For Two Alto Flutes. Composed by Johann Sebastian Bach (1685-1750). Arran...(+)
For Two Alto
Flutes. Composed by
Johann Sebastian Bach
(1685-1750). Arranged by
Christine Potter. Score
and part(s). With
Standard notation. 12
pages. Falls House Press
#2A-P3. Published by
Falls House Press
(PR.FH0311).
Organ SKU: M7.BRP-1110 Composed by Johann Sebastian Bach. Sheet music. MD...(+)
Organ
SKU:
M7.BRP-1110
Composed
by Johann Sebastian Bach.
Sheet music. MDS (Music
Distribution Services)
#BRP 1110. Published by
MDS (Music Distribution
Services) (M7.BRP-1110).
Piano Preludes Piano seul - Intermédiaire/avancé Hal Leonard
Intermediate to Advanced Piano Solos The World's Great Classical Music Series. B...(+)
Intermediate to Advanced
Piano Solos The World's
Great Classical Music
Series. By Various
Composers. World's
Greatest Classical Music.
Book only. Size 9x12
inches. 213 pages.
Published by Hal Leonard.
Composed by Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Masterworks; Piano ...(+)
Composed by Nikolay
Andreyevich
Rimsky-Korsakov
(1844-1908). Masterworks;
Piano Collection. Kalmus
Edition. Masterwork;
Romantic. Book. 68 pages.
Kalmus Classic Edition
#00-K05290. Published by
Kalmus Classic Edition
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full...(+)
Chamber Music Harpsichord
SKU: PR.110418390
Composed by Eric Ewazen.
Full score. 11 pages.
Duration 10 minutes.
Theodore Presser Company
#110-41839. Published by
Theodore Presser Company
(PR.110418390).
ISBN
9781491134603. UPC:
680160685158.
Eric
Ewazen’s THREE
INVENTIONS were inspired
by Bach’s Two-part
Inventions, yet they
sound thoroughly like
Ewazen. Composed for
harpsichord (with a piano
adaptation following
later), Ewazen’s
inventions maintain a
pure “one note per
hand†texture until
their final chord, with
strong-but-free imitative
counterpoint between the
two voices. While Ewazen
may be best known for his
wind music, he is a
pianist himself, and
composers’ works
for their own instrument
are a direct insight into
how they write for their
own performances. The
piano adaptation of THREE
INVENTIONS is also
available as a separate
publication. THREE
INVENTIONS was written
for my dear friend Maria
Rojas, who premiered the
work on a faculty recital
at Juilliard. Maria is
both a pianist and a
harpsichordist, and I
first met her when she
gave a demonstration of
the harpsichord for the
students in my theory
classes.I’ve
always been captivated by
Bach’s series of
Two-Part and Three-Part
Inventions. With the
Two-Part Inventions,
I’m amazed how
Bach could create such
wonderful intricacy and
counterpoint with only
two voices. I
consequently modeled my
inventions after the
counterpoint of Bach,
involving the traditional
contrapuntal devices he
used: imitation,
development, harmonic and
modal shifts,
fragmentation, and
sequence, essentially
creating a dialog between
two completely equal
voices conversing with
each other!Bach wrote 15
Two-Part Inventions (as
well as 15 Three-Part
Inventions, not to
mention the 48 preludes
and fugues in The
Well-Tempered Clavier!),
and that’s just
the start of his
voluminous repertoire for
the keyboard! I was happy
just to write
three!!!Each of my
inventions has a
distinctive mood. The
first is in a relaxed,
yet cheerful C Major
tonality (as a nod to
Bach’s Invention
No. 1 in C Major); the
second is heartfelt and
lyrical; and the third
invention (involving a
Gigue rhythm in the
compound meter of 12/8)
is energetic, and full of
life and spontaneity. The
third is primarily in a
minor tonality, resulting
in a feeling of drama,
bringing the THREE
INVENTIONS to an exciting
finale.
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Wolfgang Plath. Colle...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791), edited by
Wolfgang Plath.
Collection for solo
piano. Urtext of the New
Mozart Edition. 151
pages. Published by
Baerenreiter-Ausgaben
(German import). ISBN
M006507115
Chamber Music Piano SKU: PR.490011640 Inventions 19 - 36. Composed...(+)
Chamber Music Piano
SKU: PR.490011640
Inventions 19 -
36. Composed by
Robert Baksa. Full score.
With Standard notation.
48 pages. Composers
Library Editions
#490-01164. Published by
Composers Library
Editions (PR.490011640).
UPC: 680160602599. 8.5
x 11
inches.
Inspired by
the two- and three-part
inventions of Bach,
Baksa's 36 Canonic
Inventions were composed
in the early 1980s but
are now available
complete in two volumes.
Each two voice invention
is followed by a three
voice invention in the
same key so that the
result is somewhat like
the Master of Master's
Preludes and Fugues. Many
of these pieces were
premiered by
Harpsichordist Elaine
Comparone but they are
equally suitable for
performance on piano or
pianoforte. --American
composer Lee Hoiby once
asked me where I learned
to write counterpoint. I
told him that I learned
by writing my Canonic
Inventions.-- (Robert
Baksa).
Bach's Wohltemperiertes
Klavier was Bartók's
first instructional
publication, divided into
four books. Bartók
became a professor of
piano at the Budapest
Music Academy in 1907,
and it was probably in
this capacity that he was
entrusted with preparing
a Hungarian edition of
the set of pieces. His
basic idea was that
students learning
independently without
adequate guidance should
receive sufficient
directions from the music
to perform the works. As
a consequence Bartók's
score is deliberately
over-detailed.For
pedagogical reasons the
composer ignored the
original order of pieces,
and compiled the material
according to grades of
difficulty, dividing it
into four books.
Thepresent edition
presents the Bartók
Wohltemperiertes Klavier
in two volumes, each
containing two books. One
interesting feature of
the Bartók edition is
that two of the fugues in
both book III and book IV
are written out in full
score, to accustom the
pupil to score-reading.
For some pieces he
deliberately refrained
from providing
performance indications,
to give pianists an
opportunity to exercise
their creativity.The
current edition is not a
reprint: errors we know
of have been corrected,
and the layout of the
score has been
re-arranged keeping in
mind the need to turn
pages. This edition which
includes Bartók's
detailed comments is
complemented by
facsimiles of Bach's
manuscript and an
afterword by László
Somfai.
Chamber Music Piano SKU: PR.490011630 Inventions 1-18. Composed by...(+)
Chamber Music Piano
SKU: PR.490011630
Inventions 1-18.
Composed by Robert Baksa.
Full score. With Standard
notation. 48 pages.
Composers Library
Editions #490-01163.
Published by Composers
Library Editions
(PR.490011630).
UPC:
680160599387. 8.5 x 11
inches.
Inspired by
the two and three part
inventions of Bach,
Baksa's 36 Canonic
Inventions were composed
in the early 1980s but
are now available
complete in two volumes.
Each two voice invention
is followed by a three
voice invention in the
same key so that the
result is somewhat like
the Master of Master's
Preludes and Fugues. Many
of these pieces were
premiered by
Harpsichordist Elaine
Comparone but they are
equally suitable for
performance on piano or
pianoforte. American
composer Lee Hoiby once
asked me where I learned
to write counterpoint. I
told him that I learned
by writing my Canonic
Inventions. (Robert
Baksa).
SKU: CY.CC2369 Composed by Mike Hall. Arranged by Mike Hall. Baroque. 2 a...(+)
SKU: CY.CC2369
Composed by Mike Hall.
Arranged by Mike Hall.
Baroque. 2 audio CDs.
Published by Cherry
Classics (CY.CC2369).
Mike Hall,
Professor of Trombone at
Old Dominion University
and Assistant Editor of
the ITA Journal has
released a 2 CD
collection of J. S.
Bach's ART of FUGUE, BWV
1080, which includes the
Contrapuncti 1 through
12. Also included in this
monumental musical
project are four Canons,
three additional fugues
and Bach's last work
(unfinished), the Chorale
Vor deinen Thron tret'
ich hiermit (Before Thy
Throne).
Profess
or Hall has recorded all
of the tracks himself,
playing on an alto, small
tenor, symphony tenor and
bass
Trombone.
The
two disks include over 80
minutes of some of the
most brilliantly
conceived music ever
written. Professor Hall's
playing is utterly
amazing. These two disks
should be in every
serious Trombonist's
library.
This
recording of the twelve
Contrapuncti has used the
magnificent
transcriptions by Ralph
Sauer. Mr. Sauer's
transcriptions are
available in four
separate volumes or as a
complete collection from
Cherry Classics
Music.
Organ SKU: CA.5027100 Composed by Josef Gabriel Rheinberger. Edited by Ma...(+)
Organ
SKU:
CA.5027100
Composed
by Josef Gabriel
Rheinberger. Edited by
Martin Weyer. Carus
digital: Extra digital
products. Full Score. WoO
25. Carus Verlag
#5027100. Published by
Carus Verlag
(CA.5027100).
ISBN
9790007298357.
As
well as 20 organ sonatas
and seven collections of
stand-alone organ pieces
with opus numbers,
Rheinberger composed a
whole range of smaller
works for organ methods
or organ collections for
his favorite instrument,
mainly at the request of
colleagues and
friends.
The
posthumously compiled
collection of ten smaller
organ pieces WoO 25
brings together a series
of interesting pieces
from the years 1854 to
1896. It includes one of
just two chorale settings
by Rheinberger, the
prelude on “Wenn
ich einmal soll
scheidenâ€. With
short trios, preludes and
fugues in different keys,
the collection is
particularly suitable for
use in worship, but also
for teaching.
Separate edition
from Supplementary Volume
3 of the Rheinberger
Complete Edition
Organ SKU: BR.EB-9306 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9306
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 9306.
Published by Breitkopf
and Haertel (BR.EB-9306).
ISBN 9790004187708. 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.
Organ SKU: BR.EB-9415 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9415
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.
192 pages. Breitkopf and
Haertel #EB 9415.
Published by Breitkopf
and Haertel (BR.EB-9415).
ISBN 9790004188897. 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.
Composed by Johann Sebastian Bach (1685-1750). Masterworks; Piano Collection. Be...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Masterworks;
Piano Collection. Belwin
Classic Edition: The
Great Piano Works Series.
Baroque; Masterwork.
Book. 184 pages. Belwin
Music #00-0030B.
Published by Belwin Music