(Ausgewahlte Orgelwerke, Band 1). Par SCHROEDER HERMANN. Hermann Schroeder's abundant oeuvre in the field of chorale-bound organ music is much less known among organists than his free - especially the concertante - organ works, although Hermann Schroeder as an organist felt particularly bound to liturgy and liturgical singing. And according to him, any liturgical organ music should always bear a direct relation to singing. The purpose of the present anthology is to provide the player a representative selection of Schroeder's chorale arrangements. Most of these chorales are relatively short and of medium difficulty at most. The chorale melody can be heard well most of the time so that the pieces are ideal for being used in church services. In the alphabetical index, the beginnings of song titles are accompanied by the corresponding number from Gotteslob (GL) or the Protestant Hymnal for better orientation./ Répertoire / Orgue

2016 marks the first centenary of the death of Max Reger. In addition to his best-known field of creativity - organ music - his choral compositions form another major part of his oeuvre.This edition contains a selection of his sacred a cappella choral works. Their scoring, level of difficulty and length make them ideal for choirs who are wary of tackling the large-scale op. 110 motets. For the first time, the selection of works includes the previously unpublished 'Acht Grabgesänge? (1900). The pieces are arranged in chronological order, culminating in the well-known cycle of 'Acht geistliche Gesänge? op. 138 (1914).Contents- 'Tantum ergo Sacramentum? (1895)- 'Maria Himmelsfreud!? (1899-1900)- 'Acht Grabgesänge? (ca. 1900)- 'Acht Marienlieder? op. 61d (1901)- 'Sechs Trauergesänge? op. 61g (1901)- 'Palmsonntagmorgen? (1902)- 'Vier Kirchengesänge? (1904)- 'Easter motet: Lasset uns den Herren preisen? (1911)- 'Abschiedslied? (1914)- 'Acht geistliche Gesänge? op. 138 (1914)The EditorMichael Chizzali has been a scholarly assistant at the Institute of Musicology in Weimar-Jena (Germany) since 2014. His dissertation on Reger's contemporary, the Tyrolean composer Josef Gasser (1873-1957), was published in Innsbruck in 2014.- All extant sources consulted- Edition for the first centenary of Reger's death- Cross-section of Reger's music for a cappella choir- Foreword (Ger/Eng) and Critical Commentary (Eng) / Choeur Mixte (SATB) A Cappella

Par BEETHOVEN LUDWIG VAN. The works for solo voice(s) and Orchestra assembled in this volume owe their composition to the most diverse occasions. Some were tailor-made for female singers in Beethoven ’s milieu, while with others he was dabbling in the field of Italian opera (under the tutelage of none other than Antonio Salieri). Scarcely any of them made it into print during Beethoven ’s lifetime. Aside from canonical works of the repertoire such as “Ah! perfido” op. 65, this volume also contains unknown gems like the scene and aria Beethoven revised multiple times, “No, non turbarti” – “Ma tu tremi, o mio tesoro?”. The study score contains the textof the scholarly Complete Edition. Beethoven specialist Ernst Herttrich additionally provides information about the genesis and exciting variants in the transmission history. / Herttrich, Ernst / Répertoire / Orchestre

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre

from Porgy and BessInstrument : string quartet (double bass ad lib.)Type : score and partsNombre de Pages : 16There is hardly any other lullaby in the field of classical music - apart from Brahms' 'Guten Abend, gute Nacht' - that has gained such popularity as George Gershwin's (1898-1937) 'Summertime'. It is a song from his opera Porgy and Bessâ'' which was premiered in New York on 10 October 1935 with only moderate success at first. Every important jazz musician insisted on presenting his own version of this rather evocative and catchy song with which Clara rocks her child to sleep at the beginning of the opera. The present version now offers the opportunity to play this famous 'Summertime' with a string quartet (and double-bass ad lib.) or string orchestra - let's swing!

60 Works From Bach To Debussy. Unique and comprehensive, this fantastic collection features a tremendous variety of slow movements for keyboard players. Highlights of these evocative selections come from masterpieces including sonatas of Haydn and Mozart, Chopin preludes and classics such as the opening movement of Beethoven's 'Moonlight' Sonata, Bach's Sinfonia in F Minor and Debussy's Clair De Lune./ Recueil / Piano

Compilation. A compendium of the world's most loved music. True to the spirit of the great composers, this volume fills the vital needs of the student and teacher. Works by Bach, Tchaikovsky and Prokoviev. / Niveau : Intermédiaire / Rép Classique / Recueil / Piano

90 chefs d'oeuvres intemporels de la musique classique. Partitions piano. / Piano

Luxueusement lié avec un unique, simili cuir brodé de conception et d'une boîte de présentation exquise, Legendary Piano Solos classique sera conservé pour les années à venir comme un livre à lire à partir, lire et relire. Ce volume richement produite est l'ultime collection de musique classique pour piano. Soigneusement sélectionnés, méticuleusement transcrite et joliment présentés, ces pièces représentent certaines des plus belles musiques jamais par des compositeurs tels que Bach, Mozart, Chopin et Liszt / Piano / 256 pages / Partition