790004342084. 10 x 12.5
inches.
Wolfgang
Amadeus Mozart's horn
concertos: the Mozart
expert Henrik Wiese edits
the central work genre of
Viennese classicism
according to the current
status of international
Mozart research. Mozart
wrote the Horn Concerto
K. 417 - like the other
works of this genre as
well - for his
horn-playing friend
Joseph Leutgeb. The jokes
which the composer made
at Leutgeb's expense are
wellknown. For example,
he called the dedicatee a
donkey in the autograph,
and, as Henrik Wiese
evidences in his preface,
Mozart also occasionally
enjoyed a bit of
tomfoolery with the
soloist in the musical
text as well.Otherwise
the editor's task was
anything but amusing. The
main source - the
autograph score - is
incomplete: missing are
the close of Movement I
as well as the entire
slow middle movement. For
these two sections, Wiese
used a copy of the score
from the archive of the
publisher Johann Andre.
The unusual circumstance
that Mozart generally
left the horn part almost
unmarked recurs in the
Concerto K. 417 and was
deliberately maintained
in the Urtext
edition.
Organ SKU: BR.EB-9304 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9304
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
108 pages. Breitkopf and
Haertel #EB 9304.
Published by Breitkopf
and Haertel (BR.EB-9304).
ISBN 9790004187685. 12
x 9 inches.
This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions);
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only)); good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility); contains
facsimiles. The
corresponding Critical
Commentary is contained
in Volume I/2 (EB
9305).
Composed by Franz
Schubert. Edited by
Manuela Jahrmarker. This
edition: urtext. 1x
40.657/21 oboe 1, 1x
40.657/22 oboe 2, 1x
40.657/23 bassoon 1, 1x
40.657/24 bassoon 2, 1x
40.657/31 trumpet 1, 1x
40.657/32 trumpet 2, 1x
40.657/41 timpani.
Stuttgart Urtext Edition:
Schubert. German title:
Messe In B Rev.2001.
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. Composed
1815. D 324. 60 pages.
Duration 30 minutes.
Carus Verlag #CV
40.657/09. Published by
Carus Verlag
(CA.4065709).
ISBN
9790007085278. Key: B
flat major. Language:
Latin.
With a total
duration of about 30
minutes, Schubert's Mass
in B flat major (D 324),
written in 1815, is
considerably longer than
Mozart's and Haydn's
classical Brevis masses,
and its large
instrumental ensemble
with strings, woodwinds,
brass and timpani even
gives it a clearly solemn
character. Overall,
Schubert was inspired by
the late Haydn style of
the symphonic mass (e.g.,
the division into six
large movements, the
omission of arias for the
vocal soloists who are
instead juxtaposed with
the choir, singing short
passages either singly or
as a group) without, of
course, achieving its
temporal expansion. This
is a representative,
musically appealing work
that excels with its
multi-layered, detailed
text treatment. It is,
therefore, suitable for
special occasions and the
high feasts of the church
year and can be mastered
well by experienced
church choirs. Score and
parts available
separately - see item
CA.4065700.
Piano - easy SKU: BT.LCM9790570121779 Exam Material. Book Only. 36 pages....(+)
Piano - easy
SKU:
BT.LCM9790570121779
Exam Material. Book Only.
36 pages. London College
Music #LCM9790570121779.
Published by London
College Music
(BT.LCM9790570121779).
English.
London
College of Music Piano
handbooks contain all of
the material that is
needed to take an LCM
exam in a single
publication — a
wide selection of pieces,
all of the required
technical work, and
guidance and examples for
the supporting tests.
Accompanying the pieces
are performance notes
written by a team of
leading pianists,
teachers and composers,
bringing the music to
life with their unique
interpretative
insights.
Composed by Pam Wedgwood. Method/Instruction; Recorder Method. Faber Edition: Re...(+)
Composed by Pam Wedgwood.
Method/Instruction;
Recorder Method. Faber
Edition: RecorderWorld.
Book. Faber Music
#12-0571522394. Published
by Faber Music
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Ludwig van
Beethoven. Edited by
Beate Angelika Kraus.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Classical.
Part. 36 pages. Duration
65'. Breitkopf and
Haertel #OB 14619-15.
Published by Breitkopf
and Haertel
(BR.OB-14619-15).
ISBN
9790004344774. 10 x 12.5
inches.
Since 2001
the Ninth has been
included in UNESCO's
Memory of the World
Register. Beethoven was
preoccupied with his
unique work for many
years, since at least
1815, and still shortly
before his death,
according to the highly
complex source situation.
The work will now finally
be available as an
edition produced from the
new Beethoven Complete
Edition in time for the
2020 anniversary year
commemorating the
composer's 250th
birthday. Not all
doubtful cases can be
clarified, not all gaps
closed, but numerous
aspects have been further
illuminated in this
edition. New findings and
source evaluations taken
into account here,
appear, for instance,
pertaining to the work's
title, the tradition of
the metronome
indications, the
contrabassoon part, and
the underlying vocal text
in the finale, as well as
in the original rendering
of the sforzato and forte
markings. The edition is
to be considered,
according to its editor
Beate Angelika Kraus, as
a contribution to the
understanding of a work
in which there is a
discrepancy between its
significance in musical
life and the critical
appreciation of its
musical text..
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Ludwig van
Beethoven. Edited by
Ernst Herttrich.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Classical.
Part. 16 pages. Duration
40'. Breitkopf and
Haertel #OB 14617-15.
Published by Breitkopf
and Haertel
(BR.OB-14617-15).
ISBN
9790004344538. 10 x 12.5
inches.
During his
Bohemian spa trip in
September 1811, Beethoven
notated the first
sketches for the Seventh
Symphony, a work that
occupied him until May
1812 - parallel at times
with its disparate sister
work, the Eighth Symphony
in F major. After a
non-public rehearsal on
21 April 1813 in Archduke
Rudolph's palace, the
Seventh was officially
premiered on 8 December,
together with the
programmatic symphony
Wellington's Victory or
the Battle of Vitoria op.
91. The concert given
before 5,000 enthusiastic
listeners became
Beethoven's greatest
success, probably mainly
because of the second
mentioned work.The
present edition from the
new Beethoven Complete
Edition re-evaluates the
complicated source
situation, using as the
main sources only the
autograph and the parts
from the premiere.
Revealed could be a
number of writing errors
and misunderstandings in
the copying of the parts,
leading to changes from
previous editions,
particularly concerning
numerous markings of
dynamics and
articulation.
(18 Etudes de perfectionnement Charles Neidich 21st Century Series for Clarinet)...(+)
(18 Etudes de
perfectionnement Charles
Neidich 21st Century
Series for Clarinet). By
Paul Jeanjean. Edited by
Charles Neidich. LKM
Music. Softcover with CD.
Hal Leonard #S131008.
Published by Lauren
Keiser Music Publishing
Composed by Ying Ying Ng and Margaret O'Sullivan Farrell. Book; Method/...(+)
Composed by Ying Ying Ng
and
Margaret O'Sullivan
Farrell.
Book; Method/Instruction;
Piano Method. Poco Studio
Edition. Children.
Published
by Alfred Music
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Ludwig van
Beethoven. Edited by
Ernst Herttrich.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Classical.
Part. 16 pages. Duration
40'. Breitkopf and
Haertel #OB 14617-27.
Published by Breitkopf
and Haertel
(BR.OB-14617-27).
ISBN
9790004344576. 10 x 12.5
inches.
During his
Bohemian spa trip in
September 1811, Beethoven
notated the first
sketches for the Seventh
Symphony, a work that
occupied him until May
1812 - parallel at times
with its disparate sister
work, the Eighth Symphony
in F major. After a
non-public rehearsal on
21 April 1813 in Archduke
Rudolph's palace, the
Seventh was officially
premiered on 8 December,
together with the
programmatic symphony
Wellington's Victory or
the Battle of Vitoria op.
91. The concert given
before 5,000 enthusiastic
listeners became
Beethoven's greatest
success, probably mainly
because of the second
mentioned work.The
present edition from the
new Beethoven Complete
Edition re-evaluates the
complicated source
situation, using as the
main sources only the
autograph and the parts
from the premiere.
Revealed could be a
number of writing errors
and misunderstandings in
the copying of the parts,
leading to changes from
previous editions,
particularly concerning
numerous markings of
dynamics and
articulation.