Trio Piano Trio: piano, violon, violoncelle Editorial de Musica Boileau
Violin, cello and piano SKU: BO.B.3713 Composed by Joaquim Malats. Publis...(+)
Violin, cello and piano
SKU: BO.B.3713
Composed by Joaquim
Malats. Published by
Editorial de Musica
Boileau (BO.B.3713).
Without doubt,
the most important
chamber music work by
Malats, and one of his
finest compositions, is
his Trio for Violin,
Cello and Piano in B Flat
Major. It was composed in
1898.
Malats
dedicated the Trio to one
of the greatest composers
of all time, Camille
Saint-Saëns, close
personal friend of both
Malats and Granados. An
unknown gem of the
chamber music repertoire,
this Modernist work is
superior in form,
technique and musical
content to similar work
by Granados, Breton,
Chapi and
others.
Malats
had considerable
knowledge and experience
with the trio form. In
1894 at the Sala erard in
Paris he performed four
trios by Beethoven,
Mendelssohn, Godard and
Saint-Saëns with C.
Flesch and Hasselmann.
Given his experiences
with chamber music it is
not surprising that
Malats exhibited such
confidence and security
in writing his Trio
maintaining perfect
balance and dialogue
between the three
instruments which he
achieved through
masterful control of the
formal structure. This
work has a rich harmonic
language and none of the
Nationalist qualities of
his previous pieces.
Instead, it reveals
Malats proximity to then
current European music
yet, at the same time,
exhibits his personal
style and musical
knowledge.
(59 Children's Classics). For Other Fretted. This edition: Easy Banjo TAB. Banjo...(+)
(59 Children's Classics).
For Other Fretted. This
edition: Easy Banjo TAB.
Banjo Method or
Supplement; Book. Just
for Fun. Children. 84
pages. Published by
Alfred Music
SKU: HL.48186891 Composed by Gabriel Faure. Leduc. Classical. Softcover. ...(+)
SKU: HL.48186891
Composed by Gabriel
Faure. Leduc. Classical.
Softcover. 4 pages.
Alphonse Leduc #HA09172.
Published by Alphonse
Leduc (HL.48186891).
UPC: 888680883195.
0.018 inches.
This
edition of Salve Regina
by Gabriel Faure is a
version of this Marian
hymn for a SABT
accompanied by the Piano
or the Organ, arranged by
Henri Busser. This
features lyrics in Latin,
and can be sung by two or
four voices also
accompanied by Violin or
Cello ad libitum. This
lyrical piece is quite
slow (tempo 66) and the
Organ score does not
feature any pedals: the
difficulty could meet the
skills of upper
intermediate level
players. Five verses can
be distinguished in the
whole piece and its
polytonal aspects make it
sound really rich and
harmonious. Gabriel Faure
(1845-1924) was a French
composer, organist,
pianist and teacher. He
was one of the greatest
composers among his peers
and strongly influenced
all the following
generations of composers.
One of his best-known
compositions is the
famous 'Requiem'..
Orchestra - Grade 3 SKU: AP.33713S Composed by Richard Meyer. MakeMusic C...(+)
Orchestra - Grade 3
SKU: AP.33713S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form:
Variations. Light
Concert; Novelty. Score.
20 pages. Highland/Etling
#00-33713S. Published by
Highland/Etling
(AP.33713S).
UPC:
038081375120.
English.
You and
your students will love
putting together these
charming variations based
on Lewis Carroll's
classic book. A simple
and graceful theme,
entitled Alice, is
followed by four colorful
variations depicting the
delightfully odd
characters that inhabit
Wonderland. Each
variation is a stylistic
workshop for your
students who will learn a
myriad of techniques as
they bring to life the
Cheshire-Cat, a Mad Tea
Party, a Caterpillar, and
the King and Queen of
Hearts. This title is
available in MakeMusic
Cloud.
Chorus (with soloists) and piano (SATB - 0.0.0.0 - 3.0.0.0 - timp - str - bc) (+)
Chorus (with soloists)
and piano (SATB - 0.0.0.0
- 3.0.0.0 - timp - str -
bc)
SKU:
BR.EB-32120
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Edition Breitkopf.
Cantata; Baroque.
Piano/Vocal Score. 40
pages. Duration 25'.
Breitkopf and Haertel #EB
32120. Published by
Breitkopf and Haertel
(BR.EB-32120).
ISBN
9790004187272. 7.5 x 10.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Chorus (with soloists) and orchestra (SATB - 0.0.0.0 - 3.0.0.0 - timp - str - bc...(+)
Chorus (with soloists)
and orchestra (SATB -
0.0.0.0 - 3.0.0.0 - timp
- str - bc)
SKU:
BR.PB-32120
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Partitur-Bibliothek
(Score Library). Cantata;
Baroque. Sheet Music. 76
pages. Duration 25'.
Breitkopf and Haertel #PB
32120. Published by
Breitkopf and Haertel
(BR.PB-32120).
ISBN
9790004215869. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. 8 pages. Duration
25'. Breitkopf and
Haertel #OB 32120-16.
Published by Breitkopf
and Haertel
(BR.OB-32120-16).
ISBN
9790004350485. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. 12 pages. Duration
25'. Breitkopf and
Haertel #OB 32120-15.
Published by Breitkopf
and Haertel
(BR.OB-32120-15).
ISBN
9790004350478. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Organ (SATB - 0.0.0.0 - 3.0.0.0 - timp - str - bc) SKU: BR.OB-32120-11 (+)
Organ (SATB - 0.0.0.0 -
3.0.0.0 - timp - str -
bc)
SKU:
BR.OB-32120-11
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. 24 pages. Duration
25'. Breitkopf and
Haertel #OB 32120-11.
Published by Breitkopf
and Haertel
(BR.OB-32120-11).
ISBN
9790004350461. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Wind parts (SATB - 0.0.0.0 - 3.0.0.0 - timp - str - bc) SKU: BR.OB-32120-30(+)
Wind parts (SATB -
0.0.0.0 - 3.0.0.0 - timp
- str - bc)
SKU:
BR.OB-32120-30
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; Folder.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. 16 pages. Duration
25'. Breitkopf and
Haertel #OB 32120-30.
Published by Breitkopf
and Haertel
(BR.OB-32120-30).
ISBN
9790004350522. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. 8 pages. Duration
25'. Breitkopf and
Haertel #OB 32120-19.
Published by Breitkopf
and Haertel
(BR.OB-32120-19).
ISBN
9790004350508. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. 8 pages. Duration
25'. Breitkopf and
Haertel #OB 32120-17.
Published by Breitkopf
and Haertel
(BR.OB-32120-17).
ISBN
9790004350492. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. 12 pages. Duration
25'. Breitkopf and
Haertel #OB 32120-26.
Published by Breitkopf
and Haertel
(BR.OB-32120-26).
ISBN
9790004350515. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Harp Accompaniment; Percussion; Strings; Tenor (Score) SKU: HL.286427 ...(+)
Harp Accompaniment;
Percussion; Strings;
Tenor (Score)
SKU:
HL.286427
Tenor,
Strings, Harp, Piano and
Percussion Score.
Composed by Witold
Lutoslawski. PWM.
Classical. Softcover. 64
pages. Polskie
Wydawnictwo Muzyczne
#6288. Published by
Polskie Wydawnictwo
Muzyczne (HL.286427).
''Witold
Lutoslawski treated the
surrealistic poem of Jean
Francois Chabrun as a
symbolist story about
love and death. In his
musical interpretation,
according to its default
course he distinguished
the subsequent stages of
the opus which are
characterised by
different kinds of
expression. The first
stage is of an epic and
lyrical character, the
second refers to a
lullaby, the third is of
a dramatic nature and
constitutes the
culmination of the work,
finally, the fourth stage
is a kind of a lament
ending with a reflective
message. Lutoslawski's
musical language is
characterised by
contemporary means of
composing technique. One
should take note of the
unique twelve-note system
elaborated by the
composer, a
characteristic time
organisation based on
contrasting the conducted
sections against the ad
libitum ones, and finally
the vast repertoire of
sound articulation
allowing for unusual
differentiation of the
timbre. [Regina
Chlopicka: Paroles
tissees Witolda
Lutoslawskiego, in:
Muzyka polska
1945-1995'', Akademia
Muzyczna w Krakowie,
1996].
SSATTB choir, 6
instruments ad lib.,
basso continuo
SKU:
CA.1002919
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Complete orchestral
parts. Sacred concertos,
Sacred vocal music,
Praise and thanks. Set of
Orchestra Parts. Duration
5 minutes. Carus Verlag
#CV 10.029/19. Published
by Carus Verlag
(CA.1002919).
ISBN
9790007189396. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. The
six-part polyphonic
choral setting of the
German Gloria (the first
and fourth verses are
underlaid) is divided,
following Italian models,
by tutti sections in
triple meter. Instruments
join the tutti sections
ad libitum, strengthening
the vocal parts. Score
and parts available
separately - see item
CA.1002900.
SSATTB choir, 6
instruments ad lib.,
basso continuo
SKU:
CA.1002949
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Organ. Sacred concertos,
Sacred vocal music,
Praise and thanks. Single
Part, Organ. 4 pages.
Duration 5 minutes. Carus
Verlag #CV 10.029/49.
Published by Carus Verlag
(CA.1002949).
ISBN
9790007181437. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. The
six-part polyphonic
choral setting of the
German Gloria (the first
and fourth verses are
underlaid) is divided,
following Italian models,
by tutti sections in
triple meter. Instruments
join the tutti sections
ad libitum, strengthening
the vocal parts. Score
and part available
separately - see item
CA.1002900.
SSATTB choir, 6
instruments ad lib.,
basso continuo
SKU:
CA.1002905
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Sacred concertos, Sacred
vocal music, Praise and
thanks. Full score. 8
pages. Duration 5
minutes. Carus Verlag #CV
10.029/05. Published by
Carus Verlag
(CA.1002905).
ISBN
9790007181369. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. The
six-part polyphonic
choral setting of the
German Gloria (the first
and fourth verses are
underlaid) is divided,
following Italian models,
by tutti sections in
triple meter. Instruments
join the tutti sections
ad libitum, strengthening
the vocal parts. Score
available separately -
see item CA.1002900.
SSATTB choir, 6
instruments ad lib.,
basso continuo
SKU:
CA.1002900
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Sacred concertos, Sacred
vocal music, Praise and
thanks. Full score. 12
pages. Duration 5
minutes. Carus Verlag #CV
10.029/00. Published by
Carus Verlag
(CA.1002900).
ISBN
9790007171742. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. The
six-part polyphonic
choral setting of the
German Gloria (the first
and fourth verses are
underlaid) is divided,
following Italian models,
by tutti sections in
triple meter. Instruments
join the tutti sections
ad libitum, strengthening
the vocal parts.
Orchestra 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum)*: Str (4-4-3-3-3 in set): Sol...(+)
Orchestra 2.2.2.2:
2.2.3.0: Timp: Org (ad
libitum)*: Str (4-4-3-3-3
in set): Solo SATB: Mix
Chor. *Organ ad limitum
absent from Haas edition
SKU: AP.36-A258196
Arranged by Anton
Bruckner and ed./arr. by
Robert Maria Haas. Mass,
Orchestra Accompaniment,
Bass Part. Critical
Editions. Part(s).
LudwigMasters
Publications #36-A258196.
Published by
LudwigMasters
Publications
(AP.36-A258196).
ISBN
9798892701891. UPC:
659359762505.
English.
Anton
Bruckner (1824-1896)
completed the 1st version
of his Mass No. 3 in F
minor in 1863, as Otto
Kitzler was introducing
him to the music of
Richard Wagner, the
composer he would emulate
for the rest of his life.
John Herbeck, who
conducted the initial
rehearsals for its
premiere at the
Augustinerkirch on June
16, 1872, warmly declared
that it stood beside
Beethoven's Missa
Solemnis in greatness.
Bruckner, often
self-critical as a
composer, went on to
revise the work no less
than four times until it
was finally published it
in 1894. More often heard
today in the concert hall
than in the church, the
sprawling, hour-long work
is admired today for its
powerful directness. This
critical edition was
created in 1944 for the
Bruckner Gesamtausgabe by
Robert Maria Haas.
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 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum)*: Str (4-4-3-3-3 in set): Sol...(+)
Orchestra 2.2.2.2:
2.2.3.0: Timp: Org (ad
libitum)*: Str (4-4-3-3-3
in set): Solo SATB: Mix
Chor. *Organ ad limitum
absent from Haas edition
SKU: AP.36-A258195
Arranged by Anton
Bruckner and ed./arr. by
Robert Maria Haas. Mass,
Orchestra Accompaniment,
Tenor Part. Critical
Editions. Part(s).
LudwigMasters
Publications #36-A258195.
Published by
LudwigMasters
Publications
(AP.36-A258195).
ISBN
9798892701884. UPC:
659359625268.
English.
Anton
Bruckner (1824-1896)
completed the 1st version
of his Mass No. 3 in F
minor in 1863, as Otto
Kitzler was introducing
him to the music of
Richard Wagner, the
composer he would emulate
for the rest of his life.
John Herbeck, who
conducted the initial
rehearsals for its
premiere at the
Augustinerkirch on June
16, 1872, warmly declared
that it stood beside
Beethoven's Missa
Solemnis in greatness.
Bruckner, often
self-critical as a
composer, went on to
revise the work no less
than four times until it
was finally published it
in 1894. More often heard
today in the concert hall
than in the church, the
sprawling, hour-long work
is admired today for its
powerful directness. This
critical edition was
created in 1944 for the
Bruckner Gesamtausgabe by
Robert Maria Haas.
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.