Cantata for the Feast
of John the Baptist.
Composed by Johann
Sebastian Bach. Edited by
Julia Doht. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Complete orchestral
parts. Sacred vocal
music, Cantatas, Special
days. Set of Orchestra
Parts. Composed 1738(?).
BWV 30. Duration 40
minutes. Carus Verlag #CV
31.030/19. Published by
Carus Verlag
(CA.3103019).
ISBN
9790007140229. Text
language:
German/English.
The
cantata Freue dich,
erloste Schar BWV 30 is
one of Bach's last church
cantatas. Originally
composed as a parody of
the cantata Angenehmes
Wiederau BWV 30a for the
Feast of St. John's Day
in 1738, it still enjoys
a great popularity today.
Its extraordinary length
(12 movements) made it
possible for Bach to
employ four vocal
soloists who, together
with instrumental
soloists, choir and
orchestra contribute to
the generally festive
character of this work.
Score and parts available
separately - see item
CA.3103000.
Cantata for the Feast
of John the Baptist.
Composed by Johann
Sebastian Bach. Edited by
Julia Doht. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Organ. Sacred vocal
music, Cantatas, Special
days. Single Part, Organ.
Composed 1738(?). BWV 30.
24 pages. Duration 40
minutes. Carus Verlag #CV
31.030/49. Published by
Carus Verlag
(CA.3103049).
ISBN
9790007205447. Text
language:
German/English.
The
cantata Freue dich,
erloste Schar BWV 30 is
one of Bach's last church
cantatas. Originally
composed as a parody of
the cantata Angenehmes
Wiederau BWV 30a for the
Feast of St. John's Day
in 1738, it still enjoys
a great popularity today.
Its extraordinary length
(12 movements) made it
possible for Bach to
employ four vocal
soloists who, together
with instrumental
soloists, choir and
orchestra contribute to
the generally festive
character of this work.
Score and part available
separately - see item
CA.3103000.
Composed
by Johann Gottlieb
Naumann. Arranged by Paul
Horn. 1x 40.672/21 flute
1, 1x 40.672/22 flute 2,
1x 40.672/23 oboe 1, 1x
40.672/24 oboe 2, 1x
40.672/25 clarinet 1, 1x
40.672/26 clarinet 2, 1x
40.672/27 bassoon 1, 1x
40.672/28 bassoon 2, 1x
40.672/31 horn 1, 1x
40.672/32 horn 2, 1x
40.672/33 trumpet 1, 1x
40. Harmony parts. Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. Composed 1794.
Duration 30 minutes.
Carus Verlag #CV
40.672/09. Published by
Carus Verlag
(CA.4067209).
ISBN
9790007219925. Key: D
minor. Language:
Latin.
Johann
Gottlieb Naumann, who
today is becoming
increasingly well known,
achieved recognition
during his lifetime as a
composer of operas, among
them the first Swedish
national opera, Gustaf
Wasa. In addition he
wrote a large number of
sacred compositions for
the Court of Dresden,
where he was employed for
many years, including the
present Missa in D minor,
which was still performed
well into the 20th
century. This work,
probably composed for
Christmas in 1794,
displays a decidedly
pastoral character in the
Gloria and Agnus Dei and
moreover, is
distinguished by charming
solo woodwind parts.
Score and parts available
separately - see item
CA.4067200.
Spaur Mass.
Composed by Wolfgang
Amadeus Mozart. Edited by
Bernhard Janz. Arranged
by Volker Blumenthaler.
This edition: urtext.
Stuttgart Urtext Edition:
Mozart. German title:
Missa In C Kv 258
(Spaur-Messe) Rev.2003.
Sacred vocal music,
Masses, Latin. Choral
Score. Composed circa
1775-1777. KV 258. 16
pages. Duration 20
minutes. Carus Verlag #CV
40.627/05. Published by
Carus Verlag
(CA.4062705).
ISBN
9790007084684. Key: C
major. Language:
Latin.
The
relatively unspectacular
nature of the Spaur Mass
may be one of the reasons
for the fact that writers
on music generally refer
to it only as a
peripheral work, a little
sister of Mozart's
important church works.
With regard to scoring,
the Spaur Mass belongs to
the category of the missa
solemnis, but its brevity
and its stylistic
character belong far more
to the missa brevis.
Unlike the Organ Solo
Mass KV 259, here the
soloistic element - both
instrumental and vocal -
is clearly integrated to
the background in favour
of the development of the
whole ensemble. Score
available separately -
see item CA.4062700.
Spaur Mass.
Composed by Wolfgang
Amadeus Mozart. Edited by
Bernhard Janz. Arranged
by Volker Blumenthaler.
This edition: urtext.
Stuttgart Urtext Edition:
Mozart. German title:
Missa In C Kv 258
(Spaur-Messe) Rev.2003.
Sacred vocal music,
Masses, Latin. Full
score. Composed circa
1775-1777. KV 258. 64
pages. Duration 20
minutes. Carus Verlag #CV
40.627/00. Published by
Carus Verlag
(CA.4062700).
ISBN
9790007089764. Key: C
major. Language:
Latin.
The
relatively unspectacular
nature of the Spaur Mass
may be one of the reasons
for the fact that writers
on music generally refer
to it only as a
peripheral work, a little
sister of Mozart's
important church works.
With regard to scoring,
the Spaur Mass belongs to
the category of the missa
solemnis, but its brevity
and its stylistic
character belong far more
to the missa brevis.
Unlike the Organ Solo
Mass KV 259, here the
soloistic element - both
instrumental and vocal -
is clearly integrated to
the background in favour
of the development of the
whole ensemble.
Spaur Mass.
Composed by Wolfgang
Amadeus Mozart. Edited by
Bernhard Janz. Arranged
by Volker Blumenthaler.
This edition: urtext.
Stuttgart Urtext Edition:
Mozart. German title:
Missa In C Kv 258
(Spaur-Messe) Rev.2003.
Sacred vocal music,
Masses, Latin. Single
Part, Violin 1. Composed
circa 1775-1777. KV 258.
8 pages. Duration 20
minutes. Carus Verlag #CV
40.627/11. Published by
Carus Verlag
(CA.4062711).
ISBN
9790007084707. Key: C
major. Language:
Latin.
The
relatively unspectacular
nature of the Spaur Mass
may be one of the reasons
for the fact that writers
on music generally refer
to it only as a
peripheral work, a little
sister of Mozart's
important church works.
With regard to scoring,
the Spaur Mass belongs to
the category of the missa
solemnis, but its brevity
and its stylistic
character belong far more
to the missa brevis.
Unlike the Organ Solo
Mass KV 259, here the
soloistic element - both
instrumental and vocal -
is clearly integrated to
the background in favour
of the development of the
whole ensemble. Score and
part available separately
- see item
CA.4062700.
Spaur Mass.
Composed by Wolfgang
Amadeus Mozart. Edited by
Bernhard Janz. Arranged
by Volker Blumenthaler.
This edition: urtext.
Stuttgart Urtext Edition:
Mozart. German title:
Missa In C Kv 258
(Spaur-Messe) Rev.2003.
Sacred vocal music,
Masses, Latin. Single
Part, Organ. Composed
circa 1775-1777. KV 258.
12 pages. Duration 20
minutes. Carus Verlag #CV
40.627/49. Published by
Carus Verlag
(CA.4062749).
ISBN
9790007084738. Key: C
major. Language:
Latin.
The
relatively unspectacular
nature of the Spaur Mass
may be one of the reasons
for the fact that writers
on music generally refer
to it only as a
peripheral work, a little
sister of Mozart's
important church works.
With regard to scoring,
the Spaur Mass belongs to
the category of the missa
solemnis, but its brevity
and its stylistic
character belong far more
to the missa brevis.
Unlike the Organ Solo
Mass KV 259, here the
soloistic element - both
instrumental and vocal -
is clearly integrated to
the background in favour
of the development of the
whole ensemble. Score and
part available separately
- see item
CA.4062700.
Solo singer, Mixed choir,
Orchestra (Soprano solo,
Alto solo, Tenor solo,
Bass solo (2), Mixed
choir (SATB), Western
concert flutes (2), Oboes
(2), Viola da gamba,
Violins (2), Viola,
Basses)
SKU:
BA.BA05938
Composed
by Johann Sebastian Bach.
Edited by Manuel
Bärwald. This edition:
urtext edition.
Paperback. Version II
(1725). Score. BWV 245.
Baerenreiter Verlag
#BA05938_00. Published by
Baerenreiter Verlag
(BA.BA05938).
ISBN
9790006543984. 31 x 24.3
cm inches. Language:
German. Preface:
Bärwald,
Manuel.
Unlike
Bach’s other
oratorio compositions,
there is no definitive
version of the St. John
Passion. The first
version of 1724 which is
today’s standard
version represents a
mixture of different
readings but it was not
performed like this in
Bach’s day. On the
other hand, the second
version of 1725 was
performed under the
direction of Bach himself
and can therefore be
considered authentic. In
addition to a change in
order of several
movements, the second
version differs from the
earlier version by the
use of the opening chorus
“O Mensch,
beweinâ€.
The
performance material
corresponds to the Urtext
edition of Version II
which was recently
published as part of the
“New Bach Edition
– Revisedâ€
(NBArev).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Urtext. Composed
by Johann Sebastian Bach.
Edited by Armin
Schneiderheinze. Stapled.
Orchester-Bibliothek
(Orchestral Library).
The aim of this
combined scholarly and
practical edition of the
Brandenburg Concerto is
to offer a state of the
art performance material
of this standard work of
Baroque music literature,
which satisfies the
practical needs of
performing artists.
Baroque period. Solo
part. 10 pages. Duration
21'. Breitkopf and
Haertel #OB 4064-05.
Published by Breitkopf
and Haertel
(BR.OB-4064-05).
ISBN
9790004303351. 10 x 12.5
inches.
The aim of
this combined scholarly
and practical edition of
the Brandenburg Concertos
is to offer a state of
the art performance
material of these
standard works of Baroque
music literature, which
satisfies the practical
needs of performing
artists.These new
editions were based on
surviving autographic
source material - some of
which, for the Fifth
Concerto for example, has
been taken into account
for the first time - and
the 'Neue Bach-Ausgabe'
(NBA). Moreover, they
also make use of relevant
18th-century theoretical
writings for editorial
additions and
observations on
performance
practice.(from the joint
preface to the Six
Brandenburg Concertos by
the Bach scholars Werner
Felix, Winfried Hoffmann
and Armin
Schneiderheinze).
Orchestra Soli SATB, SATB Choir, 2 Oboes ( Ob I auch Obda), Trumpet, Violin solo...(+)
Orchestra Soli SATB, SATB
Choir, 2 Oboes ( Ob I
auch Obda), Trumpet,
Violin solo, 2 Violins,
Viola, Viola da gamba,
Basso continuo - Grade 3
SKU: CA.3107649
Cantata for the 2nd
Sunday afer Trinity /
Reformation Day.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Arranged by Paul Horn.
Organ. Sacred vocal
music, Cantatas, Psalms,
German. Single Part,
Organ. Composed 1723. BWV
76. 32 pages. Duration 35
minutes. Carus Verlag #CV
31.076/49. Published by
Carus Verlag
(CA.3107649).
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 and
part available separately
- see item
CA.3107600.
Orchestra (Score) SKU: HL.14008392 Caroline Mathilde Act I (Concert Su...(+)
Orchestra (Score)
SKU:
HL.14008392
Caroline Mathilde Act
I (Concert Suite).
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Book
[Softcover]. Composed
1999. 74 pages. Chester
Music #CH60949. Published
by Chester Music
(HL.14008392).
ISBN
9780711936942.
The
story centres on the
English princess Caroline
Mathilde (1751-1775),
sister of George III, who
at the age of 15 was sent
to Denmark to marry the
17-year-old eccentric and
schizophrenic Danish
King, Christian VII. The
ballet portrays her
unhappy marriage, the
King's growing madness
and her fatal love-affair
with Struensee, the
King's influential
physician, which leads to
their arrest, his
execution and her exile,
at the age of 20,
separated from her two
young children. In
keeping with the period,
and perhaps also with the
traditions of Romantic
ballet, the music is
relatively simple in
harmony and form, and
most of the action is
conveyed in set-piece
dances. The suite, which
consists essentially of
the second half of Act I,
begins with one of these,
a bristling interplay of
wind and string ensembles
in D major, portraying in
the ballet a curious
nuptial game with the
king and princess on
movable pedestals. The
slow music that follows
has to do with the king's
healing by Dr. Struensee
and the new queen's
unquiet reverie (oboe and
cor anglais solos). Then
the suite, like the act,
is capped by a pair of
pas-de-deux, the first
savage and bizarre for
the royal couple, the
second rich and
passionate for the queen
and the miracle-working
doctor. Score
(miniature). Duration c.
25mins.
Orchestra solo voices,
SSAATTBB chorus, 2 Fl, 2
Ob, 2 Clt, 2 Fg, 2 Cor, 2
Tr, 3 Trb, Timp, 2 Vl,
Va, Vc, Cb - Grade 5
SKU: CA.2709424
Individual part, oboe
2. Composed by Anton
Bruckner. Edited by Felix
Loy. Individual part.
Composed 1893. WAB 28. 16
pages. Duration 60
minutes. Carus Verlag
#2709424. Published by
Carus Verlag
(CA.2709424).
Key: F
minor.
Latin.
Brucknerâ
™s mighty Mass in F
minor is one of his most
significant creations and
one of the great
19th-century choral
works. The composer
uniquely succeeds in
exploring faith through
the lens of music. In
doing so, he ventures
into extreme forms of
expression, which caused
some disgruntlement among
the musicians at
rehearsals for the
premiere in November
1868. In subsequent
years, however, the work
has gradually become more
accepted, and today
presents a highly
appealing challenge to
advanced choirs.
The Carus edition
presents the Mass in F
minor as the final 1893
version based on the
autograph and the
surviving copies from the
copyist. As an Urtext
edition it follows the
latest scholarly
standards ready for the
Bruckner anniversary year
in 2024!
Orchestra solo voices,
SSAATTBB chorus, 2 Fl, 2
Ob, 2 Clt, 2 Fg, 2 Cor, 2
Tr, 3 Trb, Timp, 2 Vl,
Va, Vc, Cb - Grade 5
SKU: CA.2709423
Individual part, oboe
1. Composed by Anton
Bruckner. Edited by Felix
Loy. Individual part.
Composed 1893. WAB 28. 16
pages. Duration 60
minutes. Carus Verlag
#2709423. Published by
Carus Verlag
(CA.2709423).
Key: F
minor.
Latin.
Brucknerâ
™s mighty Mass in F
minor is one of his most
significant creations and
one of the great
19th-century choral
works. The composer
uniquely succeeds in
exploring faith through
the lens of music. In
doing so, he ventures
into extreme forms of
expression, which caused
some disgruntlement among
the musicians at
rehearsals for the
premiere in November
1868. In subsequent
years, however, the work
has gradually become more
accepted, and today
presents a highly
appealing challenge to
advanced choirs.
The Carus edition
presents the Mass in F
minor as the final 1893
version based on the
autograph and the
surviving copies from the
copyist. As an Urtext
edition it follows the
latest scholarly
standards ready for the
Bruckner anniversary year
in 2024!
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Partitur-Bibliothek
(Score Library). Cantata;
Baroque. Full score. 52
pages. Duration 15'.
Breitkopf and Haertel #PB
32091. Published by
Breitkopf and Haertel
(BR.PB-32091).
ISBN
9790004215777. 9.5 x 12
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Here you will find
cadenzas to this work:
Andersen, 3 Cadenzas for
Mozart's Flute Concerto
No. 2 in D major K. 314
(285d). Solo concerto;
Classical. Part. 8 pages.
Duration 20'. Breitkopf
and Haertel #OB 5308-26.
Published by Breitkopf
and Haertel
(BR.OB-5308-26).
ISBN
9790004339992. 10 x 12.5
inches.
Mozart's
Flute Concerto K. 314
(285d) was most likely
derived from the Oboe
Concerto K. 314 (271k).
The decisive impulse for
the arrangement was
presumably provided by a
commission from the Dutch
flutist Ferdinand Dejean
in 1778. Any new edition
inevitably has to take a
very cautious approach,
as the source
transmission is thin:
only copies dating from
the 1790s have survived
for both versions, and
these copies clearly
differ from one another.
Moreover, it is nowhere
confirmed that Mozart
actually prepared the
flute version himself.
Henrik Wiese has worked
intensively with Mozart's
flute compositions as an
interpreter and
musicologist, and now
presents following his
new edition of the
Concerto K. 313 the
second solo concerto in
an Urtext edition. He has
once again supplied his
own cadenzas.Gut ein
Dutzend Ausgaben dieses
Konzerts durfen derzeit
erhaltlich sein, doch
diese hier ist etwas
besonderes. (Ursula
Pesek, Das
Orchester).
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Here you will find
cadenzas to this work:
Andersen, 3 Cadenzas for
Mozart's Flute Concerto
No. 2 in D major K. 314
(285d). Solo concerto;
Classical. Part. 8 pages.
Duration 20'. Breitkopf
and Haertel #OB 5308-16.
Published by Breitkopf
and Haertel
(BR.OB-5308-16).
ISBN
9790004339978. 10 x 12.5
inches.
Mozart's
Flute Concerto K. 314
(285d) was most likely
derived from the Oboe
Concerto K. 314 (271k).
The decisive impulse for
the arrangement was
presumably provided by a
commission from the Dutch
flutist Ferdinand Dejean
in 1778. Any new edition
inevitably has to take a
very cautious approach,
as the source
transmission is thin:
only copies dating from
the 1790s have survived
for both versions, and
these copies clearly
differ from one another.
Moreover, it is nowhere
confirmed that Mozart
actually prepared the
flute version himself.
Henrik Wiese has worked
intensively with Mozart's
flute compositions as an
interpreter and
musicologist, and now
presents following his
new edition of the
Concerto K. 313 the
second solo concerto in
an Urtext edition. He has
once again supplied his
own cadenzas.Gut ein
Dutzend Ausgaben dieses
Konzerts durfen derzeit
erhaltlich sein, doch
diese hier ist etwas
besonderes. (Ursula
Pesek, Das
Orchester).
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Stapled.
Partitur-Bibliothek
(Score Library). Here you
will find cadenzas to
this work: Andersen, 3
Cadenzas for Mozart's
Flute Concerto No. 2 in D
major K. 314 (285d). Solo
concerto; Classical.
Study Score. 48 pages.
Duration 20'. Breitkopf
and Haertel #PB 5525-07.
Published by Breitkopf
and Haertel
(BR.PB-5525-07).
ISBN
9790004212547. 6.5 x 9
inches.
Mozart's
Flute Concerto K. 314
(285d) was most likely
derived from the Oboe
Concerto K. 314 (271k).
The decisive impulse for
the arrangement was
presumably provided by a
commission from the Dutch
flutist Ferdinand Dejean
in 1778. Any new edition
inevitably has to take a
very cautious approach,
as the source
transmission is thin:
only copies dating from
the 1790s have survived
for both versions, and
these copies clearly
differ from one another.
Moreover, it is nowhere
confirmed that Mozart
actually prepared the
flute version himself.
Henrik Wiese has worked
intensively with Mozart's
flute compositions as an
interpreter and
musicologist, and now
presents following his
new edition of the
Concerto K. 313 the
second solo concerto in
an Urtext edition. He has
once again supplied his
own cadenzas.Gut ein
Dutzend Ausgaben dieses
Konzerts durfen derzeit
erhaltlich sein, doch
diese hier ist etwas
besonderes. (Ursula
Pesek, Das
Orchester)
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Here you will find
cadenzas to this work:
Andersen, 3 Cadenzas for
Mozart's Flute Concerto
No. 2 in D major K. 314
(285d). Solo concerto;
Classical. Part. 8 pages.
Duration 20'. Breitkopf
and Haertel #OB 5308-19.
Published by Breitkopf
and Haertel
(BR.OB-5308-19).
ISBN
9790004339985. 10 x 12.5
inches.
Mozart's
Flute Concerto K. 314
(285d) was most likely
derived from the Oboe
Concerto K. 314 (271k).
The decisive impulse for
the arrangement was
presumably provided by a
commission from the Dutch
flutist Ferdinand Dejean
in 1778. Any new edition
inevitably has to take a
very cautious approach,
as the source
transmission is thin:
only copies dating from
the 1790s have survived
for both versions, and
these copies clearly
differ from one another.
Moreover, it is nowhere
confirmed that Mozart
actually prepared the
flute version himself.
Henrik Wiese has worked
intensively with Mozart's
flute compositions as an
interpreter and
musicologist, and now
presents following his
new edition of the
Concerto K. 313 the
second solo concerto in
an Urtext edition. He has
once again supplied his
own cadenzas.Gut ein
Dutzend Ausgaben dieses
Konzerts durfen derzeit
erhaltlich sein, doch
diese hier ist etwas
besonderes. (Ursula
Pesek, Das
Orchester).
SATB Choir [2 Ob], 2 Ctr, 2 Tr, Timp, 2 Vl, Org e Bassi SKU: CA.5408709 C...(+)
SATB Choir [2 Ob], 2 Ctr,
2 Tr, Timp, 2 Vl, Org e
Bassi
SKU:
CA.5408709
Composed
by Michael Haydn. Edited
by Armin Kircher. 1x
54.087/21 oboe 1, 1x
54.087/22 oboe 2, 1x
54.087/31 clarino 1, 1x
54.087/32 clarino 2, 1x
54.087/33 trumpet 1, 1x
54.087/34 trumpet 2, 1x
54.087/41 timpani.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Harmony parts. Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. MH 87. Duration 17
minutes. Carus Verlag #CV
54.087/09. Published by
Carus Verlag
(CA.5408709).
Language:
Latin.
Michael
Haydn composed three of
his masses in honor of
the holy archangels - St
Michael, St Gabriel, and
the Raphaelismesse in
honor of St Raphael now
published. By avoiding
the use of vocal
soloists, it is one of
the genre of Missa in
pieno. Four trumpets and
two ad lib oboe parts
added later by the
composer give the work a
festive sound in the
baroque tradition. At the
same time, elements of
the 'sensitive style'
feature too. The Gloria
and Credo exist in two
settings, a short version
with polytextual passages
and a longer version
arranged by Haydn
himself. The Carus
edition, based on
authentic performance
material in St. Peter's
Monastery in Salzburg,
contains both versions,
with the longer version
published here for the
first time. Score and
parts available
separately - see item
CA.5408700.
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-30. Published by
Breitkopf and Haertel
(BR.OB-32091-30).
ISBN
9790004351277. 0 x 0
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-15. Published by
Breitkopf and Haertel
(BR.OB-32091-15).
ISBN
9790004351222. 0 x 0
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-16. Published by
Breitkopf and Haertel
(BR.OB-32091-16).
ISBN
9790004351239. 0 x 0
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-26. Published by
Breitkopf and Haertel
(BR.OB-32091-26).
ISBN
9790004351260. 0 x 0
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-20. Published by
Breitkopf and Haertel
(BR.OB-32091-20).
0 x
0 inches.
The date
of composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-11. Published by
Breitkopf and Haertel
(BR.OB-32091-11).
ISBN
9790004351215. 0 x 0
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-19. Published by
Breitkopf and Haertel
(BR.OB-32091-19).
ISBN
9790004351246. 0 x 0
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Composed by
Chris Ferguson. Beginning
Band (BPS). Set of Score
and Parts. With Standard
notation.
8+2+8+2+5+2+2+8+3+6+3+1+1
+2+1+16+2 pages. Duration
1:43. Carl Fischer Music
#BPS120. Published by
Carl Fischer Music
(CF.BPS120).
ISBN
9781491152065. UPC:
680160909568.
An
exceptionally clever
idea, to combine the
standard bugle calls into
an easy march for
beginning students.Â
It is something they
already know, and can be
successful on right
away. We are
delighted to welcome
composer/educator Chris
Ferguson to the Carl
Fischer catalog. He
brings a wealth of
experience working with
beginners that has
translated into this
wonderful new march for
young
students. Reveille
March is inspired by the
bugle calls found
throughout military
history.The “Rev
eille†call is the
signal used to awaken the
troops for morning roll
call and accompanies the
raising of the
flag. At the
conductor’s
discretion, the soli
sections (measures 29 and
37) may also be performed
as solos in reference to
the traditional solo
bugle call.“To the
Color†(measure 49)
is used to signal the end
of a soldier’s
day. It is also used when
a full band is not
available to render
honors and commands all
the same courtesies as
our National Anthem.
Composed
by Chris Ferguson.
Beginning Band (BPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #BPS120F.
Published by Carl Fischer
Music (CF.BPS120F).
ISBN 9781491152744.
UPC:
680160910243.
An
exceptionally clever
idea, to combine the
standard bugle calls into
an easy march for
beginning students.Â
It is something they
already know, and can be
successful on right
away. We are
delighted to welcome
composer/educator Chris
Ferguson to the Carl
Fischer catalog. He
brings a wealth of
experience working with
beginners that has
translated into this
wonderful new march for
young
students. Reveille
March is inspired by the
bugle calls found
throughout military
history.The “Rev
eille†call is the
signal used to awaken the
troops for morning roll
call and accompanies the
raising of the
flag. At the
conductor’s
discretion, the soli
sections (measures 29 and
37) may also be performed
as solos in reference to
the traditional solo
bugle call.“To the
Color†(measure 49)
is used to signal the end
of a soldier’s
day. It is also used when
a full band is not
available to render
honors and commands all
the same courtesies as
our National Anthem.
Score and Parts flute (also Piccolo), oboe, clarinet in Bb, horn, bassoon and pi...(+)
Score and Parts flute
(also Piccolo), oboe,
clarinet in Bb, horn,
bassoon and piano -
advanced
SKU:
HL.49045997
For
Woodwind Quintet and
Piano Score and
Parts. Composed by
Pierre Jalbert. Sheet
music. Edition Schott.
Softcover. Composed 2018.
92 pages. Duration 21'.
Schott Music #ED30173.
Published by Schott Music
(HL.49045997).
ISBN
9781540033918. UPC:
888680787004.
9.5x12.0x0.681
inches.
Wind Dances
is in seven short
contrasting movements,
each containing
dance-like rhythms, both
slow and fast. Having two
sons who both play the
clarinet, I've heard many
a woodwind quintet, so
I've been wanting to
write for the medium for
quite a while. In this
instance, I also added my
own instrument, the
piano.The work opens with
a fast movement
containing driving
rhythms in the winds,
which are then answered
by the piano. The second
movement features
colorful effects in the
winds and piano (slap
tongue, air sounds, muted
tones) leading to a long
extended lyrical line,
gradually orchestrated to
involve all the winds.
The third movement is a
dynamic scherzo, with a
separate middle section
similar to a traditional
Trio section. The slowly
unfolding fourth movement
is the longest of the
piece and anchors the
middle of the work. The
fifth movement is a kind
of echo of the third
movement, though this
time the dynamic scherzo
is high and light, rather
than low and dark. The
sixth movement is related
to the second movement,
and is basically a solo
cadenza for the clarinet,
with a few
accompanimental gestures
in the piano. The seventh
and final movement
reprises material from
the first movement, this
time with new and driving
dance-like gestures
added.- Pierre
Jalbert.
SKU: HL.48024944 Trumpet and Piano. Composed by Jonathan Freeman-A...(+)
SKU: HL.48024944
Trumpet and Piano.
Composed by Jonathan
Freeman-Attwood and
Thomas Oehler. Boosey &
Hawkes Chamber Music.
Softcover. 114 pages.
Boosey & Hawkes
#M060136528. Published by
Boosey & Hawkes
(HL.48024944).
ISBN
9781784545543. UPC:
840126946819.
9.25x12.0x0.337
inches.
If there
was ever a composer in
the modern era from whom
instrumentalists would
hanker for a sonata or
concerto, Richard Strauss
must be right up there.
His wide-ranging
orchestral and operatic
creations bleed with
gloriously idiomatic
writing for every
instrument, and yet only
the piano, violin,
clarinet (in tandem with
the bassoon), oboe and
horn can really claim to
have bespoke solo works
from the composer's
seamlessly productive
pen, and collectively
they form only a small
proportion of the
composer's output. No
mere transcription, this
three-movement Sonata
after Richard Strauss
extends well beyond a
redeployment of the
composer's music to fit a
new idiom, filling the
gaping chasm of 'serious'
late-Romantic recital
material for trumpet
players, to be performed
in toto or as Drei
Konzertstücke. Thomas
Oehler and Jonathan
Freeman-Attwood have
drawn on a wide range of
Strauss's works to create
the new offering,
including the Violin
Sonata, Von den
Hinterweltlern (Also
sprach Zarathustra), the
Serenade for Winds ('From
an invalid's workshop')
and Zerbinetta's Aria
(Ariadne auf Naxos).