Orchestra Str (4 Vn parts [2.2.2.2].3.2.2): Harpsichord Continuo in score SKU...(+)
Orchestra Str (4 Vn parts
[2.2.2.2].3.2.2):
Harpsichord Continuo in
score
SKU:
AP.36-A793402
Arranged by Unico Wilhelm
Van wassenaer and
ed./arr. by Fritz Rikko.
String Orchestra. Kalmus
Orchestra Library. Score
and Part(s).
LudwigMasters
Publications #36-A793402.
Published by
LudwigMasters
Publications
(AP.36-A793402).
UPC:
659359748073.
English.
The six
CONCERTI ARMONICI was
long thought to be the
work of the
violinist-impresario
Carlo Ricciotti or
composer Giovanni
Battista Pergolesi, but
more recent research has
revealed the composer to
be Unico Wilhelm van
Wassenauer (1692-1766).
Born into a wealthy Dutch
family, the diplomat and
composer founded a
Collegium musicum in The
Hague under the oversight
of Ricciotti. Composed
between 1725 and 1740,
the six concertos have
been falsely attributed
to a variety of
contemporaries, Ricciotti
and Pergolesi amongst
them, since its anonymous
publication. Wassenauer's
aristocratic background
was the reason for his
secretiveness. The
sentiment of the time
ordained that musicians
belong to the lower
classes. This edition of
CONCERTINO No. 2 (also
CONCERTO ARMONICO in G
Major, CONCERTO IV, or
just CONCERTINO in G),
drawing from the CONCERTO
ARMONICO in G Major, IUW
3, was edited by 20th
century Baroque expert
Fritz Rikko. Rikko
spuriously attributes the
work to Pergolesi.
Despite Wassenauer's
authorship having since
been confirmed, Rikko's
original editorial notes
have been retained.
Instrumentation: Str (4
Vn parts
[2.2.2.2].3.2.2):
Harpsichord Continuo in
score.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra Str (4 Vn parts [2.2.2.2].3.2.2): Harpsichord Continuo in score SKU...(+)
Orchestra Str (4 Vn parts
[2.2.2.2].3.2.2):
Harpsichord Continuo in
score
SKU:
AP.36-A793401
Arranged by Unico Wilhelm
Van wassenaer and
ed./arr. by Fritz Rikko.
String Orchestra. Kalmus
Orchestra Library. Score.
LudwigMasters
Publications #36-A793401.
Published by
LudwigMasters
Publications
(AP.36-A793401).
ISBN
9798892704922. UPC:
659359746130.
English.
The six
CONCERTI ARMONICI was
long thought to be the
work of the
violinist-impresario
Carlo Ricciotti or
composer Giovanni
Battista Pergolesi, but
more recent research has
revealed the composer to
be Unico Wilhelm van
Wassenauer (1692-1766).
Born into a wealthy Dutch
family, the diplomat and
composer founded a
Collegium musicum in The
Hague under the oversight
of Ricciotti. Composed
between 1725 and 1740,
the six concertos have
been falsely attributed
to a variety of
contemporaries, Ricciotti
and Pergolesi amongst
them, since its anonymous
publication. Wassenauer's
aristocratic background
was the reason for his
secretiveness. The
sentiment of the time
ordained that musicians
belong to the lower
classes. This edition of
CONCERTINO No. 2 (also
CONCERTO ARMONICO in G
Major, CONCERTO IV, or
just CONCERTINO in G),
drawing from the CONCERTO
ARMONICO in G Major, IUW
3, was edited by 20th
century Baroque expert
Fritz Rikko. Rikko
spuriously attributes the
work to Pergolesi.
Despite Wassenauer's
authorship having since
been confirmed, Rikko's
original editorial notes
have been retained.
Instrumentation: Str (4
Vn parts
[2.2.2.2].3.2.2):
Harpsichord Continuo in
score.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
By Giovanni Battista Pergolesi. Edited by and trans. Westermann. For Orch. (SAT...(+)
By Giovanni Battista
Pergolesi. Edited by and
trans. Westermann. For
Orch. (SATB with SATB
Soli). Choral Extended
Work. Masterwork. 48
pages. Published by
Alfred Publishing.
Urtext. Composed
by Giovanni Battista
Pergolesi. Edited by
Reinhard Fehling.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
The present setting of
the Seven Last Words of
Jesus Christ grippingly
depicts the story of
Christ's Crucifixion in
fourteen Musical
Dialogues. Listen to the
world premiere recording
of this major work of the
Neapolitan Baroque,
performed by the Akadem.
Solo concerto; Baroque.
Part. 24 pages. Breitkopf
and Haertel #OB 5533-20.
Published by Breitkopf
and Haertel
(BR.OB-5533-20).
ISBN
9790004341209. 10 x 12.5
inches.
Hermann
Scherchen, who was the
first to take up the
cause of the
one-hour-plus long,
colorfully scored work,
came to the conclusion:
One of the most heartfelt
works of art, full of
gentleness and profound
sensitivity. Since 1936,
when two manuscripts of
monastic provenance were
discovered, musical
scholars have been asking
themselves whether the
Septem verba is authentic
or solely attributable to
Sig. Pergolese. It is
only thanks to the
scholarly comparison of
all manuscripts and to
the discovery of two new
sources which
impressively confirm the
existence of an active
reception of this work in
the mid 18th century,
that the authorship and
transmission can be newly
evaluated.
Voice(s) and orchestra (solos: SATB - 0.0.0.0. - 2.1.0.0. - hp - org - str: 1.1....(+)
Voice(s) and orchestra
(solos: SATB - 0.0.0.0. -
2.1.0.0. - hp - org -
str: 1.1.2(obl.).1.1.)
SKU: BR.PB-5533
Urtext. Composed
by Giovanni Battista
Pergolesi. Edited by
Reinhard Fehling. Voice;
Softbound.
Partitur-Bibliothek
(Score Library).
The
present setting of the
Seven Last Words of Jesus
Christ grippingly depicts
the story of Christ's
Crucifixion in fourteen
Musical Dialogues. Listen
to the world premiere
recording of this major
work of the Neapolitan
Baroque, performed by the
Akadem. Solo concerto;
Baroque. Full score. 80
pages. Breitkopf and
Haertel #PB 5533.
Published by Breitkopf
and Haertel (BR.PB-5533).
ISBN 9790004212622. 10
x 12.5
inches.
Hermann
Scherchen, who was the
first to take up the
cause of the
one-hour-plus long,
colorfully scored work,
came to the conclusion:
One of the most heartfelt
works of art, full of
gentleness and profound
sensitivity. Since 1936,
when two manuscripts of
monastic provenance were
discovered, musical
scholars have been asking
themselves whether the
Septem verba is authentic
or solely attributable to
Sig. Pergolese. It is
only thanks to the
scholarly comparison of
all manuscripts and to
the discovery of two new
sources which
impressively confirm the
existence of an active
reception of this work in
the mid 18th century,
that the authorship and
transmission can be newly
evaluated.
Composed by Francesco
Durante. Edited by John
Rutter. Choral Works
(inc. Oratorios). Oxford
Choral Classics. Sacred.
Full score. 32 pages.
Oxford University Press
#9780193527478. Published
by Oxford University
Press (OU.9780193527478).
ISBN 9780193527478. 12
x 9 inches.
For
SATB and chamber ensemble
A splendid curtain-raiser
to Vivaldi's Gloria,
Durante's artful
Magnificat has long been
misattributed to his
pupil Pergolesi.
Durante's vocally richer
five-voice version has
been chosen for Sacred
Choruses and merits
performance as an
alternative to the
familiar four-voice
version.
Composed by Francesco
Durante. Edited by John
Rutter. Choral Works
(inc. Oratorios). Oxford
Choral Classics. Sacred.
Set of parts. 132 pages.
Oxford University Press
#9780193527485. Published
by Oxford University
Press (OU.9780193527485).
ISBN 9780193527485. 12
x 9 inches.
For
SATB and chamber ensemble
A splendid curtain-raiser
to Vivaldi's Gloria,
Francesco Durante's
artful Magnificat has
long been misattributed
to his pupil Pergolesi in
a version for four
voices, not five. This
complete set contains 4 x
vln I, 4 x vln II, 2 x
vc, 2 x db, 1 x continuo,
and 1 x lute.
Composed by Basque Carol.
Arranged by Christopher
Thomas. 12 pages.
Duration 2 minutes, 37
seconds. Carl Fischer
Music #CM9734. Published
by Carl Fischer Music
(CF.CM9734).
ISBN
9781491161142. UPC:
680160919734. Key: A
minor. English. Basque
Carol.
A Basque
Carol (also known as
Gabriel's Message) holds
a special place in
Western music. The carol
originates from Basque
country around the 13th
century, based on the
Latin hymn, Angelus ad
Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in Chaucer's
Canterbury Tales: Playing
so sweetly that the
chamber rang; / and
Angelus ad virginem he
sang. . .. Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the song's
lasting popularity. I
would also attribute A
Basque Carol's continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as his wings
as drifted snow, his eyes
as flame. I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I've added an
obligato line for a solo
recorder (solo flute or
violin work just as
well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino. I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you're a choir, a string
orchestra, or a combined
ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!. A
Basque Carol (also known
as Gabriel’s
Message) holds a special
place in Western music.
The carol originates from
Basque country around the
13th century, based on
the Latin hymn, Angelus
ad Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in
Chaucer’s
Canterbury Tales:Â
“Playing so sweetly
that the chamber rang; /
and Angelus ad virginem
he sang. .
.â€.Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the
song’s lasting
popularity. I would also
attribute A Basque
Carol’s continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as “his
wings as drifted snow,
his eyes as
flame.â€I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I’ve
added an obligato line
for a solo recorder (solo
flute or violin work just
as well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino.I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you’re a choir, a
string orchestra, or a
combined ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!