Poetry+Jazz: A Magical Marriage is exactly that - an intertwining of two deep art forms to create something brand new - an audio book CD unlike anything done previously. Consisting of World-class poetry from the likes of Rainer Maria Rilke, Rumi and Kenneth Rexroth, accompanied by recordings of jazz compositions by Clare Fischer, Maria Schneider and Stan Getz and many more. / Tout Instrument

Par STUTSCHEWSKY JOACHIM. Langue: German, English, Format: New Edition portrait/ Méthode / Violoncelle

Die schönsten Instrumentalstücke der Keyboard Klangwelt-Reihe gesammelt in umfangreichen Sammelbänden.Über 130 Stücke zu allen frohen Anlässen wie Hochzeit oder Geburtstag, beliebte Evergreens und Wunschmelodien, Stimmungslieder für frohe Runden und Karneval and Fastnacht, leicht spielbar und gut klingend arrangiert für Keyboard, Digitalpiano und E-Orgel.Ob Sie alleine oder zusammen musizieren, mit diesem Sammelband haben Sie die richtigen Noten für jede Gelegenheit schnell zur Hand. / Clavier

From popular and traditional tunes to romantic gems, Der Singer Pur Adventskalender presents a broad spectrum of repertoire for the Advent season. Featuring original settings alongside refreshed arrangements for up to six-part choir or six soloists.This new, impressive and extremely enjoyable collection by renowned, German, a-cappella group, Singer Pur, is certain to add a bit of sparkle to your festive performances. / Choeur SAATBB

Par SUTERMEISTER HEINRICH. Durée: 30', Format: New Edition portrait/ Répertoire / Alto Solo, Choeur Mixte (SATB) et 2 Pianos

The series For Children (together with Mikrokosmos) belongs undoubtedly to the basic works of piano instruction. It is learned from almost all over the world. The present edition was prepared by the composer's son Péter Bartók living in the United States who used all available manuscripts and other documents which helped clarify the uncertainties concerning the music text. In order to meet this objective, a completely new engraving was made and the editor described the historical background of the emergence and the editions of the work as well as the nature of the corrections. The third and fourth parts based on Slovak folksongs appear now contracted to one volume with Hungarian, German and Slovak titles, folksong texts and notes of the editor in Hungarian and German. / Piano

The Chester Books Of Madrigals offer an exciting collection of secular European madrigals, partsongs and rounds from the 16th and early 17th centuries, newly edited from early sources by Anthony G. Patti, who contributes copious historical notes to each volume. <br>The majority of the settings are for SATB and simplified keyboard reductions. Texts are in the original languages, with an English translation (for non-English texts) provided at the head of each piece. / Classique / Partition /

Edition no.: BA 8957ISMN: 9790006525515Editor: Münden, Gerd-PeterLanguage(s) of work: German, English, LatinLanguage(s) of text: German, EnglishProduct format: Score, AnthologyIncludes the following individual parts: Mixed choir: SSATBB, Children's choir: SSA oder Youth choir: SSA oder Chor (gleichstimmig) Organ ad lib.Binding: StapledPages / Format: IV, 52 S. - 29,0 x 21,0 cm Year after year, during Advent and the Christmas season, compositions are sought which present well-known carols in a new light, whether it be compositions set for small or larger groups, for children or adults, with or without accompanying keyboard instruments. This collection by Gerd-Peter Münden presents carols in new settings as a welcome addition to the Christmas literature and will enrich the repertoire of an adults' or children's choir.- Well-known Advent and Christmas carols in new settings- With texts in German and English- With short Latin introductions as a part of each motet- Ideal for a children's or adults' choir during the Christmas seasonContentsThere comes a galley, laden / Es kommt ein Schiff, geladenO saviour, open heaven's gate / O Heiland, reiß die Himmel aufO Lord, how shall I meet you / Wie soll ich dich empfangenAngels from the realms of Glory / Hört der Engel helle LiederAs I was watching o'er my sheep / Als ich bei meinen Schafen wachtGood Christian men rejoice / Nun singet und seid frohThe EditorGerd-Peter Münden is one of the most creative German church-musicians today. From 1992 to 1999 he worked as the cantor in Minden, where he also directed the music school for choristers. From 1999 he has been the Cathedral-Cantor at the Braunschweig Cathedral and the director of the cathedral school for choristers. He is the initiator and artistic director of a successful school project throughout Germany encouraging youngsters to sing.

Opera buffa in vier Akten - ??bersetzung von Brieger/Layer-Premi?red at the Vienna Hoftheater on 1 May 1786 Wolfang Amadeus Mozart???s and Lorenzo Da Ponte???s Le nozze di Figaro may be safely regarded as one of the greatest operatic successes of all times. Yet its success was not entirely due to Mozart???s music: on the contrary because of the extraordinary demands it placed on the orchestra (especially the woodwinds) the music even posed an obstacle to the work???s spread outside the German-speaking countries. At least equally responsible for the opera???s success was the librettist Lorenzo Da Ponte who managed to transform a topical and socio-critical stage play into an opera libretto as effective as it isamusing.Many of the sources for Mozart???s first opera from the Lorenzo Da Ponte trilogy only became available to scholars again after the ???New Mozart Edition??? volume was published. These include the autograph scores of acts 3 and 4 now held at the Biblioteka Jagiello ka in Krak?w significant portions of the original sets of parts and acts 2 to 4 of the conductor???s copy from the first performance of 1786.These original sources now available again offer compelling solutions to several previously unresolved questions.Edition based on the Urtext of the ???New Mozart Edition??? reflecting the latest musicological researchWith findings from original sources now available againDetailed foreword (Ger/Eng)Full score (BA4565-01) Vocal score (BA4565-92) study score format 22.5 x 16.5cm and Facsimile (BVK1882) available for saleV43 Performance material (BA4565-72) available to hire

Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

Arr. Naohiro Iwai. Par GERSHWIN GEORGE. George Gershwins Musik verbindet die verschiedensten Stile, die zu Beginn dieses Jahrhunderts gehört wurden: Jazz, Blues und sogar die klassische Musik Europas. Zeit seines Lebens war er sich seines musikalischen Backgrounds in New York bewusst. Er begann mit 15 Jahren als Songplugger‘ zu arbeiten und verdiente seinen Lebensunterhalt in einem großen Musikverlag in der 28th Street, der berühmten Tin Pan Alley. Dort stellte er Songs vor, indem er die unbekannten Titel interessierten Kunden vorspielte und -sang. Seinen ersten Erfolg erlangte er mit dem Musical La La Lucille und dem Song Swanee, und so begann er, die Leiter des Broadway zu erklimmen. Der großeDurchbruch kam 1924, als der Bandleader Paul Whiteman ihn bat, ein umfassendes Stück für Klavier und Jazzband zu schreiben. Daraus wurde die berühmte Rhapsody in Blue . George Gershwin vervollständigte die Klavierversion in nur drei Wochen. Ferde Grofe, der Arrangeur von Whiteman’s Band, schrieb daraufhin ein Arrangement für Jazzband und Klavier, und später die wohl bekannteste Version für Klavier und Symphonieorchester. Gershwins Vielseitigkeit ist in der Rhapsody in Blue deutlich zu hören. Er verbindet Rhythmen und Harmonien aus dem amerikanischen Jazz und Blues mit einem eher klassischen‘ Stil, der an die Klavierkonzerte des 19. Jahrhunderts in Europa erinnert. Gershwins Markenzeichen ist das Klarinettenglissando zu Beginn der Rhapsody, obwohl das anfangs nicht in seiner Absicht stand. George Gershwin schrieb den Lauf ursprünglich als eine aufsteigende Reihe von siebzehn Noten, aber während den Proben machte sich Ross Gorman, der Klarinettist in Whiteman’s Band, einen Spaß daraus und spielte ihn als Jazzglissando. Gershwin war von diesem Effekt sehr beeindruckt und nahm ihn in die Partitur auf. / Niveau : 5 / Répertoire / Concert Band ou Harmonie

[Neue Ausgabe sämtlicher Orgelwerke - Band 3 : Freie Orgelwerke III] / Classique / Editeur : Christoph Albrecht / Partition / Cartonné / Plats de carton /