| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Keyboard Strategies Piano seul Schirmer
Master Text II. By Various. Piano Collection. 432 pages. Published by G. Schirme...(+)
Master Text II. By
Various. Piano
Collection. 432 pages.
Published by G. Schirmer,
Inc.
$50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Madrigal Pavane / Timburibá [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4287
Composed by Francisco
Braga. Arranged by
Luciano Lima. Score. Les
Productions d'OZ #DZ
4287. Published by Les
Productions d'OZ
(DZ.DZ-4287). ISBN
9782898522048. AntÃ
´nio Francisco Braga
(1868-1945) belongs to
the generation of
Brazilian composers of
the first republican
period, aesthetically
tied to romanticism,
alongside Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914), and Barrozo
Neto (1881-1941). Born in
Rio de Janeiro, on April
15th, 1868, he began his
musical studies at the
Asilo dos Meninos
Desvalidos, in 1876. In
1883, he enrolled at the
Imperial Conservatório
de Música where he
studied harmony and
counterpoint with Carlos
de Mesquita – a former
student of César Franck,
Durand, and Massenet –
and clarinet with
Antônio LuÃs de Moura.
Braga's first
compositions date from
this period: Sonho de
Dante (1885), Dolce far
niente (1886), the first
Valse Romantique for
piano (1886), among
others. In 1887, he
premiered his first
symphonic work,
Fantasia-Abertura. In
1890, being one of the
finalists in a
competition to choose the
new Brazilian national
anthem, Braga was awarded
a scholarship to study in
Europe, where he took
classes with Jules
Massenet at the Paris
Conservatory. During this
period, he wrote some of
his most important
symphonic works, Paysage,
Cauchemar, Episódio
Sinfônico, and Marabá
(which was performed by
Richard Strauss and the
Vienna Philharmonic in
1920, in Brazil). His
opera Jupyra is
considered one of the
greatest Brazilian
compositions of that
genre. Back in Brazil,
he was appointed
professor of
counterpoint, fugue, and
composition at the
Instituto Nacional de
Música, in 1902. There,
some of the finest
Brazilian composers
studied with him, like
Glauco Velásquez and
Lorenzo
Fernândez. Braga
wrote operas, symphonic
works, songs, sacred
music, two Masses, music
for piano, different
chamber formations, band,
and choir. He is the
author of many patriotic
hymns, the most popular
of which is Hino Ã
Bandeira (with lyrics by
Olavo Bilac). He explored
Brazilian nationalist
elements in some of his
works, as in Variações
sobre um Tema Brasileiro
and in the Trio for
violin, cello and piano,
whose third movement is
based on a lundu (a
musical genre and dance
of Afro-Brazilian
origin). In addition
to being a composer,
Braga was one of the most
active conductors of his
time, having been ahead
of three orchestras in
Rio de Janeiro: Instituto
Nacional de Música,
Sociedade de Concertos
Sinfônicos, and Theatro
Municipal. Braga
conducted the Brazilian
premiere of major
symphonic works such as
La Mer (Debussy), Pacific
231 (Honegger) besides
other numerous Brazilian
compositions. In 1938,
he retired from Instituto
Nacional de Música. He
passed away on March
14th, 1945, in Rio de
Janeiro. Unfortunately
, Francisco Braga never
wrote for the guitar.
However, over a century
ago his music had already
been incorporated to its
repertoire. According to
information found in
newspapers of the time,
Spanish guitarist
Josefina Robledo included
transcriptions of pieces
by Braga in her programs
when she performed in
Brazil: Gavota e Minuete
(from the melodrama
Contratador de
Diamantes), in 1919, in
São Paulo, and the
waltz-caprice Corrupio,
in 1921, in Rio de
Janeiro. The piano
score of Madrigal Pavane
was dedicated to Alexina
Leitão and published by
Casa Vieira Machado, in
1901. According to the
composer’s catalogue,
there are two other
versions of this piece:
strings orchestra (1901)
and quartet (which is
still in manuscript).
Dedicated to Braga’s
childhood friend José de
Souza Rocha, Timburibá
(the name of a Brazilian
tree) is a tango for
piano from 1886,
published by Narciso &
Arthur
Napoleão.
Antôni
o Francisco Braga
(1868-1945) appartient Ã
la génération des
compositeurs brésiliens
de la première période
républicaine,
esthétiquement liés au
romantisme, aux côtés
de Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914) , et Barrozo
Neto (1881-1941). Né Ã
Rio de Janeiro, le 15
avril 1868, il commence
ses études musicales Ã
l'Asilo dos Meninos
Desvalidos, en 1876. En
1883, il s'inscrit au
Imperial Conservatório
de Música où il étudie
l'harmonie et le
contrepoint avec Carlos
de Mesquita – ancien
élève de César Franck,
Durand et Massenet – et
clarinette avec Antônio
LuÃs de Moura. De cette
période datent les
premières compositions
de Braga : « Sonho de
Dante » (1885), « Dolce
far niente » (1886), la
première « Valse
Romantique » pour piano
(1886), entre
autres. En 1887, il
crée sa première œuvre
symphonique, «
Fantasia-Abertura ». En
1890, étant l'un des
finalistes d'un concours
pour choisir le nouvel
hymne national
brésilien, Braga obtient
une bourse pour étudier
en Europe, où il suit
les cours de Jules
Massenet au Conservatoire
de Paris. Durant cette
période, il écrit
certaines de ses Å“uvres
symphoniques les plus
importantes, « Paysage
», « Cauchemar », «
Episódio Sinfônico »
et « Marabá »
(interprétée par
Richard Strauss et la
Philharmonie de Vienne en
1920, au Brésil). Son
opéra « Jupyra » est
considéré comme l'une
des plus grandes
compositions
brésiliennes de ce
genre. De retour au
Brésil, il fut nommé
professeur de
contrepoint, de fugue et
de composition Ã
l'Instituto Nacional de
Música, en 1902. Là ,
certains des meilleurs
compositeurs brésiliens
étudièrent avec lui,
comme Glauco Velásquez
et Lorenzo
Fernândez. Braga a
écrit des opéras, des
Å“uvres symphoniques, des
chansons, de la musique
sacrée, deux messes, de
la musique pour piano,
différentes formations
de chambre, un orchestre
et une chorale. Il est
l'auteur de nombreux
hymnes patriotiques, dont
le plus populaire est «
Hino à Bandeira » (avec
des paroles d'Olavo
Bilac). Il a exploré des
éléments nationalistes
brésiliens dans
certaines de ses Å“uvres,
comme dans « Variações
sobre um Tema Brasileiro
» et dans le Trio pour
violon, violoncelle et
piano, dont le troisième
mouvement est basé sur
un « lundu » (un genre
musical et une danse
afro-américaine).
Origine
brésilienne). En plus
d'être compositeur,
Braga a été l'un des
chefs d'orchestre les
plus actifs de son
époque, ayant dirigé
trois orchestres à Rio
de Janeiro : « Instituto
Nacional de Música »,
« Sociedade de Concertos
Sinfônicos » et «
Theatro Municipal ».
Braga a dirigé la
première brésilienne
d'Å“uvres symphoniques
majeures telles que « La
Mer » (Debussy), «
Pacific 231 » (Honegger)
ainsi que de nombreuses
autres compositions
brésiliennes. En
1938, il prend sa
retraite de l'Instituto
Nacional de Música. Il
est décédé le 14 mars
1945 Ã Rio de
Janeiro. Malheureuseme
nt, Francisco Braga n’a
jamais écrit pour la
guitare. Cependant, il y
a plus d'un siècle, sa
musique était déjÃ
incorporée à son
répertoire. Selon des
informations trouvées
dans les journaux de
l'époque, la guitariste
espagnole Josefina
Robledo incluait des
transcriptions de pièces
de Braga dans ses
programmes lorsqu'elle se
produisait au Brésil :
« Gavota e Minuete »
(du mélodrame «
Contratador de Diamantes
»), en 1919, à São
Paulo, et la
valse-caprice « Corrupio
», en 1921, à Rio de
Janeiro. La partition
pour piano de « Madrigal
Pavane » a été
dédiée à Alexina
Leitão et publiée par
« Casa Vieira Machado
», en 1901. Selon le
catalogue du compositeur,
il existe deux autres
versions de cette pièce
: orchestre à cordes
(1901) et quatuor (qui
est encore manuscrit).
Dédié à José de Souza
Rocha, ami d'enfance de
Braga, « Timburibá »
(nom d'un arbre
brésilien) est un tango
pour piano de 1886,
publié par « Narciso &
Arthur Napoleão
». Envoyer des
commentaires Panneaux
latéraux HistoriqueEnregistrées. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 1 Quatuor à cordes: 2 violons, alto, violoncelle Fennica Gehrman
String Quartet SKU: FG.55011-574-3 Composed by Kalevi Aho. Score+parts. F...(+)
String Quartet SKU:
FG.55011-574-3
Composed by Kalevi Aho.
Score+parts. Fennica
Gehrman #55011-574-3.
Published by Fennica
Gehrman (FG.55011-574-3).
ISBN
9790550115743. Kale
vi Aho (b.1949) was only
18 years old when he
completed his String
Quartet no. 1 in g minor
(1967). Nonetheless it
was already the second
one of its kind: the
earlier string quartet in
a minor got christened
String Quartet No. 0 and
banned from performing.
The g minor quartet was
heard the first time only
50 years after it was
born, when the Kamus
Quartet premiered it at
the Musica Kalevi Aho
Festival in Forssa on
June 28, 2019. In Aho's
home town, Forssa, it was
not possible to study
composition with a
teacher: My model in this
and the other works I
composed while I was at
school was all the mostly
tonal music I had
personally played on the
violin or heard on the
radio. The first
movement, Moderato,
begins in variation form,
until followed by a fugue
based on the variation
theme. The initially
lyrical second movement
has a quick, virtuosic
and light middle section.
The third movement is a
very quick scherzo that
becomes dramatic, and the
work ends with a
chorale-like finale. The
composer tells: When I
got to study composition
at the Sibelius Academy
in autumn 1968 and showed
the quartet to my
teacher, Einojuhani
Rautavaara, he said there
was no point my studying
tonal harmony and tonal
formal constructions any
longer; that I could do
the exams in them
straight away and start
the courses in modern
music resources there and
then.. $60.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Joseph Haydn - String Quartets, Vol. IV, Op. 20 (Sun Quartets) Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur d'étude / Miniature] G. Henle
(Study Score). By Franz Joseph Haydn (1732-1809). Edited by Georg Feder and Sonj...(+)
(Study Score). By Franz
Joseph Haydn (1732-1809).
Edited by Georg Feder and
Sonja Gerlach. Study
Score. Henle Study
Scores. Softcover. 116
pages
$35.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Study On Beethoven Schott
Score and Parts String Quartet (Score & Parts) SKU: HL.49047510 String...(+)
Score and Parts String
Quartet (Score & Parts)
SKU: HL.49047510
String Quartet No. 6
Score and Parts.
Composed by Joerg
Widmann. String Ensemble.
Chamber, Classical.
Softcover. 146 pages.
Duration 1620 seconds.
Schott Music #ED23150.
Published by Schott Music
(HL.49047510). UPC:
842819106166. My
quartets composed between
1997 and 2005 were
conceived as an
interconnected,
self-contained cycle of
works ranging from the
(in my opinion) quasi
revolutionary Quartet No.
1 to the Quartet No. 5
entitled Versuch über
die Fuge [Attempt at a
Fugue]. The Quartet No. 6
– Study on Beethoven
– composed fourteen
years after No. 5 should
be conceived as a new
approach and the
commencement of a new
quartet cycle with an
unknown ending. All that
can be said is that the
subsequent quartets will
be devoted to an intense
study of Ludwig van
Beethoven's unique and
consummate artistry of
quartet composition.
Despite a reverence for
Beethoven at a very early
stage, my own
compositions have steered
well clear of this
unapproachable cosmos
with the exception of my
concert overture Con
brio. The perhaps only
link with the five
quartets of the first
cycle of quartets is the
single-movement structure
of the thirty-minute
Quartet No. 6. The
fundamental coordinates
have otherwise been reset
to zero. This is
therefore also a 'study'
in a literal sense. In
the Quartet No. 6, I set
out with a state of
tonality displaying
significant extensions
whose centrifugal forces
are barely containable.
My focus is the detection
of the inherent
gravitation of tonality,
including phenomenons
such as
tension/relaxation,
suspension/resolution and
fixation/deviation. From
a formal aspect, the work
is too experimental and
unsentimental for
explorations in a
nostalgic-romantic sense.
On the contrary, tonality
or at least its
fundamental assumptions
are initially set down in
the sense of a study or
test assembly in order to
permit subsequent
experimentation,
variation and the
formulation of exceptions
with the desire and firm
conviction that it is
possible to express
something innovative and
never previously heard
with this seemingly
exhausted fundamental
material. I have been
repeatedly astonished by
the unfolding in the
progression of this piece
which has taken me to
unknown locations,
especially from a formal
aspect. I am fascinated
to see what forms the
subsequent quartets in
this Beethoven study�
cycle will lead me to.
The Quartet No. 6 has
been created in close
artistic and friendly
cooperation with
Anne-Sophie Mutter and
she is the dedicatee of
this work. Jörg Widmann,
July 2019. $110.00 - Voir plus => Acheter | | |
| Examine me, God, and inquire of my heart (Erforsche mich, Gott, und erfahre mein Herz) Carus Verlag
Orchestra Soli ATB, Coro SATB Ob, Obda, Cor, 2 Vl, Va, Bc SKU: CA.3113607 ...(+)
Orchestra Soli ATB, Coro
SATB Ob, Obda, Cor, 2 Vl,
Va, Bc SKU:
CA.3113607 Cantata
for the 8th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Christiane
Hausmann. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Trinity.
Study score. Composed
1723. BWV 136. 36 pages.
Duration 22 minutes.
Carus Verlag #CV
31.136/07. Published by
Carus Verlag
(CA.3113607). ISBN
9790007244958. Language:
German/English. The
cantata Erforsche mich
Gott und erfahre mein
Herz BWV 136 was composed
in Bach's first year as
Kantor of St. Thomas's in
Leipzig and was first
performed on the 8th
Sunday after Trinity, the
18th July 1723. The
librettist is unknown.
The title of the cantata
is taken from verse 23 of
Psalm 139: Erforsche mich
Gott und erfahre mein
Herz; prufe mich und
erfahre, wie ich's meine.
(Search me, O God, and
know my heart: try me,
and know my thoughts) The
opening chorus forms an
extended fugue, framed by
string writing bursting
with energy. The
obbligato horn
accentuates and enriches
the movement with a
special tonal color. The
alto aria in F sharp
minor (movement 3)
comprises a trio movement
with an oboe d'amore as
solo instrument in a
contrasting range - a
presto middle section
which dramatically
charges the words Denn
seines Eifers Grimm
vernichtet (For the fury
of its zeal will
destroy). In the duet
(movement 5) the text is
sung by tenor and bass
line by line, sometimes
imitating contrapuntally,
and sometimes both
singing together
dramatically in
homophonic writing. A
simple chorale setting to
the melody Auf meinen
lieben Gott concludes the
cantata. Particularly
charming here is the
violin which joins the
four vocal parts as an
independent part. Score
available separately -
see item CA.3113600. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Overture to King Arthur Orchestre à Cordes [Conducteur] - Facile FJH
Orchestra String Orchestra - Grade 3 SKU: FJ.ST6244S Score Only. A...(+)
Orchestra String
Orchestra - Grade 3
SKU: FJ.ST6244S
Score Only.
Arranged by Carrie Lane
Gruselle. Series; String
Orchestra. FJH String
Orchestra. Score.
Duration 2:40. The FJH
Music Company Inc
#98-ST6244S. Published by
The FJH Music Company Inc
(FJ.ST6244S).
English. From
Henry Purcell's
semi-opera King Arthur
comes this wonderful
arrangement in the style
of the French Overture.
The piece begins with a
strong statement filled
with regal and stately
dotted rhythms. A lively
fugue follows in which
all sections play an
equal role as they
explore independent
playing. Written in the
key of D minor, shifting
is required for first
violin and bass while
cello uses extensions. An
excellent study in
Baroque bow style!
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| More Easy Classics To Moderns
Piano seul [Partition] - Facile Music Sales
Edited by Denes Agay. For piano. Music For Millions: Volume 27. Format: piano so...(+)
Edited by Denes Agay. For
piano. Music For
Millions: Volume 27.
Format: piano solo book.
With fingerings. Baroque,
Classical Period,
Romantic Period and 20th
Century. 160 pages. 9x12
inches. Published by
Music Sales.
$18.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 18 Contrapuntal Pieces for Guitar Guitare Ut Orpheus
Composed by Paolo Ugoletti Andrea Vezzoli. Edited by Piero Bonaguri and Raffae...(+)
Composed by Paolo
Ugoletti
Andrea Vezzoli. Edited by
Piero Bonaguri and
Raffaello
Ravasio. Saddle
stitching.
Piero Bonaguri
Collection.
Classical. Ut Orpheus #CH
254.
Published by Ut Orpheus
$21.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| De/Con Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9259 Composed by Manuela Kerer. Cha...(+)
String Quartet
(2vl,va,vc) SKU:
BR.EB-9259 Composed
by Manuela Kerer. Chamber
music; stapled. Edition
Breitkopf. World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017 Music
post-1945; New music
(post-2000). Full score.
Composed 2016/17. 32
pages. Duration 15' -
18'. Breitkopf and
Haertel #EB 9259.
Published by Breitkopf
and Haertel (BR.EB-9259).
ISBN 9790004185599. 9
x 12 inches. When
Hugo Ticciati asked me to
write a new piece for his
quartet, I was
immediately enthusiastic
about this project. I
love how Hugo and his
O/MODERNT String Quartet
unite old and new music
in a completely natural
way. So, I was absolutely
excited about Hugo`s idea
of having my piece based
on two of my idols, Bach
and Beethoven,
deconstructing the one
and constructing the
other. With all my
respect for these great
composers I gave to the
piece a very personal
inner part consisting of
my own music that
influenced and inspired
the other parts. For the
whole piece I felt very
close to Beethoven, who
said: To make a fugue is
not art, which [is
something] I have made
dozens of times in my
study. But the
imagination will assert
its rights and must come
today, in light of the
old traditional form, to
another truly poetic
element. De/Con is a
travel into different
centuries with different
sound-languages. For me,
it was like having a
wonderful constructive
discussion with Johann
Sebastian Bach and Ludwig
van Beethoven, each of us
trying to speak our own
language, approaching the
others step by step. The
piece could be defined as
a Love Letter to two of
the greatest composers
ever. De/Con could be
preceded by (parts of)
Johann Sebastian Bach's
Die Kunst der Fuge (The
Art of the Fugue) and
succeeded by Ludwig van
Beethoven's Grosse Fuge
(Great Fugue). Ideally,
then, all parts should be
played attacca. It could,
but it hasn't to be
played with these two
pieces. (Manuela
Kerer)
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017. $54.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| De/Con Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9260 Composed by Manuela Kerer. Cha...(+)
String Quartet
(2vl,va,vc) SKU:
BR.EB-9260 Composed
by Manuela Kerer. Chamber
music; Folder. Edition
Breitkopf. World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017 Music
post-1945; New music
(post-2000). Set of
parts. Composed 2016/17.
32 pages. Duration 15' -
18'. Breitkopf and
Haertel #EB 9260.
Published by Breitkopf
and Haertel (BR.EB-9260).
ISBN 9790004185605. 9
x 12 inches. When
Hugo Ticciati asked me to
write a new piece for his
quartet, I was
immediately enthusiastic
about this project. I
love how Hugo and his
O/MODERNT String Quartet
unite old and new music
in a completely natural
way. So, I was absolutely
excited about Hugo`s idea
of having my piece based
on two of my idols, Bach
and Beethoven,
deconstructing the one
and constructing the
other. With all my
respect for these great
composers I gave to the
piece a very personal
inner part consisting of
my own music that
influenced and inspired
the other parts. For the
whole piece I felt very
close to Beethoven, who
said: To make a fugue is
not art, which [is
something] I have made
dozens of times in my
study. But the
imagination will assert
its rights and must come
today, in light of the
old traditional form, to
another truly poetic
element. De/Con is a
travel into different
centuries with different
sound-languages. For me,
it was like having a
wonderful constructive
discussion with Johann
Sebastian Bach and Ludwig
van Beethoven, each of us
trying to speak our own
language, approaching the
others step by step. The
piece could be defined as
a Love Letter to two of
the greatest composers
ever. De/Con could be
preceded by (parts of)
Johann Sebastian Bach's
Die Kunst der Fuge (The
Art of the Fugue) and
succeeded by Ludwig van
Beethoven's Grosse Fuge
(Great Fugue). Ideally,
then, all parts should be
played attacca. It could,
but it hasn't to be
played with these two
pieces. (Manuela
Kerer)
World
premiere: Stockholm
(Festival O/MODERNT),
June 19, 2017. $54.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Solos for Classic Guitar - World's Favorite No. 43
Guitare Guitare classique Ashley Publications
Edited by Harvey Vinson. Guitar solo book for guitar. With standard notation (no...(+)
Edited by Harvey Vinson.
Guitar solo book for
guitar. With standard
notation (no tablature)
and fingerings. Series:
World's Favorite Series.
127 pages. Published by
Ashley Publications, Inc.
(3)$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Robert Schumann - Album for the Young · Scenes from Childhood Piano seul [Partition] Schirmer
(Piano). By Robert Schumann. Piano Collection. 96 pages. G. Schirmer #LB 2094....(+)
(Piano). By Robert
Schumann.
Piano Collection. 96
pages. G.
Schirmer #LB 2094.
Published
by G. Schirmer
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| There is naught of soundness within my body (Es ist nichts Gesundes an meinem Leibe) Chorale SATB Carus Verlag
Orchestra STB vocal soli, SATB choir, 3 recorders, 2 oboes, cornet, 3 trombones,...(+)
Orchestra STB vocal soli,
SATB choir, 3 recorders,
2 oboes, cornet, 3
trombones, 2 violins,
viola, basso continuo
SKU: CA.3102507
Cantata for the 14th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Trinity. Study
score. Composed 1723. BWV
25. 40 pages. Duration 16
minutes. Carus Verlag #CV
31.025/07. Published by
Carus Verlag
(CA.3102507). ISBN
9790007092931. Language:
German/English. Thi
s cantata for the 14th
Sunday after Trinity was
composed in August 1723
and is from Bach's first
cycle of cantatas for
Leipzig. It is
distinguished by its
unique opening chorus,
which is a four-part
choral fugue with
independent instrumental
parts in which Bach has
interwoven a four-part
chorale (Herzlich tut
mich verlangen) played by
the winds. This is an
artistic combination
which expands to as many
as ten real parts. The
second aria Offne meinen
schlechten Liedern, is
distinguished by an
unusual instrumental
coloring in which the
soprano and the strings,
supported by the oboes,
are joined by 3
recorders. The edition is
the product of a new
evaluation of the source
situation (see
Bach-Jahrbuch 2006).
Score available
separately - see item
CA.3102500. $11.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Essential Keyboard Repertoire, Volume 4 - Book Only Piano seul [Partition] - Facile Alfred Publishing
85 Early / Late Intermediate Selections in Their Original Form - Baroque to Mode...(+)
85 Early / Late
Intermediate Selections
in Their Original Form -
Baroque to Modern. Edited
by Maurice Hinson. For
Piano. Piano Collection.
Essential Keyboard
Repertoire. Masterwork.
Level: Early Intermediate
/ Late Intermediate.
Book. 128 pages.
Published by Alfred
Publishing.
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Album fur die Jugend Piano seul - Intermédiaire ABRSM Publishing
By Schumann. For piano. Published by ABRSM (Associated Board of the Royal School...(+)
By Schumann. For piano.
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$18.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Gloria in E flat major Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre - Facile Carus Verlag
Orchestra SSATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoo...(+)
Orchestra SSATB vocal
soli, SATB choir, 2
flutes, 2 oboes, 2
clarinets, 2 bassoons, 2
horns, 2 trumpets,
timpani, 2 violins,
viola, cello/contrabass -
Grade 3 SKU:
CA.4048307 Composed
by Felix Bartholdy
Mendelssohn. Edited by
Pietro Zappala. This
edition: urtext.
Stuttgart Urtext Edition:
Mendelssohn. Innovative
practice aids, Sacred
vocal music, Mass
sections, Christmas.
Study score. Composed
1821/22. MWV A 1.
Duration 21 minutes.
Carus Verlag #CV
40.483/07. Published by
Carus Verlag
(CA.4048307). ISBN
9790007092597. Key: E
flat major. Language:
Latin. The Gloria,
composed in early 1822 at
the age of 13, is
Mendelssohn's first
creative venture in the
field of church music on
a larger scale. It is a
direct result of his
composition studies under
the director of the
Berlin Singakademie Carl
Friedrich Zelter, but was
no longer wholly a
student work because the
young composer hoped that
Zelter would provide him
with an opportunity to
perform this work with
the Singakademie. The
enthusiasm for Handel and
Bach which was sustained
by the performances at
the Singakademie
influenced Mendelssohn's
early creative style. In
the Gloria Mendelssohn
sought to emulate the
model of the large-scale
baroque cantata. The
concluding fugue, the
mysterious Qui tollis and
lyrical solos ensembles
in the place of solo
arias give testimony to
Mendelssohn's great
talent and willingness to
experiment. Score
available separately -
see item CA.4048300. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The heavens are telling the Father's glory (Die Himmel erzahlen die Ehre Gottes) Soli, choeur mixte et accompagnement satb (soli), SATB (chÅ“ur), Orchestre - Intermédiaire Carus Verlag
Orchestra SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 ...(+)
Orchestra SATB vocal
soli, SATB choir, oboe
I/oboe d'amore, oboe II,
trumpet, 2 violins,
viola, basso continuo -
Level 3 SKU:
CA.3107607 Cantata
for the 2nd Sunday afer
Trinity / Reformation
Day. Composed by
Johann Sebastian Bach.
Edited by Ulrich
Leisinger. Arranged by
Paul Horn. This edition:
Paperbound. German title:
Die Himmel erzahlen die
Ehre Gottes. Sacred vocal
music, Cantatas, Psalms,
German. Study score.
Composed 1723. BWV 76. 72
pages. Duration 35
minutes. Carus Verlag #CV
31.076/07. Published by
Carus Verlag
(CA.3107607). ISBN
9790007044923. Key: C
major / a minor.
Language:
German/English. The
cantata Die Himmel
erzahlen die Ehre Gottes
(The heavens are telling
of God in glory) BWV 76
by Johann Sebastian Bach
was written for the 2nd
Sunday after Trinity,
which fell on 6 June 1723
in the year it was first
performed. This ambitious
two-part work was the
second cantata which Bach
wrote after taking up the
position of Kantor of St.
Thomas's in Leipzig.
Bach's aim was evidently
to demonstrate a
particularly wide range
of musical forms in both
the arias and the
recitatives in this
cantata. The opening
chorus is based on verses
2 and 4 of Psalm 19, with
verse 4 structured as a
choral fugue. Both parts
of the cantata end with a
chorale movement with
different verses from the
Lutheran hymn Es woll uns
Gott genadig sein. The
text refers loosely to
the epistle reading from
the 1st letter of St
John, but deals more with
general thoughts about
the temptations of the
Christian which can be
overcome through love.
Bach also performed the
first part of the cantata
later with minor
revisions, but evidently
no alterations to the
text, on Reformation Day
in Leipzig. Score
available separately -
see item CA.3107600. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Preludes, Toccatas, fantasies and Fugues II / Early Versions and Variants to I and II Orgue Barenreiter
Orgelwerke, Band 6. Composed by Johann Sebastian Bach (1685-1750). Edited by Die...(+)
Orgelwerke, Band 6.
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Dietrich Kilian. This
edition: complete
edition, urtext edition.
Linen. Study score siehe
BA 5028-01. Orgelmusik,
Barock (Organ Music,
Baroque). Performance
score, anthology.
Baerenreiter Verlag
#BA05025-01. Published by
Baerenreiter Verlag
$153.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Robert Schumann: Album For The Young, Op. 68
Piano seul [Partition] - Intermédiaire/avancé Schirmer
(Piano Solo). By Robert Schumann. For solo piano. This edition: LB1993. Piano Co...(+)
(Piano Solo). By Robert
Schumann. For solo piano.
This edition: LB1993.
Piano Collection.
Classical Period. SMP
Level 6 (Late
Intermediate).
Collection. Introductory
text (does not include
words to the songs). 75
pages. Published by G.
Schirmer
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| Now it is good, that I am leaving (Es ist euch gut, dass ich hingehe) Chorale SATB - Intermédiaire Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboe d'amore, 2 violins, viola, basso co...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboe
d'amore, 2 violins,
viola, basso continuo -
Level 3 SKU:
CA.3110807 Cantata
for the Sunday
Cantata. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
German title: Es ist euch
gut. Sacred vocal music,
Cantatas, Special days,
Easter and Eastertide,
Whitsun. Study score.
Composed 1725. BWV 108.
68 pages. Duration 20
minutes. Carus Verlag #CV
31.108/07. Published by
Carus Verlag
(CA.3110807). ISBN
9790007047931. Key: A
major / b minor.
Language: German/English.
Text: von Ziegler,
Christiane Mariane. Text:
Christiane Mariane von
Ziegler. The
cantata Es ist euch gut,
dass ich hingehe [It is
well that I go forth] BWV
108 for Cantate Sunday is
one of the cantatas
composed on texts by the
Leipzig poetess
Christiane Mariane von
Ziegler with which Bach
concluded his second
annual cycle of cantatas
after he had abandoned
the annual cycle of
chorale cantatas at
Easter 1725. The text
contains two sayings by
Jesus which are taken
directly from the Sunday
gospel reading (John
16:5-15). The quotation
opening the cantata was
set by Bach as a bass
aria with solo oboe
d'amore; it breathes
tranquility and
assurance. The second
quotation, however, is
set as an extended choral
fugue in three sections;
it forms the center of
the cantata. The free
text surrounding the
biblical quotations is
divided into two arias in
which the emphasis is on
melodic lines; there is
only one single
recitative, the original
text of which was
substantially abridged by
Bach. A four-part chorale
concludes the cantata.
Score available
separately - see item
CA.3110800. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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