Par BACH JOHANN SEBASTIAN. All of Bach ’s six authenticated motets were written between 1723 and 1727 for St Thomas’ Church, Leipzig, where Bach was appointed as director of music in 1723. During this period, Bach composed most of his cantatas, and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition, reserving his own motet compositions for special occasions. Four of his six motets were written for the funeral services of prominent members of the St Thomas’ congregation. Jesu, Meine Freude (BWV 227), the longest, most musically complex and earliest of the six, was written in 1723 for the funeralof Johanna Maria Käsin, the wife of Leipzig’s postmaster. Jesu, Meine Freude BWV 227 is a beautifully constructed motet for five-part mixed choir, by J. S. Bach. This Urtext edition provides you with a clear and accurate realisation of the composer’s original intentions and includes thoroughly detailed editorial markings and suggestions, as edited by Konrad Ameln. Urtext of the New Bach Edition Performance material and choral score (BA5132) available for sale Complete edition of the 6 Motets Vocal score with Piano reduction (BA5193-90), choral score (BA5193) / Mottet / Répertoire / Choeur Mixte (SSATB) et Instruments Ad Libitum

A practice guide for the modern cellist. Par SHERRY FRED. A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art, through nine stimulating chapters. With a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio.Fred Sherry has introduced audiences on five continents and all fifty UnitedStates to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen, Lukas Foss, Oliver Knussen, Elliott Carter, Milton Babbitt, Toru Takemitsu, Chick Corea, Pierre Boulez, Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and 'sideman' on hundreds of commercial and esoteric recordings: his discography ranges from Schütz, Bach, Mozart, Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School, the Mannes College of Music and the Manhattan School of Music. A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art, through nine stimulating chapters. With a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio. Fred Sherry has introduced audiences on fivecontinents and all fifty United States to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen, Lukas Foss, Oliver Knussen, Elliott Carter, Milton Babbitt, Toru Takemitsu, Chick Corea, Pierre Boulez, Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and and lsquo - sideman and rsquo - on hundreds of commercial and esoteric recordings - his discography ranges from Sch and uuml - tz, Bach, Mozart, Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School, the Mannes College of Music and the Manhattan School of Music. / Pédagogie / Etude / Violoncelle

Les pièces classiques bien connus a joué de façon différente : nouveaux arrangements jazz et éléments pop - c'est encore une fois thèmes comment favoris de Bach à son Beethoven fraîche et intéressant ! Pour tous les amateurs de ' cross-over ' entre la musique classique, jazz et pop et les improvisations écrites ainsi qu'accords symboles pour votre propre improvisations. / Violon Et Piano Ad Libitum

1722-1725. Par BACH JOHANN-SEBASTIAN. In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court's Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces - by Bach and other composers - to play orsing, early composition efforts from the children, and first versions of some of Bach's more ambitious keyboard works. What is usually presented as 'the' Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then. Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach. - Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format - Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach ArchiveRepresents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists - Extensive preface, detailed critical commentary, and beautifully engraved notation - Hardcover clothbound edition with gold embossing - Printed in Köthen and bound in Leipzig - the home of Bach and the home of Edition Peters - this cutting-edge, premium modern edition's journey to your library retraces the Bach family's own move from the princely town to the city. This premium edition offers a truly best-in-class publication. In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court's Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces - by Bach and other composers - to play orsing, early composition efforts from the children, and first versions of some of Bach's more ambitious keyboard works. What is usually presented as 'the' Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then. Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach. Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format. Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach Archive. Represents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists. Extensive preface, detailed critical commentary, and beautifully engraved notation. Hardcover clothbound edition with gold embossing. Printed in Köthen and bound in Leipzig - the home of Bach and the home of Edition Peters - this cutting-edge, premium modern edition's journey to your library retraces the Bach family's own move from the princely town to the city. This premium edition offers a truly best-in-class publication. Alongside it, Edition Peters presents a selection of the most popular pieces from the two notebooks in a practical student edition, drawing on the material of Christoph Wolff's scholarly edition, to be enjoyed by teachers and students alike. / Classique / Répertoire / Piano

Par YEAGER JEANINE. The works found in Classic Echoes are inspired by the great music of Baroque, Classical, Romantic and Contemporary periods. They reflect the varied styles and harmonies of music by the great composers. Ms. Yeager provides each with a musical flair and depth that make them outstanding for recitals, festivals, weddings, memorial services, and other performances. The contrast in texture, energy and mood is clearly apparent in these stylistic expressions. BAROQUE: ?ala Bach? and ?A Bit of Baroque? CLASSICAL: ?Sicilienne,? ?Aria,? ?Sarabande? and ?Scherzo in C? ROMANTIC: ?Valse Romantique,? ?Pas de deux,? ?Lament,? and ?Prelude in D? CONTEMPORARY: ?Toccata in A Minor? Intermediate-level pianists of all ages will find these pieces to be among their favorites to play and perform. / Date parution : 2022-11-08/ Recueil / Piano

Par BLACKWELL KATHY / DAVID. Il couvre les modèles utilisés dans les doigts Viola Time Joggers et coureurs, et comprend toutes les gammes et arpèges pour les élèves de ABRSM 1 et 2, y compris le mineur naturel Etablit chaque forme avec un tableau de doigté, d'un téléphone 'helpline' pour renforcer le doigté arpège, et un jeu de rythme à pratiquer l'échelle Inclut une variété de pièces amusantes pour chaque touche, et une gamme de puzzles et des jeux de composition L'édition révisée de Viola échelles de temps déborde d'idées créatives et emballé avec des dessins animés imaginatives et amusantes à faire échelles d'apprentissage et d'arpèges faciles. / Niveau : Facile / Etude / Alto

48 Easy Pieces From 5 Centuries. Pour la série ' Easy Concert Pieces ', Monika Twelsiek, pédagogue de piano expérimentée, a assemblé des pièces pour piano faciles et plaisantes pour des débutants et les a publiées en trois volumes dans un ordre progressif. Les trois volumes doivent être des ajouts à une méthode de piano et sont idéaux pour des représentations dans des écoles de musique, des examens et des concours. Le répertoire est varié, en offre un grand choix de pièces baroques, classiques, romantiques et modernes. Le volume 1 (ED 22547) peut être utilisé par des débutants. L'étendue des pièces est limitée à l'échelle pentatonique et l'ambitus d'une simple octave. D'autres critères pour le choix de pièces sont des rythmes simples et des accords très faciles. Ce volume n'exige pas encore la maîtrise du passage du pouce, de la polyphonie et de la pédale. Le volume 2 (ED 22548) contient des pièces sur une étendue de 2 octaves, et exige la maîtrise du passage du pouce, de la pédale, de la polyphonie simple et des accords à trois ou quatre notes, ainsi que des ornements faciles, du jeu cantabile et de la différenciation entre mélodie et accompagnement. / Niveau : Facile / Recueil / Piano

50 kleine Klavierstücke. La collection Mini Maestro en trois volumes présente de petites pièces pour piano de difficulté progressive de très facile à moyenne, datant de cinq siècles, par ordre chronologique, de la musique baroque, classique, romantique, moderne au jazz, à la pop et à la musique minimale. A la fin de chaque volume se trouvent trois pièces bonus à quatre mains - sous la devise ' Plus de plaisir à deux '. Faciles à apprendre, toutes les pièces offrent un répertoire varié qui constitue un complément idéal à toute méthode de piano et convient à des concerts, leçons, examens et concours. Le volume 1 contient des morceaux dans la gamme pentatonique / dans des gammes pentatoniques changeantes, suivis de morceaux dans l'ambitus d'une octave avec un rythme simple et un jeu d'accords facile. D'autres critères sont la différente articulation, la mélodie à la main gauche, les signes d'octave et les pièces en majeur/mineur jusqu'une armure à un dièse/bémol. Le volume 2 contient des pièces dans l'ambitus étendu de deux octaves et avec un jeu des accords à trois ou quatre voix et des renversements. Les autres critères sont le jeu de pédale, des ornements élémentaires, la polyphonie simple, la différenciation de la mélodie et de l'accompagnement et les pièces en majeur/mineur jusqu'une armure à deux dièses/bémols. Le volume 3 contient des pièces avec un ambitus allant jusqu'à quatre octaves, avec un rythme et une vélocité plus exigeants. D'autres critères sont la différenciation subtile des tons, le jeu expressif, la polyphonie dans une main, la polyphonie avancée et les pièces en majeur/mineur jusqu'une armure à trois dièses/bémols. / Niveau : 2 / Classique / Recueil / Piano

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

A collection of supplementary pieces ranging from folk and classical through to showtunes and popular songs for young clarinet players. Carefully selected and arranged each piece offers suggestions and guidelines plus a simple effective piano accompaniment. / Niveau : Facile / Recueil / Clarinette et Piano