| St. Matthew Passion Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Set de Parties séparées] Carus Verlag
Composed by Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. This edi...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Matthauspassion.
Passions, Lent and
Passiontide. Complete
orchestral parts. BWV
244. Duration 175
minutes. Published by
Carus Verlag
(CA.3124419).
$553.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion Soli, choeur mixte et accompagnement [Conducteur] Carus Verlag
By Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. For vocal soli, S...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Klaus Hofmann. For vocal
soli, SATB/SATB choir,
soprano voice in ripieno
(Cantus-firmus-Chor fur
Sopran), 2 orchestras -
I: 2 recorders, 2 flutes,
2 oboes (2 oboe d'amore,
2 oboe d'caccia/english
horn), viola da gamba, 2
violins, viola, basso
continuo (cello,
violone/double. This
edition: Clothbound
edition. Stuttgart Urtext
editions. Passions, Lent
and Passiontide. Full
score (clothbound
edition). Language:
German/English. BWV 244.
296 pages. Duration 175
min. Published by Carus
Verlag
$172.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Carus Verlag
Orchestra Coro 2: Violoncell SKU: CA.3124418 Composed by Johann Sebastian...(+)
Orchestra Coro 2:
Violoncell SKU:
CA.3124418 Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal; Carus sheet
music series: Vocal
scores XL. German title:
Matthauspassion.
Innovative practice aids,
Passions, Lent and
Passiontide, Holy Week.
Individual part. BWV 244.
24 pages. Duration 175
minutes. Carus Verlag #CV
31.244/18. Published by
Carus Verlag
(CA.3124418). ISBN
9790007211356. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score and part
available separately -
see item CA.3124400. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Carus Verlag
Orchestra Voice Soli, SATB Choir/SATB, Soprano in ripieno (Cantus-firmus-Choir f...(+)
Orchestra Voice Soli,
SATB Choir/SATB, Soprano
in ripieno
(Cantus-firmus-Choir for
Soprano), 2 Orchestras:
I: 2 Blockenflute, 2
Flutes, 2 Oboes /2 Oboe
d'amroe, 2 Oboe da
caccia, 2 Violins, Viola,
Cello/Contrabss, Viola da
gamba, organ; Orchestra
II: 2 Flutes, 2 Ob
SKU: CA.3124420
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. Stuttgart
Urtext Edition: Bach
vocal; Carus sheet music
series: Vocal scores XL.
Matthauspassion.
Innovative practice aids,
Passions, Lent and
Passiontide, Holy Week.
Single Part, Viola da
gamba. BWV 244. 8 pages.
Duration 175 minutes.
Carus Verlag #CV
31.244/20. Published by
Carus Verlag
(CA.3124420). ISBN
9790007211363. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score and part
available separately -
see item CA.3124400. $13.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Chorale SATB [Conducteur et Parties séparées] Carus Verlag
Orchestra vocal soli, SATB/SATB choir, soprano voice in ripieno (cantus-firmus-c...(+)
Orchestra vocal soli,
SATB/SATB choir, soprano
voice in ripieno
(cantus-firmus-chor for
soprano), 2 orchestras -
I: 2 recorders, 2 flutes,
2 oboes (2 oboe d'amore,
2 oboe d'caccia/english
horn), viola da gamba, 2
violins, viola, basso
continuo (cello,
violone/doubl SKU:
CA.3124409 Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext. 1x
31.244/20 viola da gamba,
1x 31.244/21 choir 1:
flute 1, 1x 31.244/22
choir 1: flute 2, 1x
31.244/23 choir 1: oboe
1, 1x 31.244/24 choir 1:
oboe 2, 2x 31.244/25
choir 2: recorder 1+2, 1x
31.244/26 choir 2: flute
1, 1x 31.244/27 choir 2:
flute 2, 1x 31. Stuttgart
Urtext Edition: Bach
vocal; Carus sheet music
series: Vocal scores XL.
German title:
Matthauspassion.
Innovative practice aids,
Passions, Lent and
Passiontide, Holy Week.
Set of Orchestra Parts.
BWV 244. 184 pages.
Duration 175 minutes.
Carus Verlag #CV
31.244/09. Published by
Carus Verlag
(CA.3124409). ISBN
9790007211271. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score and parts
available separately -
see item CA.3124400. $118.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Chorale Unison Carus Verlag
Choir SKU: CA.3124405 Composed by Johann Sebastian Bach. Edited by Klaus ...(+)
Choir SKU:
CA.3124405 Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal; Carus sheet
music series: Vocal
scores XL, Great choral
works in small scorings.
Matthauspassion.
Innovative practice aids,
Passions, Lent and
Passiontide, Holy Week.
Choral Score. BWV 244. 48
pages. Duration 175
minutes. Carus Verlag #CV
31.244/05. Published by
Carus Verlag
(CA.3124405). ISBN
9790007211264. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score available
separately - see item
CA.3124400. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Carus Verlag
Orchestra Coro 2: Viola SKU: CA.3124417 Composed by Johann Sebastian Bach...(+)
Orchestra Coro 2: Viola
SKU: CA.3124417
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal; Carus sheet
music series: Vocal
scores XL. German title:
Matthauspassion.
Innovative practice aids,
Passions, Lent and
Passiontide, Holy Week.
Individual part. BWV 244.
20 pages. Duration 175
minutes. Carus Verlag #CV
31.244/17. Published by
Carus Verlag
(CA.3124417). ISBN
9790007211349. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score and part
available separately -
see item CA.3124400. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Chorale SATB Carus Verlag
Orchestra vocal soli, SATB/SATB choir, soprano voice in ripieno (cantus-firmus-c...(+)
Orchestra vocal soli,
SATB/SATB choir, soprano
voice in ripieno
(cantus-firmus-chor for
soprano), 2 orchestras -
I: 2 recorders, 2 flutes,
2 oboes (2 oboe d'amore,
2 oboe d'caccia/english
horn), viola da gamba, 2
violins, viola, basso
continuo (cello,
violone/doubl SKU:
CA.3124406 Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal; Carus sheet
music series: Vocal
scores XL. German title:
Matthauspassion.
Innovative practice aids,
Passions, Lent and
Passiontide, Holy Week.
Choir part. BWV 244. 2
pages. Duration 175
minutes. Carus Verlag #CV
31.244/06. Published by
Carus Verlag
(CA.3124406). ISBN
9790007051181. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score and part
available separately -
see item CA.3124400. $2.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Carus Verlag
Orchestra Coro 1: Viola SKU: CA.3124413 Composed by Johann Sebastian Bach...(+)
Orchestra Coro 1: Viola
SKU: CA.3124413
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal; Carus sheet
music series: Vocal
scores XL. German title:
Matthauspassion.
Innovative practice aids,
Passions, Lent and
Passiontide, Holy Week.
Individual part. BWV 244.
32 pages. Duration 175
minutes. Carus Verlag #CV
31.244/13. Published by
Carus Verlag
(CA.3124413). ISBN
9790007211301. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score and part
available separately -
see item CA.3124400. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Matthaus-Passion. Carus Choir Coach, BWV 244 Chorale SATB Carus Verlag
Orchestra Soli Voices, SATB Choir, Soprano in ripieno (Cantus-firmus-Chor fur So...(+)
Orchestra Soli Voices,
SATB Choir, Soprano in
ripieno
(Cantus-firmus-Chor fur
Sopran), 2 Orchester: I:
2 Blfl, 2 Fl, 2 Ob /2
Obda, 2 Obca, 2 Vl, Va,
Vc/Cb, Vg, Org obl.; II:
2 Fl, 2 Ob /2 Obda, 2 Vl,
Va, Vg, Vc/Cb, Org obl
SKU: CA.3124494
Composed by Johann
Sebastian Bach. Carus CD
series: Carus Choir
Coach; Passions. Carus
Choir Coach.
Matthauspassion.Ccc.
Passions. Compact Disc.
BWV 244. Duration 175
minutes. Carus Verlag #CV
31.244/94. Published by
Carus Verlag
(CA.3124494).
Language:
German. Practical
performing Urtext edition
based on the latest state
of Bach research. Every
era hears and interprets
Bach anew, and every era
also evaluates the
sources afresh and with
new eyes. 40 years after
the publication of the
St. Matthew Passion in
the New Bach Edition,
Klaus Hofmann, Director
of the Johann Sebastian
Bach Institute Gottingen
for many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score available
separately - see item
CA.3124400. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Matthaus-Passion. Carus Choir Coach, BWV 244 Carus Verlag
Orchestra Voice Soli, SATB Choir/SATB, Soprano in ripieno (Cantus-firmus-Choir f...(+)
Orchestra Voice Soli,
SATB Choir/SATB, Soprano
in ripieno
(Cantus-firmus-Choir for
Soprano), 2 Orchestras:
I: 2 Blockenflute, 2
Flutes, 2 Oboes /2 Oboe
d'amroe, 2 Oboe da
caccia, 2 Violins, Viola,
Cello/Contrabss, Viola da
gamba, organ; Orchestra
II: 2 Flutes, 2 Ob
SKU: CA.3124492
Composed by Johann
Sebastian Bach. Carus
Choir Coach.
Matthauspassion.Ccc.
Passions. Compact Disc.
BWV 244. Duration 175
minutes. Carus Verlag #CV
31.244/92. Published by
Carus Verlag
(CA.3124492).
Language:
German. Practical
performing Urtext edition
based on the latest state
of Bach research. Every
era hears and interprets
Bach anew, and every era
also evaluates the
sources afresh and with
new eyes. 40 years after
the publication of the
St. Matthew Passion in
the New Bach Edition,
Klaus Hofmann, Director
of the Johann Sebastian
Bach Institute Gottingen
for many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score available
separately - see item
CA.3124400. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Matthaus-Passion. Carus Choir Coach, BWV 244 Carus Verlag
Orchestra Voice Soli, SATB Choir/SATB, Soprano in ripieno (Cantus-firmus-Choir f...(+)
Orchestra Voice Soli,
SATB Choir/SATB, Soprano
in ripieno
(Cantus-firmus-Choir for
Soprano), 2 Orchestras:
I: 2 Blockenflute, 2
Flutes, 2 Oboes /2 Oboe
d'amroe, 2 Oboe da
caccia, 2 Violins, Viola,
Cello/Contrabss, Viola da
gamba, organ; Orchestra
II: 2 Flutes, 2 Ob
SKU: CA.3124491
Composed by Johann
Sebastian Bach. Carus
Choir Coach.
Matthauspassion.Ccc.
Passions. Compact Disc.
BWV 244. Duration 175
minutes. Carus Verlag #CV
31.244/91. Published by
Carus Verlag
(CA.3124491).
Language:
German. Practical
performing Urtext edition
based on the latest state
of Bach research. Every
era hears and interprets
Bach anew, and every era
also evaluates the
sources afresh and with
new eyes. 40 years after
the publication of the
St. Matthew Passion in
the New Bach Edition,
Klaus Hofmann, Director
of the Johann Sebastian
Bach Institute Gottingen
for many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score available
separately - see item
CA.3124400. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Matthaus-Passion. Carus Choir Coach, BWV 244 Carus Verlag
Orchestra Voice Soli, SATB Choir/SATB, Soprano in ripieno (Cantus-firmus-Choir f...(+)
Orchestra Voice Soli,
SATB Choir/SATB, Soprano
in ripieno
(Cantus-firmus-Choir for
Soprano), 2 Orchestras:
I: 2 Blockenflute, 2
Flutes, 2 Oboes /2 Oboe
d'amroe, 2 Oboe da
caccia, 2 Violins, Viola,
Cello/Contrabss, Viola da
gamba, organ; Orchestra
II: 2 Flutes, 2 Ob
SKU: CA.3124493
Composed by Johann
Sebastian Bach. Carus
Choir Coach.
Matthauspassion.Ccc.
Passions. Compact Disc.
BWV 244. Duration 175
minutes. Carus Verlag #CV
31.244/93. Published by
Carus Verlag
(CA.3124493).
Language:
German. Practical
performing Urtext edition
based on the latest state
of Bach research. Every
era hears and interprets
Bach anew, and every era
also evaluates the
sources afresh and with
new eyes. 40 years after
the publication of the
St. Matthew Passion in
the New Bach Edition,
Klaus Hofmann, Director
of the Johann Sebastian
Bach Institute Gottingen
for many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score available
separately - see item
CA.3124400. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gospel recitations for the St. Mark Passion [Conducteur] Carus Verlag
Sprecher, Vga, Vc SKU: CA.3124780 Composed by Johann Sebastian Bach and P...(+)
Sprecher, Vga, Vc SKU:
CA.3124780 Composed
by Johann Sebastian Bach
and Peter Uehling.
Stuttgart Urtext Edition:
Bach vocal. Foreword in
german and english.
Sacred vocal music. Full
Score. Carus Verlag #CV
31.247/80. Published by
Carus Verlag
(CA.3124780). ISBN
M-007-25021-8.
German. Despite
many newly-composed
interpolations, ranging
from stylistic copies to
modern interpretations,
performing the Gospel
text in Bach's lost St.
Mark Passion continues to
present many challenges
for performers. With his
recitations for narrator,
gamba, and cello, Peter
Uehling has found a way
of maintaining the
musical flow, while
nevertheless preserving
the fragmentary character
of the work. The reduced
musical language of the
recitations places, so to
speak, bare walls between
Bach's colorful
figured tonal
language. An important
point for performance:
despite the free tonal
harmony, the recitations
lead convincingly into
the opening notes of the
chorales. The cello part
comprises also all the
other pieces from the St.
Mark Passion Carus
31.247. Score available
separately - see item
CA.3124700. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gospel recitations for the St. Mark Passion [Conducteur et Parties séparées] Carus Verlag
Sprecher, Vga, Vc SKU: CA.3124789 Composed by Johann Sebastian Bach and P...(+)
Sprecher, Vga, Vc SKU:
CA.3124789 Composed
by Johann Sebastian Bach
and Peter Uehling.
Stuttgart Urtext Edition:
Bach vocal. Playing
scores. Sacred vocal
music. Set of Orchestra
Parts. Carus Verlag #CV
31.247/89. Published by
Carus Verlag
(CA.3124789). ISBN
M-007-25239-7.
German. Despite
many newly-composed
interpolations, ranging
from stylistic copies to
modern interpretations,
performing the Gospel
text in Bach's lost St.
Mark Passion continues to
present many challenges
for performers. With his
recitations for narrator,
gamba, and cello, Peter
Uehling has found a way
of maintaining the
musical flow, while
nevertheless preserving
the fragmentary character
of the work. The reduced
musical language of the
recitations places, so to
speak, bare walls between
Bach's colorful
figured tonal
language. An important
point for performance:
despite the free tonal
harmony, the recitations
lead convincingly into
the opening notes of the
chorales. The cello part
comprises also all the
other pieces from the St.
Mark Passion Carus
31.247. Score and parts
available separately -
see item CA.3124700. $70.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Experiences with Bach Music Distribution Services
SKU: M7.DOHR-461589 A Dresden Bach Book. Arranged by Bernhard Hent...(+)
SKU:
M7.DOHR-461589 A
Dresden Bach Book.
Arranged by Bernhard
Hentrich and Michael
Heinemann. Book. 206
pages. MDS (Music
Distribution Services)
#DOHR 461589. Published
by MDS (Music
Distribution Services)
(M7.DOHR-461589). ISBN
9783868461589. Dres
den, eine Bach-Stadt?
Nein - mit Blick auf die
Person Johann Sebastian
Bachs, der sich
vergeblich um ein
Engagement am Hofe
bewarb. Ja - als geistige
Heimat zahlreicher
Künstler von
internationalem Rang, in
deren Schaffen Bach ein
permanenter Bezugspunkt
ist.Diese Erfahrungen mit
Bach bilden den
Ausgangspunkt der
Beiträge von Musikern
und Wissenschaftlern, die
in Dresden arbeiten, von
der lokalen Tradition
geprägt sind, sie
reflektieren und
weitergeben. Fast
beiläufig entsteht ein
reiches Spektrum von
neuen und
unkonventionellen
Zugängen zu Bach: ein
reiches Kapitel der
Rezeption seiner Werke
und ein Stück
Musikgeschichte der
sächsischen
Hauptstadt. $40.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Carus Verlag
Orchestra Voice Soli, SATB Choir/SATB, Soprano in ripieno (Cantus-firmus-Choir f...(+)
Orchestra Voice Soli,
SATB Choir/SATB, Soprano
in ripieno
(Cantus-firmus-Choir for
Soprano), 2 Orchestras:
I: 2 Blockenflute, 2
Flutes, 2 Oboes /2 Oboe
d'amroe, 2 Oboe da
caccia, 2 Violins, Viola,
Cello/Contrabss, Viola da
gamba, organ; Orchestra
II: 2 Flutes, 2 Ob
SKU: CA.3124402
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. Stuttgart
Urtext Edition: Bach
vocal; Carus sheet music
series: Vocal scores XL,
Great choral works in
small scorings. XL in
large print. Innovative
practice aids, Passions,
Lent and Passiontide,
Holy Week. Vocal score.
BWV 244. 232 pages.
Duration 175 minutes.
Carus Verlag #CV
31.244/02. Published by
Carus Verlag
(CA.3124402). ISBN
9790007187873. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score available
separately - see item
CA.3124400. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Solos for the Bassoon Player Basson [Partition + Accès audio] Music Minus One
Book/Online Audio Bassoon SKU: HL.400103 Music Minus One Bassoon. ...(+)
Book/Online Audio Bassoon
SKU: HL.400103
Music Minus One
Bassoon. Composed by
Various. Sheet music.
Music Minus One.
Classical, Contest.
Softcover Audio Online.
24 pages. Music Minus One
#MMO4601. Published by
Music Minus One
(HL.400103). ISBN
9781596156463. UPC:
884088161101.
9.0x12.0x0.098
inches. Performed
by Janet Grice, bassoon
Accompaniment: Harriet
Wingreen, piano This
collection of classic
pieces, scored for solo
bassoon with piano
accompaniment, covers a
huge span of time and
musical styles, from Bach
(Bourrée I and II) to
Dukas's Sorcerer's
Apprentice. Includes
selections from Carmen,
L'Elisir d'amore,
Pictures at an
Exhibition, and many,
many more! Includes the
printed solo part and
audio recordings of
complete performances
presented in
split-channel format,
with the piano
accompaniment on the left
channel and bassoon
soloist on the right
channel. This affords the
player the ability to
easily dial in or out the
reference solo part. The
audio is accessed online
using the unique code
inside each book and can
be streamed or
downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right. (3)$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Canadian Brass Book of Easy Tuba Solos [Partition + Accès audio] Hal Leonard
Tuba Piano Accompaniment; Tuba SKU: HL.841148 With recordings of perfo...(+)
Tuba Piano Accompaniment;
Tuba SKU:
HL.841148 With
recordings of
performances and
accompaniments. By
The Canadian Brass. By
Various. Arranged by
Charles Daellenbach.
Brass. Classical,
Collection. Softcover
Audio Online. 24 pages.
Published by Hal Leonard
(HL.841148). ISBN
9780793572526. UPC:
073999314564.
9.0x12.0x0.128
inches. Tuba parts
edited and recorded by
Canadian Brass virtuoso
Charles Daellenbach,
piano parts recorded by
Patrick Hansen.
Arrangements by Bill
Boyd. Companion audio
includes full
performances and
accompaniments. Contents:
Chinatown, My Chinatown
• Come, Thou Fount
of Every Blessing •
The Erie Canal •
Hey, Ho! Nobody Home
• The Last Saturday
Evening • Lento
• Loch Lomond
• The Lonely Forest
• Love Song •
Miya Sama •
Repentance •
Wayfaring Stranger. (for
Tuba in B.C.) Audio is
accessed online using the
unique code inside the
book and can be streamed
or downloaded. The audio
files include PLAYBACK+,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto en ut mineur Alto, Piano - Intermédiaire Salabert
Viola and Piano - intermediate SKU: BT.SLB-02032701 Pour alto & piano<...(+)
Viola and Piano -
intermediate SKU:
BT.SLB-02032701
Pour alto & piano.
Composed by Johann
Christian Bach.
Classical. Book and
Part(s). Composed 2021.
40 pages. Editions
Salabert #SLB 02032701.
Published by Editions
Salabert
(BT.SLB-02032701). 230
X 305 inches.
French-English-Italian.
p> Henri Casadesus was
passionate about early
instruments, as we know
from a number of
photographs showing him
with viola
d’amore, the
subject of a manual he
wrote entitled Tecnique
de la viole
d’amour. The
Concerto en Ut mineur was
first published in 1947
by Mica Salabert. The
first edition gives the
so-called
“originalâ€
part for solo violocello
together with the score
which, according to the
preface, has been adapted
for viola or cello or
violin by Casadesus.
However, stylistic
analysis of the piece,
together with some
musicological research
carried out after the
appearance of the first
edition reveals that the
“originalâ€
version for violoncello,
on which the adaptation
was supposed to be based,
cannot be attributed to
Johann Christian Bach,
but is rather a work
imitating his style
written two centuries
later. In spite of this,
Concerto en Ut mineur
encountered considerable
success and continues to
be studied and performed
by both violinists and
violoncellists
today.
Henri
Gustave Casadesus
nourrissait une profonde
passion pour les
instruments anciens,
qu’illustrent
notamment plusieurs
photographies qui le
représentent avec la
viole d’amour, un
instrument pour lequel il
écrivit le traité
Technique de la viole
d’amour. Le
Concerto en ut mineur fut
publié pour la
première fois en 1947
par Mica Salabert. Dans
la première édition
imprimée du Concerto
en ut mineur, la partie
du violoncelle soliste
était qualifiée
d’« originale
» tandis que la
partition,
d’après la
préface citée, est
la version d’Henri
Casadesus,
réadaptée pour
alto, violon ou
violoncelle. Toutefois,
d’après
l’analyse du style
de la pièce et des
recherches musicologiques
successives jamais
contestées du reste
par la famille Casadesus
il apparaît que la
version « originale
» pour violoncelle, de
laquelle découlerait
l’adaptation,
n’est pas
attribuable non plus
Johann Christian Bach,
mais aurait été
composée selon sa
manière deux
siècles après. En
dépit de cela, ce
concerto a connu une
bonne fortune et est
encore étudié et
interprété
aujourd’hui par
les altistes et les
violoncellistes. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Selected Songs Forsyth Publications
Voice, recorder, piano and guitar - Moderate to Intermediate SKU: FP.FPT02(+)
Voice, recorder, piano
and guitar - Moderate to
Intermediate SKU:
FP.FPT02 Composed by
Thomas Pitfield.
Published by Forsyths
Publications (FP.FPT02).
ISBN
979-0-57050-253-0.
Selected songs spanning
50 years demonstrating
Pitfield's distinctive
voice, to be cherished
for its precision of
technique and delicacy of
effect. John McCabe
writes if Pitfield had
written only the first
song in the book, Cuckoo
and Chestnut Time, he
would have earned our
gratitude for that
perfect little gem alone!
Also contains the
composer's own
illustrations. Thomas
Pitfield had the gift for
memorable tunes, often
couched in somewhat
French-sounding harmonic
and decorative idiom. He
admired Vaughan Williams,
Grainger and Delius and
their influence can be
felt in his works. $18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| John Coltrane : The Trane Book Instruments en Do [Fake Book] Hal Leonard
(The John Coltrane Real Book). By John Coltrane. For C Instruments. Fake Book. S...(+)
(The John Coltrane Real
Book). By John Coltrane.
For C Instruments. Fake
Book. Softcover. 144
pages. Published by Hal
Leonard
$25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mini-Musicals Und Erzahltheater Uber Hasen, Huhner Und Ostern Guitare [Partition + Accès audio] Schott
Guitar SKU: HL.49046927 Guitar. Guitar. Classical, General Worship...(+)
Guitar SKU:
HL.49046927
Guitar. Guitar.
Classical, General
Worship, German Edition,
Sacred. Softcover Audio
Online. 72 pages. Schott
Music #ED23507. Published
by Schott Music
(HL.49046927). ISBN
9781705169117. UPC:
196288082262. The
poor bunny in the pit is
sick and is cared for by
the mother and the rabbit
doctor. Little bunny
wanted to go for a walk,
but then it falls into
the stream and luckily
has an idea that can save
it. The Hare and the
Hedgehog is a fairy tale
by the Brothers Grimm,
followed by The Hare and
the Deer and The Hare and
the Frogs. Easter on the
chicken yard, The Easter
bunnies and the chickens,
Easter bunny Felix and
the hens and Easter bunny
Hans with the drum are
happy stories about
Easter and egg dyeing.
The Easter Story tells
the story of the passion
and resurrection of
Christ. The mini musicals
bring together beautiful
stories and traditional
melodies. Texts and songs
can be adapted to the age
of the children. For each
song there is a picture
card for narrative
theater as a PDF and an
MP3 playback for
download. Classical
guitar chords and
JelGi(r) numbers are
provided. Simple songs
can be accompanied by
children on guitars, orff
instruments and
boomwhackers. $23.99 - Voir plus => Acheter | | |
| Real Time Drums - 10 brani (IT) Batterie [Partition + CD] - Débutant De Haske Publications
Drum Kit - very easy, easy SKU: BT.DHP-0991531-400 Composed by Arjen Oost...(+)
Drum Kit - very easy,
easy SKU:
BT.DHP-0991531-400
Composed by Arjen
Oosterhout. Educational
Tool. Book with CD.
Composed 1999. 28 pages.
De Haske Publications
#DHP 0991531-400.
Published by De Haske
Publications
(BT.DHP-0991531-400).
ISBN 9789043104289.
Italian. Il metodo
di batteria Real Time
Drums i è una
collezione efficace e
appassionante concepita
da Arjen Oosterhout,
batterista, compositore e
insegnante emerito. Le
due raccolte del metodo
(la seconda non è
ancora disponibile in
italiano), propongono
nuovi ritmi e schemi di
batteria sviluppati a
partire da esercizi di
tecnica immediatamente
applicati a stili quali
il rock ed il funk. Ogni
esercizio è corredato
di indicazioni relative
allâ??interpretazione,
rispettando uno spazio
per lâ??improvvisazione.
I metodi sono completati
dal CD sul quale sono
incise una versione
integrale di ogni
esercizio seguita da una
versione senza
accompagnamento per
mettere in praticale
tecniche apprese. Real
Time Drums 10 brani e
Real Time Drums More
Great Grooves sono i
complementi ai relativi
metodi. I ritmi e i fills
presentati nei metodi,
vengono elaborati in
questi due libri. Le
parti di batteria
comprendono indicazioni
relative allo stile del
brano. Queste indicazioni
servono come punto di
partenza per mettere il
batterista sulla buona
strada. Spetter poi a lui
riempire gli spazi
lasciati liberi per
creare una propria
â??storiaâ?. Con la
collezione Real Time
Drums, la creativit e
il proprio bagaglio
musicale si
arricchiscono! $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Real Time Drums (IT) Batterie [Partition + CD] De Haske Publications
Drum Kit SKU: BT.DHP-0991530-400 Metodo base per batteria. Compose...(+)
Drum Kit SKU:
BT.DHP-0991530-400
Metodo base per
batteria. Composed by
Arjen Oosterhout.
Educational Tool. Book
with CD. Composed 1999.
64 pages. De Haske
Publications #DHP
0991530-400. Published by
De Haske Publications
(BT.DHP-0991530-400).
ISBN 9789043104296.
Italian. Il metodo
di batteria Real Time
Drums i è una
collezione efficace e
appassionante concepita
da Arjen Oosterhout,
batterista, compositore e
insegnante emerito. Le
due raccolte del metodo,
propongono nuovi ritmi e
schemi di batteria
sviluppati a partire da
esercizi di tecnica
immediatamente applicati
a stili quali il rock ed
il funk. Ogni esercizio
è corredato di
indicazioni relative
allâ??interpretazione,
rispettando uno spazio
per lâ??improvvisazione.
I metodi sono completati
dal CD sul quale sono
incise una versione
integrale di ogni
esercizio seguita da una
versione senza
accompagnamento per
mettere in pratica le
tecniche apprese. Real
Time Drums - 10 brani
e RealTime Drums More
Great Grooves sono i
complementi ai relativi
metodi. I ritmi e i fills
presentati nei metodi,
vengono elaborati in
questi due libri. Le
parti di batteria
comprendono indicazioni
relative allo stile del
brano. Queste indicazioni
servono come punto di
partenza per mettere il
batterista sulla buona
strada. Spetter poi a lui
riempire gli spazi
lasciati liberi per
creare una propria
â??storiaâ?. Con la
collezione Real Time
Drums, la creativit e
il proprio bagaglio
musicale si
arricchiscono! $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Metallica ? The Complete Lyrics ? 3rd Edition Paroles Seulement Cherry Lane
SKU: HL.299371 By Metallica. Book. Heavy Metal, Rock Reference. Softcover...(+)
SKU: HL.299371 By
Metallica. Book. Heavy
Metal, Rock Reference.
Softcover. 152 pages.
Published by Cherry Lane
Music (HL.299371).
ISBN 9781540060259.
UPC: 888680956189.
6.0x9.0x0.332
inches. Metallica's
success can be directly
attributed to their
passionate, no-compromise
attitude, which comes
through loud and clear in
the words they sing. Now
fans can have the
complete lyrics to all of
their favorite songs with
this updated 3rd edition
featuring 106 songs. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tarantella Carl Fischer
Choral Double bass voice, Piano, Viola, Violin 1, Violin 2, SATB chorus SKU: ...(+)
Choral Double bass voice,
Piano, Viola, Violin 1,
Violin 2, SATB chorus
SKU: CF.CM9735
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS. Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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