From The Oxford Scottish Songbook-A moderately difficult concert piece for high school or college chorus this is a sad song of love lost to war from Three Scottish Folksongs. _x000D_Also available: O Whistle And I'll Come To Ye (HMC649) and I'll Ay Call In By Yon Town (HMC668) Piano duet accompaniment

While organ music of the 19th century was not highly regarded in Germany a few years ago [with the exception of a few outstanding works], our understanding of it has grown during recent years. In other countries 19th century organ music has retained its place in the repertoire to a far greater extent. This three-volume collection presents playable organ works of high quality for both liturgical and concert use. Most of the pieces have not yet been available in new editions [at the time of publication], and are made accessible to a wider public for the first time. The first two volumes contain pieces which were composed in, or introduced to, the German-speaking area of Europe between1800 and 1900; some of them point back stylistically to the 18th century. The focus of the third volume is on works by French, British, and American composers. There are also organ pieces from Bohemia, Belgium, Denmark, and even Brazil./ Répertoire / Orgue

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. 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 17 th - and 18 th -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 Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (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. / Date parution : 2022-10-12/ Recueil / Orgue

Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. 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 17 th - and 18 th -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 Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (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. / Date parution : 2022-10-12/ Recueil / Orgue

Les Anges dans nos campagnes. The title of this clever arrangement reveals the Christmas song it is based on. The melody can be traced back to a French folksong from the 18th century which is now known around the world. In France it is called Les anges dans nos campagnes, in Germany it is most widely known as Engel auf den Feldern singen and in England it was originally called Angels From the Realms of Glory but it often known as Angels We Have Heard on High. Everyone will rejoice upon hearing the ?Gloria in excelsis Deo? refrain! / Niveau : 3 / Pièce de concert / Répertoire / Fanfare

Score and Parts-Samuel Scheidt's Canzone Bergamasca for Brass Quintet. Score and parts.Samuel Scheidt (1587-1654) was one of the influential trio of S's (with Heinrich Schutz and Johann Hermann Schein)who played an important part in both the development of German music of the early Baroque and in the survival of a high level of musical life during the devastation of the Thirty Years War.The son of a musical family of Halle in central Germany Scheidt spent most of his life in the city which saw both his birth and his death. From 1605 to 1608 however he went ot Amsterdam to study with the famous Ducth composer and organist Jan PietersSweelinck.Renowned in his day for his Vocal works - especially for his 'Concerti Sacri' - Scheidt achieved lasting fame for his revolutionary contributions to Organ literature. He introduced elements of tonal harmonyin his music and his masterwork 'Tabulatura Nova' marked the end of the German tablature system of notation for Organ.The Canzone Bergamasca marked by lively rhythms and contrapuntal inventiveness comesfrom an early collection of canzonas and dances published in Hamburg in 1621. The work is a 'chain' canzona (similar in form to the canzonas of Gabrieli) in which the material for one section develops out of the material of theprevious section uniquely linking all of the sections together. For additional contrast there is a tripla section in the middle and the work ends with a recapitulation of the first theme.The 'Bergamasca' of the title atthis period refers to the use of melodic material based on a harmonic ground derived from an Italian folk dance of the Bergamo region.

Facsimile edition of the Ochsenhauser Orgelbuch, with critical first edition. Almost 270 years following its completion, for the first time the Ochsenhauser Orgelbuch, a unique collection of organ music from southern Germany, will be published and thus made accessible to the music world. In honor of the completion of the restoration of the Gabler organ in Ochsenhausen this important, with its wonderful color illustrations, has been published in a high-quality limited two-volume edition./ Répertoire / Orgue

The complete edition of Bunk's organ music comes to an end with the publication of volume VI which contains organ works of a primarily liturgical nature. The quality of the music can be compared with compositions by Max Reger and Sigfrid Karg-Elert.This Urtext edition, prepared by the composer's grandson, is the result of a thorough study of the sources based on the latest findings of musical scholarship. Each volume includes a detailed foreword, a Critical Commentary, and many facsimiles and illustrations.Inserted in the volume is a CD which shows a facsimile reproduction of the first edition of Gerard Bunk's Liebe zur Orgel. This reference book by the late Romantic composer, which was highly regarded by none less than Albert Schweitzer and which affords valuable insights into the art of organ building and organ playing in Germany during the first half of the 20th century, has hence been made available again to interested organists and church musicians.- First complete Urtext edition of Bunk's organ works- Edited by the composer's grandson- Detailed foreword and Critical Commentary for each volume (Ger/Eng)- Many facsimiles and illustrationsContents'Wilhelmus van Nassouwe en Choral? 'Nun danket alle Gott?'Kleine Fantasie über C.H.D.B.? for organ or pianoChorale prelude 'Wachet auf, ruft uns die Stimme? (trio for 2 manuals and pedals)37 short chorale improvisations for liturgical use / Orgue

for violin, viola and cello. Par HENZE HANS WERNER. This substantial mature work shows the superb mastery of one of Germany’s foremost contemporary composers. Henze, renowned for his lush orchestral textures and sensuous sonorities, aims for similar musical complexity – highly demanding of players and audience alike – even when writing for just three instruments./ Répertoire / Violon, Alto et Violoncelle

English Folk Tunes présente une collection de belles pièces pour piano solo tirés de la riche tradition de la musique folk anglais. Auteur expérimenté et arrangeur Barrie Carson-Turner présente des notes sur toutes les pièces, en expliquant leur origine et leur histoire. Le volume est accompagné d'un CD avec un enregistrement de tous les airs. Traductions de tous les textes allemands et franCais sont disponibles en téléchargement PDF sur le site Schott Music. Convient pour les joueurs de niveaux 3-8.Une partie de la meilleure série de World Music de vente, qui inclut également la musique de l'Angleterre, l'Irlande, l'Ecosse, l'Europe, l'Amérique, l'Argentine, l'Inde, la Chine et la Corée. / Piano