PARTITIONS GRATUITES : VOIX HAUTE
- British Library, Add

SKU: ST.LC2

Composed by Daniel Purcell, Jeremiah Clarke, and Richard Leveridge. Library Volumes. Facsimile: British Library, Add. MS 15318. Facsimile Score. Stainer & Bell Ltd. #LC2. Published by Stainer & Bell Ltd. (ST.LC2).

ISBN 9790220204548.

Facs imile: British Library, Add. MS 15318. Introduction by Curtis Price and Robert D. Hume.

Organ

SKU: ST.EC66

Composed by Various. Edited by John Caldwell. This edition: Collected Editions. Library Volumes. Early Tudor Organ Music. Collection. Stainer and Bell Ltd. #EC66. Published by Stainer and Bell Ltd. (ST.EC66).

ISBN 9780852499726.

EECM 65 and EECM66 revisit the repertoire of the ground-breaking volumes 6 and 10 in the series, Early Tudor Organ Music, in the light of 60 years of continuing research and deeper understanding of the surviving corpus. Some 109 works are brought together here, in the order in which they appear in each manuscript â?? British Library Additional MS 29996 accounting for three-quarters of the content, plus 22 works from other sources. There are settings for the Office (antiphons, hymns, the Te Deum and Magnificat) and Mass ordinary and propers (particularly the Offertory).

The format is of the same dimensions as other EECM volumes, although presented in landscape for more practical use. EECM66 contains Advent, Christmas, Epiphany and Lenten hymns from Add. MS 29996, and 22 pieces from other sources. Three appendices include intabulated pieces, plainchant melodies, and hymns and faburdens.

In addition to numerous anonymous titles, composers found in these volumes include Avery Burnett, Robert Coxsun, William Kyrton, Thomas Preston, John Redford, Philip ap Rhys, Edmund Strowger, Thomas Tallis, John Thorne, Robert White and Richard Wynslate.

Organ

SKU: ST.EC65

Composed by Various. Edited by John Caldwell. This edition: Collected Editions. Library Volumes. Early Tudor Organ Music. Collection. Stainer and Bell Ltd. #EC65. Published by Stainer and Bell Ltd. (ST.EC65).

ISBN 9780852499719.

EECM 65 and EECM66 revisit the repertoire of the ground-breaking volumes 6 and 10 in the series, Early Tudor Organ Music, in the light of 60 years of continuing research and deeper understanding of the surviving corpus. Some 109 works are brought together here, in the order in which they appear in each manuscript â?? British Library Additional MS 29996 accounting for three-quarters of the content, plus 22 works from other sources. There are settings for the Office (antiphons, hymns, the Te Deum and Magnificat) and Mass ordinary and propers (particularly the Offertory).

The format is of the same dimensions as other EECM volumes, although presented in landscape for more practical use. Containing music exclusively from Add. MS 29996, EECM65 includes updated composer biographies compiled by David Mateer, and introductory notes for the two volumes on cantus firmus techniques and metrical structure, counterpoint and musica ficta, alternatim practice, and an historical account of the early English organ.

In addition to numerous anonymous titles, composers found in these volumes include Avery Burnett, Robert Coxsun, William Kyrton, Thomas Preston, John Redford, Philip ap Rhys, Edmund Strowger, Thomas Tallis, John Thorne, Robert White and Richard Wynslate.

Choir

SKU: ST.EC18

Composed by John Sheppard. Edited by Nicholas Sandon. Library Volumes. Edited by Nicholas Sandon. First published in 1976. Pages: 184. Format: Paperback. Dimensions (mm): 254 x 177 x 12. Choral Score. Stainer & Bell Ltd. #EC18. Published by Stainer & Bell Ltd. (ST.EC18).

ISBN 9790220213731.

Tave rner and Tye are the predominant influences in these works. The 6-part Mass Cantate is taken from the Oxford partbooks. The source for The Western Wind Mass, The Frences Mass, the Mass Be not afraid , and the Plainsong Mass for a Mean, all in four parts, is the so-called 'Gyffard' partbooks (British Library Add. MSS 17802-5), which are now known to have been copied after ElizabethAs accession for a Catholic patron, Dr Philip Gyffard, Fellow of Merton College, Oxford.

Guitar Solo

SKU: IS.G6765EM

Composed by Silvio Leopold Weiss. Arranged by Ben Beuming. Plucked - Guitar. Metropolis Music Publishers #G6765EM. Published by Metropolis Music Publishers (IS.G6765EM).

ISBN 9790365067657.

This sonata (WeissSW No. 4, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

Piano Solo. Composed by Muzio Clementi (1752-1832). Edited by David Patrick. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Softcover. Composed 1771. Op. 1. 59 pages. Schott Music #ED9029. Published by Schott Music

Guitar Solo

SKU: IS.G6763EM

Composed by Silvio Leopold Weiss. Arranged by Ben Beuming. Plucked - Guitar. Metropolis Music Publishers #G6763EM. Published by Metropolis Music Publishers (IS.G6763EM).

ISBN 9790365067633.

This sonata (WeissSW No. 25, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIX comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIX comes from Weissâ??s middle â??productiveâ?? period, around 1720. The Sonata has seven movements: Prelude, Allemande (andante), Passepied, Bourée, Sarabande, Menuet, and it ends with a Gigue. There is another copy of this Sonata, known as Suite XIX, in a London Manuscript (British Library Ms. Add. 30387). The London version does not include a Prelude, and the Sarabande is completely different. The other movements are similar to those in the Dresden Manuscript. The Sonata in this Edition is based on the Dresden Manuscript. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden and London manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. The Prelude in this particular Sonata cannot be regarded as integral. It has been added later, either by the compiler of the volumes or perhaps by Weiss himself. Originally, the Sonata is written in G minor, a key not often used by Weiss, but considered appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

By Alessandro Scarlatti and Ottavio Dantone. For Harpsichord and Strings. Early Music. Score. 20 pages. Published by Ut Orpheus . score. Early Music.