SKU: CA.3001100

ISBN 9790007020040. Key: G major. Language: German.

The motets of Johann Ludwig Bach occupy an outstanding position within this genre. Though rooted firmly in the shorter motets from the Thuringian tradition, nonetheless they reach dimensions which are seldom observed in that tradition. This is also true with respect to polychoral music, which here is raised from the exception to the rule - on the other hand, it is valid, when one bears in mind the necessity of representing the prestige of a royal court. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. Without a doubt these motets by the Meininger Bach, highly regarded by J. S. Bach, are a treasured enrichment of the repertoire of all choirs.

SKU: CA.3000900

ISBN 9790007019884. Key: G major. Language: German.

The motets of Johann Ludwig Bach occupy an outstanding position within this genre. Though rooted firmly in the shorter motets from the Thuringian tradition, nonetheless they reach dimensions which are seldom observed in that tradition. This is also true with respect to polychoral music, which here is raised from the exception to the rule - on the other hand, it is valid, when one bears in mind the necessity of representing the prestige of a royal court. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. Without a doubt these motets by the Meininger Bach, highly regarded by J. S. Bach, are a treasured enrichment of the repertoire of all choirs.

SKU: BU.EBR-A100

ISBN 9790560153780. 8.58 x 12.48 inches.

La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.

Proposer tout à la fois des « incontournables  Â» du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces Å“uvres.

Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.



Lohengrin est le sixième opéra que Richard Wagner ait composé. Ecrit entre 1845 et 1848, créé en 1850, cette œuvre est basée sur l'histoire du « chevalier au cygne », provenant de la littérature médiévale allemande.
Lohengrin connut un succès immédiat et eut une grande importance dans la carrière musicale du compositeur. En effet, pour la première fois, on sent le langage musical de Richard Wagner se libérer définitivement de la tradition classique et montrer pleinement un caractère romantique.
Dans une lettre adressée à Liszt datée de 1853, Richard Wagner dit: «Je m’aperçois que dans Lohengrin, j’ai oublié une indication de mouvement, omission que je n’ai constatée que lorsque je l’ai dirigé. C’est dans le chœur nuptial en ré majeur, après le second solo des huit femmes, les huit dernières mesures avant le premier mouvement : ici, le mouvement doit être considérablement ralenti, plus qu’à la première entrée en ré majeur; cela doit se faire tranquillement, solennellement, sinon l’intention est manquée.»
Le chœur nuptial dont Richard Wagner fait mention marque le début du troisième acte de l'opéra, lorsqu'Elsa et son époux pénètrent dans la chambre nuptiale où ils se déclarent leur amour : `que les bruits de la fête s'éteignent, que vos cœurs s'enivrent! Que la chambre parfumée parée pour l'amour vous accueille à présent''.
Aujourd' hui, cette marche nuptiale accompagne traditionnellement les mariés à l’entrée ou la sortie de l’Eglise en Occident. Elle est traditionnellement jouée à l’orgue, mais peut être jouée par un orchestre. Elle est parfois appelée “la marche des fiançailles (ou des fiancés).

SKU: ST.EC57

ISBN 9790220224058.

The third facsimile collection to be published by Early English Church Music, Volume 57 attests to the quality and depth of the polyphonic traditions during the long reigns of Henry III and his son Edward I, when the music of English high culture achieved a technical autonomy from the common international Anglo-French repertoire of the period. Assembling within the covers of one publication a set of facsimiles of the extant remains of native origin, it comprises images of more than sixty sources of thirteenth-century polyphony, including the Reading rota, the conductus-rondellus Flos regalis, and the Worcester fragments, here reunited from three codices. The large page layout adopted enables almost all the manuscripts to be reproduced at full size for direct comparison of different sources, layouts and dimensions.

SKU: BA.BVK01520

ISBN 9783761815205. 24 x 17 cm inches.

SKU: UT.ES-47

ISBN 9790215314511. 9 x 12 inches.

The few available biographical data tell us that Francisco Correa de Arauxo (or de Acevedo) was born in Seville and baptized probably in September 1584. He was appointed organist of the Salvador, the second church in Seville, in 1599, and ordained priest probably in 1608. After several unsuccessful attempts to become organist of the Cathedral, he accepted an offer to take the main position at the Cathedral of Segovia and remained there until his death, in spite of invitations by the Chapter of Seville to return home and take the office he had always wanted. He is buried in the Cathedral of Segovia.
Not unlike J.S. Bach, Correa gives the image of an artist inbetween times, with one foot in tradition and establishment, and the other in revolution and novity. We must recognize the amazing beauty and genius of his music, a genius which sets him apart from all other Spanish, just as Frescobaldi from all other Italians, Grigny from all other French and Bach from all other German composers of their times.
The Facultad Organica was published in 1626. This new Urtext edition, edited by Guy Bovet, is based on the Brussels copy; doubtful passages have been compared with the two copies of the Madrid Biblioteca Nacional.

SKU: BT.AMP-417-140

English-German-French- Dutch.

Second to None is a perfectly suitable title for this work, though it actually refers to “Nulli Secundus”, the motto of the British Corps of Army Music, who gave the commission to Philip Sparke. The piece opens with a fanfare, followed by two short quotes from two of the Corp’s own marches and a festive Vivace. A more legato central section creates a nice contrast before the work closes with the opening fanfare. A perfect affair!

De titel Second to None past heel goed bij dit werk, maar verwijst eigenlijk naar ‘Nulli Secundus’, het motto van British Army Corps of Music, het orkest dat Philip Sparke de opdracht voor dit werk gaf. Second to None opent met een fanfare. Daarna volgen twee korte citaten uit twee van de eigen marsen van het orkest en een feestelijke Vivace. Een meer legato deel creëert een mooi contrast voordat het werk wordt afgesloten met de openingsfanfare. Van begin tot einde prachtig!

Secon d to None (Unübertroffen“) wurde zum 20-jährigen Jubiläum der britischen Armee komponiert. Das feierliche Werk honoriert die musikalische Tradition des Corps, indem es auf einige seiner eigenen berühmten Märsche, wie beispielsweise The Corps of Army Music Slow March (Greg Machin) und The Music Makers (Ian Mitchell), anspielt. Second to None kann auch in einer kürzeren Fassung gespielt werden und ist ein ideales Erönungsstück für jedes festliche Konzert.

Second to None est un titre qui convient parfaitement ce morceau, même s’il fait en fait référence « Nulli Secundus », la devise du British Corps of Army Music, l'orchestre qui a fait la commande auprès de Philip Sparke. La pièce commence par une fanfare, suivie de deux citations courtes de deux de leurs propres marches, et un Vivace festif. Une section plus legato crée un beau contraste avant la fin où la fanfare du début est répétée. Parfait !

Second to None (Secondo a nessuno) è un titolo perfetto per questo lavoro, anche se in realt si riferisce a “Nulli Secundus”, il motto del British Corps of Army Music, che lo ha commissionato a Philip Sparke. Il brano si apre con una fanfara, seguita da due brevi citazioni, prese da due delle marce del Corpo e da un gioioso Vivace. Una sezione centrale, che da più spazio al legato, crea un piacevole contrasto con la fanfara iniziale prima della chiusura del brano. Un connubio perfetto!

SKU: SU.12800078

BachScholar Editions Vol. 78: J.S. BACH: Sinfonia from Cantata 29 (trans. Saint-Saëns) (9 pages) presents arguably the finest romantic-era piano transcription of Bach’s exciting Sinfonia from Cantata 29, which Bach reworked from his previously composed PreludioV from Partita No. 3 for Solo Violin. The once child prodigy and musical genius, Camille Saint-Saëns (1835-1921), pulled out all the stops on this electrifying virtuoso piano transcription of Bach’s famous work, which was first published in 1862. The present performance edition improves upon the currently existing edition by supplying ample fingerings, pedaling and expression indications, as well as a suggested metronome speed. Advanced pianists, concert artists, and audiences will absolutely love this first-rate virtuoso transcription in the romantic tradition. Published by: BachScholar.

SKU: SU.27040140

Three short pieces retaining the tonal center of D. All three ( Ricercare, Bagattelle, Waltz Melancholia) are linked to sundry classical traditions.Solo Piano Duration: 10' Composed: 2013 Published by: Hutter Music.

SKU: SU.27040260

The five Fantasy Pieces are manifestations of the piano in its sundry traditions. The Prelude is a response to the instrument's mechanical side and timbral possibilities; the Free Invention is a wild study in two-part counterpoint; the Intermezzo contains many dense harmonic textures; the Passacaglia is a demonstration of pianistic virtuosity, and the Postlude explores the instrument's resonance and acoustical properties. Piano Solo Duration: 20' Composed: 2001 Published by: Hutter Music.

SKU: HH.HH591-FSC

ISBN 9781914137242.

Ordi nary violin sonatas formed the backbone of the series of ten collections that the Italian violinist Michel Mascitti (1663/4–1760), born in southern Italy but permanently resident in Paris from 1703, committed to print between 1704 and 1738. His Op. 7 (1727) opens with eight such sonatas but ends with four concertos for strings in six parts that, alongside a collection of concertos for five flutes (!) by J.B. de Boismortier published in the same year, inaugurate the proud tradition of concertos created on French soil. Amazingly, Mascitti’s concertos have been neglected not merely by publishers and performers but also by commentators. In particular, the first two concertos display great musical merit in an original idiom that combines Italian and French influences in a very personal way. Further, their Italianate elements juxtapose features familiar from the concertos of Corelli, Mascitti’s reputed teacher, with ones more usually associated with Vivaldi. Both concertos are laden with emotion, albeit never at the expense of the polish and attention to detail that are the hallmark of Mascitti’s craft.

SKU: GI.G-9904

UPC: 785147990406. English. Text Source: William W. How, 1823&ndash,1897, alt. Text by William Walsham How.

From the second installment of the best-selling Revival series (Revival II: octavo collection, G-9900, spiral edition, G-9900S), Tony Alonso’s arrangement of the ever-popular SINE NOMINE offers a fresh treatment for contemporary ensembles with guitar- and piano-based bands. What a great way to invite your community into the tradition of hymn singing! Listen to the recording and see the score in the video below:.

SKU: HL.49015533

ISBN 9783795703288. German.

Wie in keinem anderen Werk versammelt Hans Werner Henze in seinem Vokalzyklus Voices eine reiche Mannigfaltigkeit von Idiomen, Stilmitteln, Genres und vokalen wie instrumentalen Verfahrensweisen. Zudem spiegelt sich in der Auswahl der Dichtungen und Liedtypen durch ihre Bezuge zur gesellschaftlichen Situation der Gegenwart und zu historischen musikalischen Modellen sein umfassendes politisch-soziales Engagement. Herausgeber und Autoren haben es sich zur Aufgabe gemacht, die Vielfalt dieses in mehrfacher Hinsicht exemplarischen Werkes im methodisch und stilistisch breiten Spektrum ihrer Beitrage aufzufangen. Entstanden ist ein Sammelband, der, angeregt durch Henzes Traktat uber das Liederschreiben in unserer Zeit, neben dem interpretierenden Blick auf die Musik auch eine kritische Sicht auf heutige Gesellschaftsrealitaten und -utopien und deren Reflex im Kunstlerischen wagt.

SKU: GI.G-9911

UPC: 785147991106. English. Text Source: Based on Psalm 23, Issac Watts, 1674–1748, alt. Text by Isaac Watts. Scripture: Psalm 23.

From the second installment of the best-selling Revival series (Revival II: octavo collection, G-9900, spiral edition, G-9900S), Tony Alonso’s arrangement of the ever-popular RESIGNATION offers a fresh treatment for contemporary ensembles with guitar- and piano-based bands. What a great way to invite your community into the tradition of hymn singing! (The first volume of Revival is also available: octavo collection, G-9405, spiral edition, G-9538.).

Ernest J Moeran (1894-1950) was an English composer, who followed the tradition of R. Vaughan Williams and John Ireland by collecting, preserving, and using many folk songs, mainly from Norfolk, Suffolk, and Ireland

SKU: BT.DHP-1135502-400

ISBN 9789043137683. 9x12 inches. English-German-French-Dut ch.

This is a wonderful collection of klezmer music, inspired by the Jewish dances and songs of the klezmorim from Eastern Europe - from the lyrical HORA to the fast, compelling FREILACH. Some of the pieces have a second part ad libitum - for playingtogether or for variation in a repeat. For the accompaniment, chord symbols have been added and on the included CD there are complete versions as well as play-along versions of all pieces, played live by genuine klezmer musicians.

Een prachtige verzameling klezmermuziek, ge nspireerd op de joodse dansen en liederen van de klezmorim uit Oost-Europa: van de lyrische Hora tot de snelle, meeslepende Freilach. Ook de invloed van de nieuwere Israëlische volksmuziek la Giora Feidman is hoorbaar. Sommige stukken hebben een tweede stem ad libitum - voor samenspel of ter afwisseling bij herhaling. Voor de begeleiding zijn akkoordsymbolen toegevoegd - en op de bijgevoegde cd staan van alle stukken mooie demo- én play-along-versies, die live zijn ingespeeld door rasechte klezmermuzikanten.

ALL TIME KLEZMERS ist eine wundervolle Sammlung von Klezmermusik, inspiriert von den jüdischen Tänzen und Liedern der Klezmorim aus Osteuropa: vom lyrischen Hora bis hin zum schnellen, unwiderstehlichen Freilach. Einige Stücke haben eine optionalezweite Stimme für das Zusammenspiel oder eine Variation in einer Wiederholung. Für die Begleitung wurden Akkordsymbole hinzugefügt. Auf der beiliegenden CD gibt es vollständige Aufnahmen sowie Mitspielversionen aller Stücke, live eingespielt vonechten Klezmermusikern.

L e recueil All Time Klezmers sâ??inspire des danses et des chants juifs joués par les klezmorim : de la beauté lyrique de la Hora lâ??exubérance du Freilach. Lâ??accompagnement a été confié dâ??authentiques klezmorim évoluant dans la plus pure tradition de la musique klezmer.

La raccolta All Time Klezmers si ispira alle danze e ai balli: dalla bellezza lirica della Hora allâ??esuberanza di Freilach. Ci si ritrova ugualmente lâ??influenza della musica tradizionale israeliana nello spirito di Giora Feidman. Lâ??accompagnamento è affidato ad un vero gruppo klezmorim che vi trasciner nellâ??autenticit di questo genere musicale.

SKU: GI.G-9088

ISBN 9781622771691. English.

In 2010 the Congregation for Divine Worship and the Discipline of the Sacraments granted a recognitio to The Revised Grail Psalms. This translation was prepared as a liturgical translation intended for use in the Roman Catholic Liturgy. Within a year of its publication, Christian leaders from groups beyond the Roman Catholic Communion expressed appreciation for certain aspects of The Revised Grail Psalms, particularly the poetic quality of the text and the sprung rhythm which facilitates recitation, chant, and musical settings of the texts. They further inquired if we might consider publishing another edition of The Revised Grail Psalms, focusing more directly on the original Hebrew while yet seeking a more inclusive final text of the sort preferred in the current worship of their respective communions. Thus The Ecumenical Grail Psalter came to be. Extracted from the Introduction to The Ecumenical Grail Psalter   Endorsements for The Ecumenical Grail Psalter “A lovely translation! The Ecumenical Grail Psalter retains the elegant simplicity, beauty, and rhythmic flow of earlier Grail Psalms. This makes it ideal for public reading and singing, as well as for individual devotional use. I applaud the inclusive language, and I hope it will be widely read and sung. It is a wonderful gift to the Church!” —J. Clinton McCann, Jr. Evangelical Professor of Biblical Interpretation Eden Theological Seminary “Lyrical in language with an ear for the musicality of words, this fresh revision of the Grail Psalter voices the longing, lament, and lavish praise contained in the Psalms. I especially appreciate the attentiveness to inclusive language, which invites women readers and prayers of these texts to feel more at home in this richly hued rhetorical landscape. The monks of Conception Abbey have offered a gift to the larger ecclesial family, further shaping our liturgical life through engagement with the Psalter. As a Baptist theologian and seminary president, I am deeply grateful.” —Molly T. Marshall President and Professor of Theology and Spiritual Formation Central Baptist Theological Seminary “A translation of the Psalms marked by noble simplicity, accessibility, freshness, and candor. These texts are beautifully singable—well poised for chanting and singing in a variety of cultural contexts. They are also well suited for devotional and liturgical reading, inviting worshipers into the world of the Psalms with vivid, uncluttered language. May this volume be widely received across Christian traditions.” —John D. Witvliet Calvin Institute of Christian Worship Calvin College and Calvin Theological Seminary.

SKU: BT.AMP-417-010

English-German-French- Dutch.

Second to None is a perfectly suitable title for this work, though it actually refers to “Nulli Secundus”, the motto of the British Corps of Army Music, who gave the commission to Philip Sparke. The piece opens with a fanfare, followed by two short quotes from two of the Corp’s own marches and a festive Vivace. A more legato central section creates a nice contrast before the work closes with the opening fanfare. A perfect affair!

De titel Second to None past heel goed bij dit werk, maar verwijst eigenlijk naar ‘Nulli Secundus’, het motto van British Army Corps of Music, het orkest dat Philip Sparke de opdracht voor dit werk gaf. Second to None opent met een fanfare. Daarna volgen twee korte citaten uit twee van de eigen marsen van het orkest en een feestelijke Vivace. Een meer legato deel creëert een mooi contrast voordat het werk wordt afgesloten met de openingsfanfare. Van begin tot einde prachtig!

Secon d to None (Unübertroffen“) wurde zum 20-jährigen Jubiläum der britischen Armee komponiert. Das feierliche Werk honoriert die musikalische Tradition des Corps, indem es auf einige seiner eigenen berühmten Märsche, wie beispielsweise The Corps of Army Music Slow March (Greg Machin) und The Music Makers (Ian Mitchell), anspielt. Second to None kann auch in einer kürzeren Fassung gespielt werden und ist ein ideales Erönungsstück für jedes festliche Konzert.

Second to None est un titre qui convient parfaitement ce morceau, même s’il fait en fait référence « Nulli Secundus », la devise du British Corps of Army Music, l'orchestre qui a fait la commande auprès de Philip Sparke. La pièce commence par une fanfare, suivie de deux citations courtes de deux de leurs propres marches, et un Vivace festif. Une section plus legato crée un beau contraste avant la fin où la fanfare du début est répétée. Parfait !

Second to None (Secondo a nessuno) è un titolo perfetto per questo lavoro, anche se in realt si riferisce a “Nulli Secundus”, il motto del British Corps of Army Music, che lo ha commissionato a Philip Sparke. Il brano si apre con una fanfara, seguita da due brevi citazioni, prese da due delle marce del Corpo e da un gioioso Vivace. Una sezione centrale, che da più spazio al legato, crea un piacevole contrasto con la fanfara iniziale prima della chiusura del brano. Un connubio perfetto!

SKU: GI.G-9456

UPC: 785147945604. English. Text Source: Liturgy of St. James, 5th c., para. Gerard Moultrie, 1829-1885, alt. Text by Gerard Moultrie. Scripture: Habakkuk 2:20.

This arrangement of the ethereal tune PICARDY provides a fresh treatment for contemporary ensembles with guitar- and piano-based bands. As with all of the Revival arrangements, this piece is a great way to invite your community into the tradition of hymn singing. (Revival: octavo collection, G-9405, spiral edition, G-9538).

SKU: BO.B.3724

Cassado could be considered are the first great Catalan symphonist of the 19th Century and one of the first pre-coursers of Nationalism in our country. His is a Nationalism that is solidly based on central European traditions, mainly Germanic in its.

Plus Ultra is a special case in which the desire to exhibit his deepest Nationalist sentiments took a second place to a more global style into which he incorporated harmonies and melodic turns that recall Rachmaninoff more than Albeniz. Plus Ultra can be considered as a musical thought which, in spite of references or paraphrases of some typical aspects of Spanish music of the era, is an authentic lied in which the cello sings out, using maximum of its expressive possibilities, with a piano accompaniment of the first order.

In this work Cassado makes more extensive use of pianissimo, which is more typical of the French school, than in any other of his works. Through the use of gestures which are almost Impressionist, as well as refined and tasteful harmonies, the composer divides the musical discourse between the two instruments creating a fantastic work which his son Gaspar performed in concerts.

SKU: BR.EB-8041

World premiere: Dusseldorf, May 20, 1978

ISBN 9790004174401. 9 x 12 inches.

During the intensive study of Johann Sebastian Bach's Musical Offering for the creation of a commissioned composition for wind trio, I had the idea of writing a larger organ work on the Royal Theme at the same time. This is how the Three Ricercare came into being. They are multi-part fantasies for organ, which - connected by the frequently transformed thematic material of the Musical Offering and the manifoldly reshaped B-A-C-H motif - alternate between free, rapsodic parts on the one hand and strictly structured parts on the other. For my 60th birthday, W. E. v. Lewinski wrote an appreciation under the title: Music in the span between constraint and freedom. This formulation aptly characterizes the new organ work. (Jurg Baur) CD: Martin Herchenroder CD Koch 3-1846-3 H1 Bibliography: Semrau , Arno: Polpyhone Orgelmusik von Johann Sebastian Bach bis Jurg Baur, Augsburg: Wissner 2001, darin besonders pp. 259-304 und 510-532. Richter , Reinhold: Zwischen Tradition und Avantgarde zwischen Zweifel und Hoffnung. Einige Notizen zur Chor- und Orgelmusik von Jurg Baur anlasslich des 85. Geburtstages im vergangenen November, in: Forum Kirchenmusik 54 (2003), Heft 6, pp. 23-31.

World premiere: Dusseldorf, May 20, 1978.