Organ (solos: SSAB - choir: SSATB - 0.0.0.0 - 0.2.3.0 - timp - str - bc) SKU:...(+)
Organ (solos: SSAB -
choir: SSATB - 0.0.0.0 -
0.2.3.0 - timp - str -
bc)
SKU:
BR.OB-32093-11
Cantata for Easter –
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Chorus.
Orchester-Bibliothek
(Orchestral Library).
Baroque/Cantata.
Indvidual part. Duration
10'. Breitkopf and
Haertel #OB 32093-11.
Published by Breitkopf
and Haertel
(BR.OB-32093-11).
ISBN
9790004351826. 10 x 12.5
inches.
The cantata
Es steh Gott auf is
intended for Easter. The
editor was able to
identify a poem by
Christian Weise
(1642–1708), which has
received little attention
to date, as the source
text. Kuhnau was in close
contact with Weise in
Zittau, so the cantata
could have been written
in direct chronological
connection with the
printing of the original
text in 1682. However,
the earliest date of
performance noted on the
title page of the cantata
is only 1703 in Grimma,
thus already in his time
as Thomaskantor (from
1701). On the other hand,
no further church music
contributions are
documented from this
early period of his
tenure, and such a large
gap to the origin of the
text seems unlikely.
The cantata is well
suited for use in church
services because of its
short length and
not-too-large
instrumentation. Through
the transmission in the
form of a set of parts,
the participation of
ripieno singers, which
can be taken over by a
choir, is also
proven.
Violin and basso continuo (V/KL) - intermediate SKU: HL.49031790 Composed...(+)
Violin and basso continuo
(V/KL) - intermediate
SKU: HL.49031790
Composed by Kirchhoff.
Edited by Walter Serauky.
Arranged by Ludwig Bus.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. 84 pages. Schott
Music #ED 5061. Published
by Schott Music
(HL.49031790).
ISBN
9790001132381.
9.0x12.0x0.24
inches.
Kirchhoff
was born in Muhlbeck
(near Bitterfeld) in 1685
and died in Halle in
1746. He was (like
Handel) a pupil of Zachov
and in 1714 became
Zachov's successor as
organist and Director
Musices at the
Marienkirche in Halle.
His violin sonatas, which
were praised by Leopold
Mozart, are very well
suited for use in
teaching the violin, as
they are skilfully
structured around the
capabilities of the
instrument. Especially
recommended for friends
of baroque violin
music.
Chorus (with soloists)
and orchestra (solos:
SATB - 0.0.0.0. -
0.0.0.0. - 2 cornetts ad
lib. - str - bc)
SKU:
BR.PB-32034
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Partitur-Bibliothek
(Score Library). Cantata;
Baroque. Full score.
Duration 9'. Breitkopf
and Haertel #PB 32034.
Published by Breitkopf
and Haertel
(BR.PB-32034).
ISBN
9790004215678. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Wind parts (solos: SSAB - choir: SSATB - 0.0.0.0 - 0.2.3.0 - timp - str - bc) (+)
Wind parts (solos: SSAB -
choir: SSATB - 0.0.0.0 -
0.2.3.0 - timp - str -
bc)
SKU:
BR.OB-32093-30
Cantata for Easter –
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Chorus.
Orchester-Bibliothek
(Orchestral Library).
Baroque/Cantata. Set of
parts. Duration 10'.
Breitkopf and Haertel #OB
32093-30. Published by
Breitkopf and Haertel
(BR.OB-32093-30).
ISBN
9790004351864. 10 x 12.5
inches.
The cantata
Es steh Gott auf is
intended for Easter. The
editor was able to
identify a poem by
Christian Weise
(1642–1708), which has
received little attention
to date, as the source
text. Kuhnau was in close
contact with Weise in
Zittau, so the cantata
could have been written
in direct chronological
connection with the
printing of the original
text in 1682. However,
the earliest date of
performance noted on the
title page of the cantata
is only 1703 in Grimma,
thus already in his time
as Thomaskantor (from
1701). On the other hand,
no further church music
contributions are
documented from this
early period of his
tenure, and such a large
gap to the origin of the
text seems unlikely.
The cantata is well
suited for use in church
services because of its
short length and
not-too-large
instrumentation. Through
the transmission in the
form of a set of parts,
the participation of
ripieno singers, which
can be taken over by a
choir, is also
proven.
Violin and basso continuo (V/KL) - intermediate SKU: HL.49031789 Composed...(+)
Violin and basso continuo
(V/KL) - intermediate
SKU: HL.49031789
Composed by Kirchhoff.
Edited by Walter Serauky.
Arranged by Ludwig Bus.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. 92 pages. Schott
Music #ED 5060. Published
by Schott Music
(HL.49031789).
ISBN
9790001132374.
9.0x12.0x0.253
inches.
Kirchhoff
was born in Muhlbeck
(near Bitterfeld) in 1685
and died in Halle in
1746. He was (like
Handel) a pupil of Zachov
and in 1714 became
Zachov's successor as
organist and Director
Musices at the
Marienkirche in Halle.
His violin sonatas, which
were praised by Leopold
Mozart, are very well
suited for use in
teaching the violin, as
they are skilfully
structured around the
capabilities of the
instrument. Especially
recommended for friends
of baroque violin
music.
Guitar SKU: SP.TS348 Composed by Robert Tarchara. Collection; Classical. ...(+)
Guitar
SKU:
SP.TS348
Composed by
Robert Tarchara.
Collection; Classical.
Book and CD. Santorella
Publications #TS348.
Published by Santorella
Publications (SP.TS348).
ISBN
9781585607327.
Clas
sical Masterpieces for
Fingerstyle Guitar is a
rare compilation of
carefully selected
masterworks from the
Baroque, Classical, and
Romantic periods arranged
for Classical Guitar.
While there are many
collections which feature
lesser-known works for
Classical Guitar, we
believe none comes close
to our complete
collection of these most
well-known and beloved
works created by the
greatest composers that
ever lived. These great
works of the masters from
the 17th, 18th, and 19th
centuries have stood the
test of time as they
continue to be revered to
this day. Classical
Masterpieces for
Fingerstyle Guitar
eliminates the need for
multiple teaching
resources and musical
supplements, since many
of the greatest pieces
ever written are now
contained in this one
outstanding publication.
Each piece has been
carefully transcribed and
specifically arranged in
a classic style perfectly
suited for guitar.
Extreme care was given in
the choice of key
signatures and fingering
demands of the left-hand,
with a careful focus on
understanding octave
ranges, and placement of
page turns in order to
make every arrangement
extremely playable. The
recording that
accompanies this book is
performed by one of the
greatest classical
guitarists working in the
Miami area today. We are
confident that you will
be impressed by the
performance, but even
more so by the
exceptional work of the
arrangers and editors
involved in making this
recital collection. It is
truly the only curriculum
choice for every one of
your students today, and
for many years to
come.
Organ (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc) SKU...(+)
Organ (solos: SATB -
0.0.0.0. - 0.0.0.0. - 2
cornetts ad lib. - str -
bc)
SKU:
BR.OB-32034-11
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-11. Published by
Breitkopf and Haertel
(BR.OB-32034-11).
ISBN
9790004350881. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
For single or
multi-level string
orchestra. Composed
by Brian Balmages.
Series; String Orchestra.
FJH Beginning Strings.
Score. The FJH Music
Company Inc #98-ST6546S.
Published by The FJH
Music Company Inc
(FJ.ST6546S).
English.
So many
performance options and
combinations! Equally
suited as an opener or
closer, this
Baroque-meets-contemporar
y festival-style work has
exceptional performance
flexibility as a
multi-level OR
single-level work! Play
it entirely as a grade 2
or play it as a grade 1.
Additionally, both may be
combined, and directors
can add the grade ½
parts, which are based on
open strings and limited
first finger. Innovative
and exciting!
About FJH
Beginning
Strings
Ap
propriate for first year
string students. All
instruments stay in first
position, and optional
third violin (viola)
parts and piano are
included to aid in
rehearsal and performance
situations. Grade 1 -
1.5
Cello Series, 2013
Edition. Composed by
The Royal Conservatory.
Cello Series, 2013
Edition. Book/CD. The
Frederick Harris Music
Company #VC2. Published
by The Frederick Harris
Music Company (FH.VC2).
ISBN
978-1-55440-538-1.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Baroque and
Classical
Repertoire: Chaconne -
Handel, George Frideric
arr. Peter Heilbut Un
ballo (A Ball) -
Steibelt, Daniel arr.
Eugen Rapp Schwedisch
(Swedish) - Romberg,
Bernhard arr. Percy
Such When I Am Laid in
Earth (from Dido and
Aeneas) - Purcell,
Henry Concertino No. 4
in C Major, op. 22 -
Breval, Jean-Baptiste
arr. L.-R.
Feuillard Ombra mai fu
(Never Was a Shade)
Handel, George Frideric
arr. Gaston
Borch Traditional and
Romantic
Repertoire: The Joker,
op. 126b, no. 3 -
Grechaninov,
Alexandr Anitra's
Dance - Grieg, Edvard
arr. Ann Lindsay She's
Like the Swallow -
Canadian folk song arr.
Forrest Kinney Joyeuse
(Joyful) - Squire,
William Henry After
the Bass Is Over -
Harris, Charles K. arr.
Pat Legg and Alan
Gout Repertoire
Composed after ca
1930: Hen and Rooster
- Konicek,
Zdenek Latin Nights -
Blackwell, David and
Kathy
Blackwell Running of
the Bulls - Cheney,
Elliott W. Wrist Watch
- Birston,
Harold Sunday Drag -
Perry, Anita
D. Soft-Shoe Dance -
Reubart, Dale For a
Blue Note - Allerme,
Jean-Marc.
Cantata for Easter –
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Chorus.
Orchester-Bibliothek
(Orchestral Library).
Baroque/Cantata.
Indvidual part. Duration
10'. Breitkopf and
Haertel #OB 32093-16.
Published by Breitkopf
and Haertel
(BR.OB-32093-16).
ISBN
9790004351840. 10 x 12.5
inches.
The cantata
Es steh Gott auf is
intended for Easter. The
editor was able to
identify a poem by
Christian Weise
(1642–1708), which has
received little attention
to date, as the source
text. Kuhnau was in close
contact with Weise in
Zittau, so the cantata
could have been written
in direct chronological
connection with the
printing of the original
text in 1682. However,
the earliest date of
performance noted on the
title page of the cantata
is only 1703 in Grimma,
thus already in his time
as Thomaskantor (from
1701). On the other hand,
no further church music
contributions are
documented from this
early period of his
tenure, and such a large
gap to the origin of the
text seems unlikely.
The cantata is well
suited for use in church
services because of its
short length and
not-too-large
instrumentation. Through
the transmission in the
form of a set of parts,
the participation of
ripieno singers, which
can be taken over by a
choir, is also
proven.
Cantata for Easter –
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Chorus.
Orchester-Bibliothek
(Orchestral Library).
Baroque/Cantata.
Indvidual part. Duration
10'. Breitkopf and
Haertel #OB 32093-26.
Published by Breitkopf
and Haertel
(BR.OB-32093-26).
ISBN
9790004351857. 10 x 12.5
inches.
The cantata
Es steh Gott auf is
intended for Easter. The
editor was able to
identify a poem by
Christian Weise
(1642–1708), which has
received little attention
to date, as the source
text. Kuhnau was in close
contact with Weise in
Zittau, so the cantata
could have been written
in direct chronological
connection with the
printing of the original
text in 1682. However,
the earliest date of
performance noted on the
title page of the cantata
is only 1703 in Grimma,
thus already in his time
as Thomaskantor (from
1701). On the other hand,
no further church music
contributions are
documented from this
early period of his
tenure, and such a large
gap to the origin of the
text seems unlikely.
The cantata is well
suited for use in church
services because of its
short length and
not-too-large
instrumentation. Through
the transmission in the
form of a set of parts,
the participation of
ripieno singers, which
can be taken over by a
choir, is also
proven.
Easy pieces to play together 2 Treble Recorders. Edited by Elisabeth Kretsch...(+)
Easy pieces to play
together
2 Treble Recorders.
Edited by
Elisabeth Kretschmann.
Woodwind. Classical.
Softcover. 68 pages.
Schott
Music #ED23018. Published
by
Schott Music
Clavecimbal SKU: BT.ALHE33876 Composed by Richard Siegel. Book Only. 64 p...(+)
Clavecimbal
SKU:
BT.ALHE33876
Composed
by Richard Siegel. Book
Only. 64 pages. Heugel &
Cie #ALHE33876. Published
by Heugel & Cie
(BT.ALHE33876).
French.
Richard
Siegel won prizes for the
Harpsichord and Chamber
Music at the Paris
Conservatoire before
going on the win first
prize in the 1977
International Harpsichord
Competition. He has since
recorded over 30 CDs and
his passionfor the
instrument has been
apparent further in his
production of Learn to
Play the Harpsichord. As
stated in the preface,
the study of the
Harpsichord has long been
reserved, frequently
dismissed as an
'old-fashioned'instrument
. However, a recent rise
in the popularity of
early music has rekindled
interest in it. In Learn
to Play the Harpsichord
Volume 2 being the second
of two helpful volumes to
aid student's learning
and progression,
Siegelenables Harpsichord
beginners to learn
through repertoire pieces
themselves, drawn from
the Keyboard masters of
the Baroque period. The
pupil will be guided
towards an understanding
of technique and style
suited to theHarpsichord.
Furthermore, Learn to
Play the Harpsichord
enables adults who learnt
the instrument as a child
to return to the
instrument and have the
instant feeling of music
making.
Harpsichord SKU: HL.48188975 Composed by Richard Siegel. Leduc. Softcover...(+)
Harpsichord
SKU:
HL.48188975
Composed
by Richard Siegel. Leduc.
Softcover. 64 pages.
Heugel and Cie #HE33876.
Published by Heugel and
Cie (HL.48188975).
UPC: 888680948825.
9x12 inches.
French.
?Richard
Siegel won prizes for the
Harpsichord and Chamber
Music at the Paris
Conservatoire before
going on the win first
prize in the 1977
International Harpsichord
Competition. He has since
recorded over 30 CDs and
his passion for the
instrument has been
apparent further in his
production of Learn to
Play the Harpsichord. As
stated in the preface,
the study of the
Harpsichord has long been
reserved, frequently
dismissed as an
'old-fashioned'
instrument. However, a
recent rise in the
popularity of early music
has rekindled interest in
it. In Learn to Play the
Harpsichord Volume 2
being the second of two
helpful volumes to aid
student's learning and
progression, Siegel
enables Harpsichord
beginners to learn
through repertoire pieces
themselves, drawn from
the Keyboard masters of
the Baroque period. The
pupil will be guided
towards an understanding
of technique and style
suited to the
Harpsichord. Furthermore,
Learn to Play the
Harpsichord enables
adults who learnt the
instrument as a child to
return to the instrument
and have the instant
feeling of ??music
making??. andrdquo.
Guitars solo (original scoring: org) SKU: BR.EB-8225 Composed by Johann S...(+)
Guitars solo (original
scoring: org)
SKU:
BR.EB-8225
Composed
by Johann Sebastian Bach.
Edited by Ansgar Krause.
Arranged by Ansgar
Krause. Solo instruments;
Softcover. Edition
Breitkopf. Sonata;
Baroque. Score. 24 pages.
Breitkopf and Haertel #EB
8225. Published by
Breitkopf and Haertel
(BR.EB-8225).
ISBN
9790004175620. 9 x 12
inches.
This Trio
Sonata has been drawn
from the collection of
six sonatas a 2 Clav. et
Ped. BWV 525 - 530, which
are generally considered
as organ works. The work
is not only well suited
for a guitar
transcription because of
its charming concertante
elements, but also
because of the many
harmonic and chordal
figures that are so
idiomatic to the guitar.
(...) My aim in this
arrangement was to
produce a guitar piece in
which the individual
parts are, as much as
possible, autonomous and
of equal value. (...)
Krefeld, Fall 1989 Ansgar
Krause.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-20. Published by
Breitkopf and Haertel
(BR.OB-32034-20).
ISBN
9790004350928. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
For 2 Alto Saxophones Performance Score. Composed by Various. Edited by Ulri...(+)
For 2 Alto Saxophones
Performance Score.
Composed
by Various. Edited by
Ulrich
Junk. This edition:
Saddle
stitching. Sheet music.
Woodwind. Leichte Stucke
fur
2 Alt-Saxophone.
Performance
score. 72 pages. Schott
Music #ED 23306.
Published
by Schott Music
SKU: GI.G-10291 Composed by Anthony J Cirone & Tammy Chen. Music Educatio...(+)
SKU: GI.G-10291
Composed by Anthony J
Cirone & Tammy Chen.
Music Education. 48
pages. GIA Publications
#10291. Published by GIA
Publications
(GI.G-10291).
ISBN
9781574635317.
Alth
ough many of the greatest
composers from the
Baroque, Classical, and
Romantic periods did not
write for marimba, their
works are still available
and are perfectly suited
for this instrument. Many
of these works were
written for violin and
contain bowings and
fingerings that assist in
the stylistic
interpretation for violin
but do not apply to
marimba. To that end,
Tammy Chen has arranged a
collection of outstanding
pieces that work
perfectly for marimba. To
aid the performer in
developing a musical
interpretation of these
master works, she added
stylistic markings
including phrasing,
articulations and musical
directives. Below are the
compositions included
from the Violin Sonatas
and Partitas by one of
the world’s
greatest composers,
Johann Sebastian Bach.
Giga from Partita No. 3
Double #1 from Partita
No. 1 Giga from Partita
No. 2 Presto from Sonata
No. 1 Allegro from Sonata
No. 2 Allemanda from
Partita No. 2 Preludio
from Partita No. 3
Allegro Assai from Sonata
No. 3 Menuetto I. from
Partita No. 3 Menuetto
II. From Partita No. 3
Corrente from Partita No.
1 BourrÑe from Partita
No. 3 BourrÑe from
Partita No. 1 Gavotte en
Rondeau from Partita No.
3 Corrente from Partita
No. 2 Largo from Sonata
No. 3 Double #2 from
Partita No. 1 Double #4
from Partita No. 1
Sarabanda from Partita
No. 2 Double #3 from
Partita No. 1 Fuga from
Sonata No. 1 Andante from
Sonata No. 2 Cantabile
from Sonata No. 1
Siciliano from Sonata No.
1 Ciaccona from Partita
No. 2 Learn more about
this new resource from
the authors in this short
video below: Â .
Cello Series, 2013
Edition. Composed by
The Royal Conservatory.
Cello Series, 2013
Edition. Book/CD. The
Frederick Harris Music
Company #VC1. Published
by The Frederick Harris
Music Company (FH.VC1).
ISBN
978-1-55440-537-4.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Baroque and
Classical
Repertoire: Menuet and
Trio, W.O 10, no. 3 -
Beethoven, Ludwig van
arr. Watson
Forbes Rondeau (from
The Fairy Queen) -
Purcell, Henry arr.
Watson
Forbes Sarabande -
Handel, George Frideric
arr. Jason
Noble Andante grazioso
- Mozart, Wolfgang
Amadeus arr. Jason
Gray Hornpipe a
l'Inglese - Galliard,
John Ernest arr.
Christine
Donkin Vittoria, mio
core! - Carissimi,
Giacomo arr. Christine
Donkin Traditional and
Romantic
Repertoire: Tambourin
- Rameau, Jean-Philippe
arr. Christine
Donkin All the Pretty
Little Horses - American
lullaby arr. Jason
Gray Barbara Allen -
British folk song arr.
Forrest Kinney Simple
Gifts - Brackett, Joseph
Jr. arr. Forrest
Kinney March (from The
Nutcracker) -
Tchaikovsky, Pyotr
Il'yich arr. Jason
Noble Londonderry Air
- Irish folk song arr.
Forrest
Kinney Repertoire
Composed After ca
1930: A Little Child's
Dance - Konicek,
Zdenek ...I Say
Ca-rib-'be-an - Birston,
Harold Sonata da
camera - Matz,
Rudolf - First
Movement: Adagio -
Fourth Movement: Allegro
vivace Grab the
Slippery Toad! - Lumsden,
Caroline and Ben
Attwood Hungarian
Stomp - Wedgwood,
Pam Budapesto -
Cheney, Carey Wild
West - Blackwell, David
and Kathy
Blackwell Livi's Blues
- Cheney, Elliott W.
Easy Pieces to Play Together 2 Descant Recorders. Edited by Elisabeth Kretsc...(+)
Easy Pieces to Play
Together
2 Descant Recorders.
Edited
by Elisabeth Kretschmann.
Woodwind. Classical.
Softcover. 64 pages.
Schott
Music #ED23017. Published
by
Schott Music
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-26. Published by
Breitkopf and Haertel
(BR.OB-32034-26).
ISBN
9790004350935. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Minuetto No. 1-3 (for
SATBar Saxophone
Quartet). Composed by
Antonio Domenico Puccini.
Arranged by Christoph
Enzel. Masterworks;
Quartet; Solo Small
Ensembles; Woodwind -
Saxophone Quartet.
Advance Music. Masterwork
Arrangement; Romantic.
Score and Part(s).
Advance Music
#01-ADV7418. Published by
Advance Music
(AP.1-ADV7418).
UPC:
805095074185.
English.
These
bright and cheerful
pieces draw from the
great traditions of
Baroque music and are
well-suited to the SATB
saxophone quartet.
SATB vocal soli, SATB choir, organ SKU: CA.9126605 Composed by Johann Ern...(+)
SATB vocal soli, SATB
choir, organ
SKU:
CA.9126605
Composed
by Johann Ernst Eberlin.
Edited by Armin Kircher.
Missa In B (Sti Jacobi).
Sacred vocal music,
Masses, Latin. Choral
Score. Composed 2011. 12
pages. Carus Verlag #CV
91.266/05. Published by
Carus Verlag
(CA.9126605).
ISBN
9790007095598. Language:
Latin.
Johann Ernst
Eberlin composed over 40
masses. From Salzburg
they were widely
disseminated in southern
Germany, Austria, and
Bohemia. Eberlin's Mass
in B flat was skillfully
arranged for every day
use at the monastery in
Seitensteeen; thus this a
work which, due to its
brevity and musical
qualities, is ideally
suited for the
celebration of the Mass.
A beautifully sounding
continuo mass in a free,
concertante style, marked
by the joy of baroque
music making. Score
available separately -
see item CA.9126600.
Chorus and piano (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str -...(+)
Chorus and piano (solos:
SATB - 0.0.0.0. -
0.0.0.0. - 2 cornetts ad
lib. - str - bc)
SKU:
BR.EB-32034
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled. Edition
Breitkopf. Cantata;
Baroque. Piano/Vocal
Score. Duration 9'.
Breitkopf and Haertel #EB
32034. Published by
Breitkopf and Haertel
(BR.EB-32034).
ISBN
9790004186398. 7.5 x 10.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-16. Published by
Breitkopf and Haertel
(BR.OB-32034-16).
ISBN
9790004350904. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Cantata for Easter -
Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 9'.
Breitkopf and Haertel #OB
32034-54. Published by
Breitkopf and Haertel
(BR.OB-32034-54).
ISBN
9790004350966. 10 x 12.5
inches.
The cantata
Christ lag in
Todes-Banden is a mixed
chorale cantata that sets
the first and last verses
of the corresponding
Luther chorale verbatim,
but the other movements
in free poetry based on
the content of the
chorale. The time of
composition cannot be
clearly determined, but
at the end of the copy
that serves as the basis
for the edition, there is
a date of January 1693.
According to this, the
composition was written
before 1693 and thus well
before Johann Kuhnau took
up his post as
Thomaskantor in Leipzig
(1701). The use of two
cornetti is also a
parallel to the cantata
Lobe den Herren, meine
Seele(PB 32091), whose
composition can be linked
to Kuhnau's stay in
Zittau. The two parts
marked Cornett are only
in the first two
movements of the cantata;
in the further course, a
collaparte lead would be
possible, but cannot be
proven. In principle,
according to the source,
the two cornett parts can
also be played by
violins. The title page
also notes the
possibility of adding
ripieno singers, i.e. a
choir, in the
non-soloistic
movements.The cantata,
according to its text
intended for Easter, is
very well suited for use
in church services with
its small size and
flexible scoring.
Basso Continuo; Cello
(Score & Parts) - easy to
intermediate
SKU:
HL.49044745
For
Cello and Basso
Continuo. Composed by
Stephen Paxton. Edited by
Rainer Mohrs. This
edition: Saddle
stitching. Sheet music.
String Solo. Classical,
Contemporary. Softcover.
Op. 3/3. 20 pages. Schott
Music #CB280. Published
by Schott Music
(HL.49044745).
ISBN
9790001202992. UPC:
841886024939.
9.25x12.0x0.077
inches.
Stephen
Paxton was one of the
most important English
composers for the cello
in the transitional
period between the
Baroque and Classical
eras. As the cello
repertoire does not
feature many very early
Classical works his
Sonatas op. 3, written
for amateur cellists and
students, fill a
significant gap in
tuition repertoire. This
three-movement Sonata op.
3/3 is very well suited
to the cello and
distinguished by its
elegant and appealing
melodies. The sonata can
be played using the first
four finger positions. As
a cellist Paxton was very
familiar with the
technical capabilities of
his instrument and knew
how to make it sing with
simple and effective
figures. The first
movement consists of two
sections and has an
expressive middle section
in C minor. The slow
movement uses an Irish
folk song ('Gramachree'),
with two dance movements
(Minuet 1 and 2) at the
end.This new edition
reproduces all the
details of the first
printed version, with
just a few dynamic
markings added in square
brackets. The bass part
has been written out in
the style of an early
Classical keyboard
accompaniment so as to
underline the galant
rococo style of the
piece.
Bass trombone or tuba and piano SKU: P2.80062 Composed by Johann Galliard...(+)
Bass trombone or tuba and
piano
SKU:
P2.80062
Composed by
Johann Galliard. Arranged
by Micah Everett. Solo
music, 18th century.
Published by Potenza
Music (P2.80062).
These settings
of the Galliard bassoon
sonatas grew out of a
perceived need for more
intermediate-early
advanced solo literature
for the bass trombone, as
well as more settings of
Baroque-period works for
that instrument. While
the sonatas are playable
on the bass trombone in
their original keys
(whether at pitch or down
one octave), by setting
them in lower keys I have
endeavored to make them
useful for developing
tone quality and
technique in the valve
register, while not going
so low that clarity and
facility might be
compromised (as can be
the case when playing in
the original keys down
one octave). The new keys
I have chosen for each of
the sonatas are closely
related to the original
ones, in every case down
a perfect fourth or
perfect fifth, so
something of the sound of
the original keys is
maintained. Other than
the key changes I have
made very few adjustments
to the intervals in the
solo or left hand
keyboard parts; in the
places where I have done
the most editing I have
provided cues for the
original intervals and/or
rhythms so that the
player can choose whether
to perform the simplified
part I have provided or
something closer to the
original. The new keys
(as well as copyright
considerations)
necessitated that I
provide entirely new
figured bass realizations
for the accompanist's
right hand. These are
entirely my own, though
in the early stages of
this project I did
consult with Professor
Stacy Rodgers, my
colleague and
collaborator at the
University of
Mississippi. I have
provided more than a
simple harmonic
accompaniment in my
realization; each
movement has a number of
short melodic passages to
provide interest in the
keyboard part for both
performer and listener.
Still, I have been
purposefully reserved in
writing these parts, and
in no case should the
keyboardist feel
obligated to strictly
adhere to the part as I
have written it. I have
left the figured bass in
the score so that the
performer can modify
and/or build upon what I
have provided,
particularly in the
repeats (as Professor
Rodgers did when playing
and recording one of the
sonatas with me). I have
labeled the accompaniment
part simply as keyboard
with the understanding
that these sonatas were
originally intended for
performance with
harpsichord (assisted by
cello or bassoon) or
organ, though I am sure
that the vast majority of
performances of these
arrangements will have
piano as the accompanying
instrument. My keyboard
part has thus been
written with that
instrument in mind. If
performing with
harpsichord assisted by
cello or bassoon those
players will need to make
adjustments in places
where the bass lines
extend below the ranges
of their instruments.
While I am confident that
my right hand part is a
faithful realization of
the harmonic structure
indicated by the
composer, no attempt has
been made either in my
keyboard realization or
in my light editing of
the solo part to adhere
to present scholarly
conventions regarding the
interpretation of early
music. I have constructed
these arrangements to
meet the needs of
twenty-first-century
student (and
professional) bass
trombonists, and thus I
have provided the
interpretive markings
which I believe will
yield the most pleasing
performances on that
instrument. That said, I
have sought to be modest
in my indications of
tempo, dynamics,
articulation, and
ornamentation, as these
sonatas will admit
varying interpretations
in those respects.
Performers and teachers
are welcome and
encouraged to experiment
in order to find the
interpretations which
they think most
effective. Although I
originally created these
arrangements with the
bass trombone in mind, I
am sure that they will
work equally well on
tuba. Due to range
considerations similar to
those I mentioned above
for the bass trombone,
they might be
particularly
better-suited to
performance on the F or
E-flat tubas than
previous editions of
these sonatas. I am
looking forward to using
these arrangements with
my students on both
instruments, and hope
that others will find
them useful, as well.