Urtext. Composed
by Giovanni Battista
Pergolesi. Edited by
Reinhard Fehling.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
The present setting of
the Seven Last Words of
Jesus Christ grippingly
depicts the story of
Christ's Crucifixion in
fourteen Musical
Dialogues. Listen to the
world premiere recording
of this major work of the
Neapolitan Baroque,
performed by the Akadem.
Solo concerto; Baroque.
Part. 28 pages. Breitkopf
and Haertel #OB 5533-19.
Published by Breitkopf
and Haertel
(BR.OB-5533-19).
ISBN
9790004341193. 10 x 12.5
inches.
Hermann
Scherchen, who was the
first to take up the
cause of the
one-hour-plus long,
colorfully scored work,
came to the conclusion:
One of the most heartfelt
works of art, full of
gentleness and profound
sensitivity. Since 1936,
when two manuscripts of
monastic provenance were
discovered, musical
scholars have been asking
themselves whether the
Septem verba is authentic
or solely attributable to
Sig. Pergolese. It is
only thanks to the
scholarly comparison of
all manuscripts and to
the discovery of two new
sources which
impressively confirm the
existence of an active
reception of this work in
the mid 18th century,
that the authorship and
transmission can be newly
evaluated.
Urtext. Composed
by Pjotr Iljitsch
Tschaikowsky. Edited by
Christoph Flamm.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Tchaikovsky's Hamburg
Symphony in the Urtext
Symphony; Romantic.
Part. 24 pages. Duration
44'. Breitkopf and
Haertel #OB 5558-15.
Published by Breitkopf
and Haertel
(BR.OB-5558-15).
ISBN
9790004344651. 10 x 12.5
inches.
Like Hamlet
Overture, originating at
about the same time,
Tchaikovsky's 5th
symphony, composed in
1888, focuses on the
human existential
question: To be or not to
be - triumph over fate or
triumph of fate? The per
aspera ad astra
dramaturgy underlying the
symphony culminates in
triumphant certainty. If
Tchaikovsky was initially
euphoric, then severe
self-doubts befell him
after he conducted the
premiere in St.
Petersburg. These doubts
demonstrably led him to
make interpretative
changes for the Hamburg
performance in 1889,
including a cut in the
finale. Only with the
extremely positive
response to this
performance did his
doubts dispel.
Nevertheless, Tchaikovsky
himself never again
conducted the 5th
symphony. It was only
posthumously established
in the repertoire through
Arthur Nikisch's
commitment. The new
edition's textual
criticism takes into
account besides the
autograph and first
edition also the first
edition's orchestral
parts, together with the
piano arrangement
produced from the
autograph by Sergei
Taneyev. In addition to
thoroughly clarifying
dynamics and
articulation, the source
comparison also corrected
many errors and solved
problematical passages,
such as, for instance,
the trombone entry in m.
372 of the finale.
Considered, moreover, for
the first time has been
the composer's doubts
about his work and its
ambiguities, frequently
successfully suppressed
in the history of its
performance and
reception. Tchaikovsky's
conductor's copy is
unfortunately lost, hence
his alterations made for
the Hamburg performance
are not precisely known.
They have survived only
indirectly through
remarks that Willem
Mengelberg left to
posterity, for which he
could draw on
Tchaikovsky's conductor's
score and oral references
by the composer's brother
Modest. So, anyone
wishing to deal seriously
with the work's
certainties will not be
able to do so in the
future without having
also to deal with its
uncertainties.
Psalm
83. Grand Motet.
Composed by Jean-Philippe
Rameau. Edited by
Jean-Paul C. Montagnier.
French Sacred Music. Quam
Dilecta Tabernacula
(Psalm 83). Sacred vocal
music, Psalms, Latin,
Psalms. Choral Score. 16
pages. Duration 20
minutes. Carus Verlag #CV
21.006/05. Published by
Carus Verlag
(CA.2100605).
ISBN
9790007161415. Language:
Latin.
The three
grands motets, Quam
dilecta, In convertendo
and Deus noster refugium,
which Jean-Philippe
Rameau composed from 1713
to 1715 are still
relatively unknown today.
Yet these masterworks can
stand comparison to the
best works of
Michel-Richard de
Lalande. They are
testimony to Rameau's
great contrapuntal
mastery and contain
beautiful lyrical
passages. Quam dilecta
and Deus noster refugium
have survived only in
later sources which
originated in about 1770,
after Rameau's death, and
the works have been
rendered in a scoring
which does not correspond
to his intentions. The
present new edition
attempts for the first
time to reconstruct them
as closely as possible to
their original form. The
edition of In convertendo
is based on Rameau's
autograph score from
1751. Score available
separately - see item
CA.2100600.
Choirs, soloists and orchestra SKU: FZ.4306 Composed by Michel-Richard de...(+)
Choirs, soloists and
orchestra
SKU:
FZ.4306
Composed by
Michel-Richard de
Lalande. Edited by
Philippe Lescat, Jean
Saint-Arroman. This
edition: Facsimile. La
Musique Francaise
Classique de 1650 a 1800.
Sacred. Score. Published
by Anne Fuzeau
Productions - France
(FZ.4306).
ISBN
9790230643061. 24.00 x
33.00 cm
inches.
This
facsimile of an original
and the manuscript by
Michel-Richard Delalande
is part of our French
classical music
collection. The facsimile
brings together three
versions of this motet :
the Philidor copy of
1689, the Boyvin edition
of 1729, and the Cauvin
manuscript of 1741.
Preface by Jean
Saint-Arroman and
Philippe Lescat: sources
and scores - comparison
between the Concert
Spirituel copy and the
engraved version of 1729.
Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile
of a copy in the
Municipal Library of
Versailles (France). Anne
Fuzeau Classique propose
period copies of
classical music
scores.
Cantata for Whitsunday
- Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque;
Renaissance/early
Baroque. Sheet Music. 4
pages. Duration 12'.
Breitkopf and Haertel #OB
32090-16. Published by
Breitkopf and Haertel
(BR.OB-32090-16).
ISBN
9790004350416. 10 x 12.5
inches.
The cantata
Daran erkennen wir, dass
wir in Ihm bleiben is
intended for the first
Whitsun holiday. It is
based on a text by Johann
Christoph Wentzel
(1659-1723), the yearly
volume in which it
appears dates to August
4, 1703 and is dedicated
to, among others, Hn.
Joh. Kuhnau / | Chori
Musici bey der | Stadt
Leipzig Directori [Herr
Joh. Kuhnau / Director of
Choral Music at the City
of Leipzig]. It can be
assumed that Kuhnau's
composition originated
near the time of the
text, thus within his
first years in office as
the Leipzig St. Thomas
cantor. Kuhnau follows
the structure of
Wentzel's poem in a
Dictum and four verses
with introductory sonata,
although some details are
varied. In comparison to
other works by Kuhnau,
the scoring is fairly
large with five vocal
parts, trumpets, timpani,
oboes, and bassoon as
well as two violins and
violas each. The short
performing time, on the
other hand, makes the
cantata suitable for
liturgical use, too.Audio
samples: Opella Musica,
camerata lipsiensis,
cond. Gregor Meyer (cpo,
2013).
Coro, Voces y Piano (Choir, Solo Voices, and Piano) SKU: BO.B.3473 A l...(+)
Coro, Voces y Piano
(Choir, Solo Voices, and
Piano)
SKU:
BO.B.3473
A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Piano reduction.
Choir. Duration 85:00.
Published by Editorial de
Musica Boileau
(BO.B.3473).
ISBN
9788480208147.
Engl
ish comments: The Requiem
in memory of Salvador
Espriu by Xavier
Benguerel was
commissioned by the
Torroella de Montgri
International Music
Festival for a double
commemoration: on the one
hand, to celebrate the
tenth anniversary of the
Festival, and on the
other, in remembrance of
Catalan poet Salvador
Espriu in the fifth year
after his death. This
concert, which was held
on 5 October, was a
brilliant closing gala
performance and it was
repeated twice on 6 and 7
October at the Palau de
la Musica Catalana in
Barcelona. It was
performed by the
Orchestra and Choir of
the Gran Teatro del
Liceo, with soloists
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo soprano;
Eduard Gimenez, tenor;
and Carlos Chausson,
baritone, with the
additional collaboration
of baritone Lluis Llach,
conducted by Romano
Gandolfi.
In my
opinion, this work by
Benguerel is a piece that
was written with passion
and sincerity, with great
strength and depth, and
it contains some very
beautiful passages. It is
written in a language
through which, without
abandoning his current
musical thoughts,
Benguerel manages to
communicate with the
audience in a dense work
that lasts for an hour
and a half. It is
interspersed with seven
poems by Espriu on the
subject of death, some
sung and others recited,
which gives the Requiem
great contrasts from a
musical and linguistic
point of view -in
comparison with the Latin
texts normally used in a
requiem mass-, but within
a successful and coherent
unity. The performers
certainly proved their
worth, but much of the
hard work that went into
preparing the piece can
be attributed not only to
the performers, the
composer and the poet in
tribute to whom the work
was written, but also to
the conductor Romano
Gandolfi, who is largely
responsible for the
success of the three
performances of this
Requiem. Benguerel
himself says of the work:
This Requiem is linked to
my previous work, the
Llibre Vermell, and it
has been written without
making any concessions,
but with a true wish to
communicate with the
audience. I've got past
the stage of musical
experiments and I'm now
working on bridging the
gap between composer and
audience, which I'm sure
will be good for
both. --Comments
written by Jordi Codina
in the December 1990
issue of Nexus
magazine
Comentario
s del Espanol: El Requiem
a la memoria de Salvador
Espriu de Xavier
Benguerel ha sido
compuesto por encargo del
Festival Internacional de
Musica de Torroella de
Montgri para una doble
conmemoracion: por una
parte, el decimo
aniversario del Festival;
por otra, el recuerdo de
la figura del poeta
catalan Salvador Espriu
en el quinto ano de su
fallecimiento. Este
concierto, celebrado el
dia 5 de octubre,
constituyo una sesion de
gala y de clausura
brillante y tuvo una
doble repeticion los dias
6 y 7en el Palau de la
Musica Catalana de
Barcelona. Fueron sus
interpretes la Orquesta y
el Coro del Gran Teatro
del Liceo, con los
solistas vocales
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo; Eduard
Gimenez, tenor; y Carlos
Chausson, baritono, con
la colaboracion del
tambien baritono Lluis
Llach. Todos bajo la
direccion de Romano
Gandolfi.
A mi
entender, la obra de
Benguerel es una
partitura escrita con
pasion y sinceridad,
posee una gran solidez,
es profunda y contiene
pasajes de una gran
belleza. Esta escrita en
un lenguaje con el que
Benguerel, sin renunciar
a su actual pensamiento
musical, alcanza la
comunicacion con el
publico en una obra densa
que dura una hora y
media. La intercalacion
de siete poemas de Espriu
relacionados con el tema
de la muerte, en una
interpretacion cantada o
recitada, segun los
casos, otorga al Requiem
grandes contrastes desde
un punto de vista musical
y lingŸistico à en
contraposicion con los
textos latinos propios de
una misa de requiem Ã,
pero dentro de una unidad
conseguida y coherente.
La labor de los
interpretes demostro su
categoria y el trabajo
exhaustivo en la
preparacion de la obra,
que, ademas de los
interpretes, el
compositor y el poeta
homenajeado, tuvo otro
gran protagonista en la
persona del director
Romano Gandolfi, a quien
se debe una gran parte
del exito obtenido en las
tres audiciones de este
Requiem. El propio
Benguerel ha dicho de la
obra: Este Requiem
entronca con mi obra
anterior, el Llibre
Vermell, y ha sido
escrito sin concesiones,
pero con una voluntad
real de comunicacion con
el publico. La epoca de
los experimentos
musicales ya se me paso y
he entrado en una nueva
etapa de acercamiento
entre el compositor y el
publico que, estoy
convencido, beneficiara a
ambos. --Comentario
escrito por Jordi Codina
en la revista Nexus en
diciembre de 1990
Guitar SKU: UT.CH-387 Composed by Ferdinando Carulli. Edited by Romolo Ca...(+)
Guitar
SKU:
UT.CH-387
Composed by
Ferdinando Carulli.
Edited by Romolo
Calandruccio. Classical.
Score. Ut Orpheus #CH
387. Published by Ut
Orpheus (UT.CH-387).
ISBN 9790215328235. 9
x 12 inches.
Opus
114 is certainly one of
Carulliâ??s most
important didactic works,
so much so that the
author himself made a
point of writing in the
second edition of his
famous Method op. 27
(1819): The student, when
moving on to the second
part, must continue to
practise on the easy
pieces which are to be
found in opus nos. 50,
15, 35, 36, 93, 7 and
above all in opus 114. He
maintained this
indication also in later
editions of the Method
itself, unlike what he
did with other
collections of studies
which were no longer
recommended. The
purpose of op. 114, in
particular of the
preludes, is clearly
explained by the author
himself in the preface of
op. 265: I have already
offered preludes in my
opus nos. 71 and 114 to
people, but they serve to
study and learn to play
all sorts of difficult
passages, to practise
modulating, and learn to
improvise on the guitar.
Carulli seems to want to
provide his students with
a large handbook of
formulas typical of his
musical writing and he
does so by making use of
the keys which, in his
opinion, are most
congenial to the guitar.
In his Method he points
out: Each instrument has
its favourite keys: the
guitar can be played in
all keys, but the best
ones are: A major and
minor, D major and minor,
E major and minor, C, G,
F. The others are
difficult; [â?¦].
However, some of the
difficult ones are
included but only in the
fourth part. Of course,
the easiness of a key
essentially depends on
the possibility of
extensive use of the open
strings, especially in
the low notes, ensuring
the accompaniment on the
main degrees. This
edition has some unique
features. First of all,
it is the first complete
modern edition of
Carulliâ??s op. 114; it
presents an important
critical apparatus in
which the Carullian
technique is presented
and analysed; finally,
Carulli's original
fingering is indicated in
the score (including that
of the thumb of the left
hand) and the missing one
was obtained from the
comparison of his other
fingerings present in
other works. All this
allows an easy and
complete reading both for
those who perform the
pieces following the
nineteenth-century
performance practice with
a historical instrument,
and for those who play a
modern instrument.
(for Flute and Piano). By Scott Joplin (1868-1917). Arranged by Wolfgang Birtel....(+)
(for Flute and Piano). By
Scott Joplin (1868-1917).
Arranged by Wolfgang
Birtel. Woodwind.
Softcover. 20 pages.
Schott Music #ED20461.
Published by Schott Music
String Quartet (Study Score) SKU: HL.51487272 Study Score. Compose...(+)
String Quartet (Study
Score)
SKU:
HL.51487272
Study
Score. Composed by
Alexander Zemlinsky.
Edited by Dominik Rahmer.
Henle Music Folios.
Classical. Softcover. G.
Henle #HN7272. Published
by G. Henle
(HL.51487272).
UPC:
840126989366.
6.75x9.5x0.245
inches.
Alexander
Zemlinsky's music was
long unjustly
overshadowed by what was
regarded as the
“more
progressive†Second
Viennese School. Although
Zemlinsky was close
friends with its
protagonist Arnold
Schönberg, he never
did take the latter's
radical step into
dodecaphony. At the same
time, he composed works
that were no less
original or fully
fledged. Composed between
1913 and 1915, his Second
String Quartet in
particular pushed the
contemporaneous
understanding of form and
tonality to its limits.
With just one movement
but spanning over 1,200
measures, this
multi-faceted work
numbers among the most
significant contributions
to the genre of the time
and has long merited a
critical new edition. The
Urtext edition by G.
Henle Publishers corrects
many errors and
inaccuracies in the first
edition that came to
light after careful
comparison with the
autograph sources in
Vienna and Washington.
For the first time, too,
the metronome markings
that survive only in one
of Zemlinsky's letters
have been incorporated.
Editorial work was kindly
supported by the
Alexander Zemlinsky
Endowment Fund in
Vienna.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Violin, piano (solo: vl -
2.2.cor
ang.2.B-clar.A-sax.2.dbl
bsn - 4.2.2.1 -
timp.perc(2) - hp - str)
SKU: BR.EB-10821
In Memory of an Angel
- Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Arranged by
Jan Philip Schulze. Solo
instruments; Softbound.
Edition Breitkopf.
In
Cooperation with G. Henle
Verlag
Solo concerto;
Early modern. Piano
reduction. 120 pages.
Duration 25'. Breitkopf
and Haertel #EB 10821.
Published by Breitkopf
and Haertel
(BR.EB-10821).
ISBN
9790201808215. 9.5 x 12
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue musikzeitung).
Psalm
45. Grand Motet.
Composed by Jean-Philippe
Rameau. Edited by
Jean-Paul C. Montagnier.
French Sacred Music. Deus
Noster Refugium (Psalm
45). Sacred vocal music,
Psalms, Latin, Psalms.
Single Part, Viola 1. 16
pages. Duration 26
minutes. Carus Verlag #CV
21.007/12. Published by
Carus Verlag
(CA.2100712).
ISBN
9790007197841. Language:
Latin.
The three
grands motets, Quam
dilecta, In convertendo
and Deus noster refugium,
which Jean-Philippe
Rameau composed from 1713
to 1715 are still
relatively unknown today.
Yet these masterworks can
stand comparison to the
best works of
Michel-Richard de
Lalande. They are
testimony to Rameau's
great contrapuntal
mastery and contain
beautiful lyrical
passages. Quam dilecta
and Deus noster refugium
have survived only in
later sources which
originated in about 1770,
after Rameau's death, and
the works have been
rendered in a scoring
which does not correspond
to his intentions. The
present new edition
attempts for the first
time to reconstruct them
as closely as possible to
their original form. The
edition of In convertendo
is based on Rameau's
autograph score from
1751. Score and part
available separately -
see item CA.2100700.
Chorus (with soloists) and orchestra (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - b...(+)
Chorus (with soloists)
and orchestra (SSATB -
0.2.0.1 - 2.0.0.0 - timp
- str - bc)
SKU:
BR.PB-32090
Cantata for Whitsunday
- Urtext. Composed by
Johann Kuhnau. Edited by
David Erler. Choir;
stapled.
Partitur-Bibliothek
(Score Library). Cantata;
Baroque;
Renaissance/early
Baroque. Full score. 60
pages. Duration 12'.
Breitkopf and Haertel #PB
32090. Published by
Breitkopf and Haertel
(BR.PB-32090).
ISBN
9790004215708. 10 x 12.5
inches.
The cantata
Daran erkennen wir, dass
wir in Ihm bleiben is
intended for the first
Whitsun holiday. It is
based on a text by Johann
Christoph Wentzel
(1659-1723), the yearly
volume in which it
appears dates to August
4, 1703 and is dedicated
to, among others, Hn.
Joh. Kuhnau / | Chori
Musici bey der | Stadt
Leipzig Directori [Herr
Joh. Kuhnau / Director of
Choral Music at the City
of Leipzig]. It can be
assumed that Kuhnau's
composition originated
near the time of the
text, thus within his
first years in office as
the Leipzig St. Thomas
cantor. Kuhnau follows
the structure of
Wentzel's poem in a
Dictum and four verses
with introductory sonata,
although some details are
varied. In comparison to
other works by Kuhnau,
the scoring is fairly
large with five vocal
parts, trumpets, timpani,
oboes, and bassoon as
well as two violins and
violas each. The short
performing time, on the
other hand, makes the
cantata suitable for
liturgical use, too.
Audio samples: Opella
Musica, camerata
lipsiensis, cond. Gregor
Meyer (cpo, 2013).
Voice and basso continuo (1 or 2 soprano voices) SKU: FZ.3276 Composed by...(+)
Voice and basso continuo
(1 or 2 soprano voices)
SKU: FZ.3276
Composed by
Nicolas-Antoine Lebegue.
Edited by Philippe
Lescat, Jean
Saint-Arroman. This
edition: Facsimile. La
Musique Francaise
Classique de 1650 a 1800.
Sacred. Score. Published
by Anne Fuzeau
Productions - France
(FZ.3276).
ISBN
9790230632768. 23.50 x
32.50 cm
inches.
This
facsimile of an original
by Nicolas-Antoine
Lebegue is part of our
French classical music
collection. Edition :
Paris, C. Ballard, 1687.
These motets, quite short
and presenting few
difficulties, are an
excellent introduction to
the French vocal
repertory of the second
half of the 17th century.
Preface by: Philippe
Lescat: Lebegue's works.
Jean Saint-Arroman:
bibliography of the
motets - comparison of
the sources. Motet for 2
soprano voices and
continuo: O crux ave
(page 11). All the other
motets are for 1 soprano
voice and continuo.
Motets in which the right
hand part of the organ is
written between the sung
phrases: Veni Sancte
Spiritus (page 1) - O Rex
gloriae (page 14) -
Parasti in conspectu
(page 18) - Vidi
speciosam (page 24) - O
salutaris hostia (page
35) - Anima Christi (page
39) - Ave verum (page 44)
- Salve Regina (page 49)
- Regina Coeli (page 56)
- Exultet Omnium (page
60) - Domine salvum fac
Regem (page 65) - Domine
salvum fac Regem (page
68). Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches.
Facsimile of a copy
in the Schonborn Castle's
Library of Wiesentheid
(Germany). Anne Fuzeau
Classique propose period
copies of classical music
scores.
Tides Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Bill Calhoun. Score and part(s). 12 120 pages. Duration 2 minutes,...(+)
Composed by Bill Calhoun.
Score and part(s). 12
120 pages. Duration 2
minutes, 58 seconds. Carl
Fischer #FPS0130.
Published by Carl Fischer
(CF.FPS130).
You Can Play Trumpet Now Volume 1 DVD. By Eloy Adame. For Trumpet. Method. All. ...(+)
You Can Play Trumpet Now
Volume 1 DVD. By Eloy
Adame. For Trumpet.
Method. All. Level:
Beginning. DVD. Size
5.25x7.5. Duration 60
minutes. Published by
Mayas Music.
Composed by Antonin
Dvorak. Edited by Hartmut
Schick. This edition:
urtext edition. In a
folder. Barenreiter
Urtext. Set of parts.
Opus 51. 14/13/11/13
pages. Baerenreiter
Verlag #BA11523_00.
Published by Baerenreiter
Verlag (BA.BA11523).
ISBN 9790260108578. 31
x 24.3 cm inches. Key:
E-flat major.
When
AntonÃn Dvorák
started composing his
String Quartet No. 10 in
late 1878, none of his
quartets had yet been
performed. However this
new work, deliberately
cast in the
“Slavonicâ€
style, quickly achieved
international renown and
has remained among one of
the most popular string
quartets by
Dvorák.
The
authoritative Dvorák
scholar Hartmut Schick
has consulted all
accessible sources, most
notably the printed score
published by Simrock and
the autograph. Now, after
many decades, a
definitive Urtext edition
of this major work can be
presented. In comparison
to the old Supraphon
edition of 1955, the new
publication includes a
detailed Critical
Commentary (Eng) as well
as edited early versions
of the middle movements
in the appendix. A
detailed Foreword
(Ger/Cz/Eng) by the
editor is also
contained.
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
La Mer Orchestre [Conducteur d'étude / Miniature] Barenreiter
(Trois esquisses symphoniques). Composed by Claude Debussy (1862-1918). Edited b...(+)
(Trois esquisses
symphoniques). Composed
by Claude Debussy
(1862-1918). Edited by
Douglas Woodfull-Harris.
For orchestra (2
flutes/soprano flute/2
oboes/english
horn/clarinet/2
bassoons/5
contrabassoons/2
trumpets/horn/2
trombones/tuba/percussion
/celeste/2
harps/strings). This
edition: Urtext edition.
Paperback. Study score.
Text Language:
English/French/German.
Duration 10 minutes.
Published by Baerenreiter
Verlag
Chorus (with soloists) and orchestra (solo: A - choir: boys ch - fem ch - 4(2pic...(+)
Chorus (with soloists)
and orchestra (solo: A -
choir: boys ch - fem ch -
4(2picc).4(cor
ang).5(2Eb-clar.B-clar).4
(dbn) - 8.4(posthn).4.1 -
2hp.2timp.perc(6) - str)
SKU: BR.PB-5663
Final Version 1906 -
Textcritical Edition.
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Choir; Linen.
Partitur-Bibliothek
(Score Library).
Symphony; Late-romantic.
Full score. 288 pages.
Duration 110'. Breitkopf
and Haertel #PB 5663.
Published by Breitkopf
and Haertel (BR.PB-5663).
ISBN 9790004216002.
10.5 x 14
inches.
The first
textcritical edition of
Mahler's most extensive
work is a further
milestone in the project,
Mahler - The Symphonies.
The many sources first
consulted here for an
edition include, among
others, the conducting
scores used for early
performances by Mahler,
Mengelberg and other
conductors, as well as
the parts of the Vienna
Philharmonic used by
Mahler, Bruno Walter and
many additional great
conductors right up to
the present. Furthermore,
another set of parts from
Mahler's personal
possession was consulted.
These sources,
significantly expanding
the source base in
comparison with that of
the 1974 Kritische
Gesamtausgabe, guarantee
a reliable, scholarly
valid music text,
shedding at the same time
new light on Mahler's
complex process of
revision. In
unprecedented
comprehensiveness, the
editorial report contains
references from Mahler's
letters and other
authentic documents
indispensable for an
understanding of the work
and its interpretation.
The orchestral parts
feature as usual optimal
readability and
practicality. Rounding
off the edition is the
introductory essay Mahler
as Symphonist, together
with the knowledgeable
preface by Constantin
Floros, doyen of Mahler
research.
Organ SKU: CA.1817900 Composed by Charles Marie Widor. Edited by Georg Ko...(+)
Organ
SKU:
CA.1817900
Composed
by Charles Marie Widor.
Edited by Georg Koch.
Free organ music. Full
score. Op. 42,1. 80
pages. Duration 35
minutes. Carus Verlag #CV
18.179/00. Published by
Carus Verlag
(CA.1817900).
ISBN
9790007188979. Language:
all languages.
It
is no coincidence that
the Toccata from Widor's
Vth Organ Symphony is his
best-known composition.
Who can resist its
thrilling verve? Not only
this, but also the other
movements of this unique
work of the organ
repertoire win you over
immediately - the first
with its march-like,
majestic, much-varied
theme; the second with
its wonderfully elegiac
oboe melody, flowing
along over staccato
sixteenth notes; and the
two slow movements, of
which the melancholy,
almost static Adagio
forms the greatest
contrast imaginable to
the following triumphal
Toccata. The Carus Urtext
edition is based on the
Paris edition of 1928/29,
the last one to be
published during Widor's
lifetime. The corrections
which the composer made
after the publication of
this edition have also
been taken into
consideration. As well as
this, earlier editions
have been consulted for
comparison to clarify
individual variant
readings. Editorial
suggestions on the
performance of individual
passages complete the new
edition. Great organ
works: Series A: -
Symphony II op. 13 no. 2
- Symphony IV op. 13 no.
4 - Symphony V op. 42 no.
1 - Symphony VI op. 42
no. 2 - Symphony Romane
op. 73 in preparation
Subscription offer for
Series A: 20% discount
off the retail price.
By Jascha Heifetz. By Peter Ilyich Tchaikovsky (1840- 1893). Edited by Endre G...(+)
By Jascha Heifetz. By
Peter
Ilyich Tchaikovsky (1840-
1893). Edited by Endre
Granat. LKM Music.
Softcover.
Lauren Keiser Music
Publishing #S511034.
Published by Lauren
Keiser
Music Publishing
Psalm
83. Grand Motet.
Composed by Jean-Philippe
Rameau. Edited by
Jean-Paul C. Montagnier.
2x 21.006/21 2 flutes, 2x
21.006/22 2 oboes. French
Sacred Music. Quam
Dilecta Tabernacula
(Psalm 83). Sacred vocal
music, Psalms, Latin,
Psalms. Set of Orchestra
Parts. Duration 20
minutes. Carus Verlag #CV
21.006/09. Published by
Carus Verlag
(CA.2100609).
ISBN
9790007197803. Language:
Latin.
The three
grands motets, Quam
dilecta, In convertendo
and Deus noster refugium,
which Jean-Philippe
Rameau composed from 1713
to 1715 are still
relatively unknown today.
Yet these masterworks can
stand comparison to the
best works of
Michel-Richard de
Lalande. They are
testimony to Rameau's
great contrapuntal
mastery and contain
beautiful lyrical
passages. Quam dilecta
and Deus noster refugium
have survived only in
later sources which
originated in about 1770,
after Rameau's death, and
the works have been
rendered in a scoring
which does not correspond
to his intentions. The
present new edition
attempts for the first
time to reconstruct them
as closely as possible to
their original form. The
edition of In convertendo
is based on Rameau's
autograph score from
1751. Score and parts
available separately -
see item CA.2100600.
Théorie de la musique [Partition] Kjos Music Company
Written by Charles S. Peters, Paul Yoder. Format: instructional book. With instr...(+)
Written by Charles S.
Peters, Paul Yoder.
Format: instructional
book. With instructional
text and musical
examples. General Theory.
32 pages. 9x12 inches.
Published by Neil A. Kjos
Music Company.
Violin & piano SKU: HH.HH424-FSP Composed by Anton Eberl. Edited by Marti...(+)
Violin & piano
SKU:
HH.HH424-FSP
Composed
by Anton Eberl. Edited by
Martin Harlow. Violin &
Piano. Full score and
part. Edition HH Music
Publishers #HH424-FSP.
Published by Edition HH
Music Publishers
(HH.HH424-FSP).
ISBN
9790708146254.
Amon
g Vienna’s many
composers and pianists of
the time, Anton Eberl
(1765–1807) was
the one considered most
worthy of comparison with
Beethoven. His Sonata in
B flat major, Op.35, his
last of seven sonatas
with violin, was composed
around 1805 and dedicated
to Maria Walburga, the
Princess Bretzenheim.
This was one
Eberl’s last
works, as he died
prematurely, at the age
of forty-one, in 1807.
Unlike many of
Eberl’s lesser
contemporaries, in its
duration, formal and
harmonic novelty, and in
the lively relationship
between the violin and
keyboard, his Op.35
shares much of the
musical ambition and
quality of
Beethoven’s works
in this genre.
Alto voice solo, boys chorus, female chorus, orchestra Final Version 1906 - Te...(+)
Alto voice solo, boys
chorus,
female chorus, orchestra
Final Version 1906 -
Textcritical Edition.
Composed by Gustav Mahler
(1860-1911). Edited by
Christian Rudolf Riedel.
Vocal score. Breitkopf
and
Haertel #EB 9363.
Published
by Breitkopf and Haertel
Cantata for the Sunday
Jubilate. Composed by
Johann Sebastian Bach.
Edited by Anja
Morgenstern. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
German title: Wir mussen
durch viel Trubsal.
Sacred vocal music,
Cantatas, Easter and
Eastertide. Study score.
Composed circa 1728? BWV
146. 80 pages. Duration
40 minutes. Carus Verlag
#CV 31.146/07. Published
by Carus Verlag
(CA.3114607).
ISBN
9790007092467. Key: D
minor. Language:
German/English.
It
is evident from the
sources that the cantata
was written for the 3rd
Sunday after Easter. The
text, the identity of
whose author is unknown,
is based on the
comparison between
sadness and joy
prescribed in the Gospel
for that Sunday. This
cantata has survived only
in copies made after
1750, but undoubtedly the
cantata dates from
Bachs's years in Leipzig.
Score available
separately - see item
CA.3114600.
SATB Choir - Level 4 SKU: CA.3122792 Composed by Johann Sebastian Bach. S...(+)
SATB Choir - Level 4
SKU: CA.3122792
Composed by Johann
Sebastian Bach. Stuttgart
Urtext Edition: Bach
vocal; Carus CD series:
Carus Choir Coach. Mp3,
Practice-CD, alto. Sacred
vocal music, Motets.
Compact Disc. BWV 227.
Duration 25 minutes.
Carus Verlag #CV
31.227/92. Published by
Carus Verlag
(CA.3122792).
Key: E
minor. German. Text:
Johann Frank.
For
many choral singers Jesu,
meine Freude is not just
a motet by Bach, but the
motet par excellence.
Bach's motets as a whole
have to be described as
exceptional works, but
even amongst these this
is an exceptional work
which is out of the
ordinary not only in
terms of its length. The
formal conception, with
its alternating chorale
and Bible verses in 11
sections in a symmetrical
structure, is also
unique. The motet was
very probably composed
for a funeral, but no
further details about
this are known. By
comparison, there are
clear indications that
the motet, as we now know
it, was probably not
composed in one go, but
was composed over a long
period of time. Score
available separately -
see item CA.3122700.
[Jungst]aposed Orchestre d'harmonie [Conducteur] - Intermédiaire Alfred Publishing
Concert Band - Grade 4.5 SKU: AP.41968S Composed by Craig Fitzpatrick. Co...(+)
Concert Band - Grade 4.5
SKU: AP.41968S
Composed by Craig
Fitzpatrick. Concert
Band; Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Score. 32 pages. Duration
4:00. Alfred Music
#00-41968S. Published by
Alfred Music (AP.41968S).
UPC: 038081482705.
English.
The title
of this piece is derived
from the word juxtaposed,
meaning to place side by
side, especially for
comparison or contrast,
and the name Jungst. It
is dedicated to the
memory of Rudy Jungst,
the first band director
of Morton Jr. High
School, and is a
rhythmic, high-energy,
multi-meter showcase for
band. (4:00).