Format : Score and Parts
SKU: CA.9700709
ISBN 9790007238926. Text language: German.
Joseph Leopold Eybler had frequent contacts with the great composers of his day: both Joseph Haydn and Albrechtsberger were his teachers and friends, and he had a close friendship with Mozart and Johann Michael Haydn. His major Christmas oratorio Die Hirten bei der Krippe zu Bethlehem (1794) was composed four years before Haydn's Die Schopfung (The Creation). The almost operatic work displays a wealth of different facets: from the virtuoso aria, through the tranquil depiction of nature in music, to the portrayal of the most heartfelt emotions. As a true jewel of Viennese classicism, Die Hirten (The Shepherds) is a worthwhile addition to the Christmas repertoire. Score and parts available separately - see item CA.9700700.
SKU: CA.2709403
ISBN 9790007249984. Key: F minor. Latin.
Bruckner’s mighty Mass in F minor is one of his most significant creations and one of the great 19th-century choral works. The composer uniquely succeeds in exploring faith through the lens of music. In doing so, he ventures into extreme forms of expression, which caused some disgruntlement among the musicians at rehearsals for the premiere in November 1868. In subsequent years, however, the work has gradually become more accepted, and today presents a highly appealing challenge to advanced choirs. The Carus edition presents the Mass in F minor as the final 1893 version based on the autograph and the surviving copies from the copyist. As an Urtext edition it follows the latest scholarly standards ready for the Bruckner anniversary year in 2024!
SKU: DZ.DZ-3849
ISBN 9782897957667.
Merci a tous les dedicataires de ce recueil qui m'ont apporte beaucoup ces dernieres annees, soit par leur talent, leur bienveillance, leur engagement et leur action et qui partage avec moi, le meme amour de la musique.Thank you to all the dedicatees of this collection who have brought me a lot in recent years, either through their talent, their benevolence, their commitment and their action and who share with me the same love of music.
SKU: CA.915000
ISBN 9790007252656. German. Text: Otto Julius Bierbaum.
For almost 30 years the conductor and musicologist Clytus Gottwald has made transcriptions of songs and instrumental pieces for unaccompanied choir by a wide variety of different composers, which have been performed throughout the world with huge success. Richard Strauss left a wealth of wonderfully sensitive and subtle songs from all decades of his compositional output, many of them written specifically for his wife, the singer Pauline Strauss-de Ahna.
SKU: CA.3114605
ISBN 9790007112479. Key: D minor. Language: German/English.
It is evident from the sources that the cantata was written for the 3rd Sunday after Easter. The text, the identity of whose author is unknown, is based on the comparison between sadness and joy prescribed in the Gospel for that Sunday. This cantata has survived only in copies made after 1750, but undoubtedly the cantata dates from Bachs's years in Leipzig. Score available separately - see item CA.3114600.
SKU: CA.3114607
ISBN 9790007092467. Key: D minor. Language: German/English.
SKU: BR.EB-9305
ISBN 9790004187692. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2.
SKU: CA.3114647
ISBN 9790007299804. Key: D minor. German/English.
It is evident from the sources that the cantata was written for the 3rd Sunday after Easter. The text, the identity of whose author is unknown, is based on the comparison between sadness and joy prescribed in the Gospel for that Sunday. This cantata has survived only in copies made after 1750, but undoubtedly the cantata dates from Bachs's years in Leipzig. Score and part available separately - see item CA.3114600.
SKU: CA.9700703
ISBN 9790007164744. Text language: German.
Joseph Leopold Eybler had frequent contacts with the great composers of his day: both Joseph Haydn and Albrechtsberger were his teachers and friends, and he had a close friendship with Mozart and Johann Michael Haydn. His major Christmas oratorio Die Hirten bei der Krippe zu Bethlehem (1794) was composed four years before Haydn's Die Schopfung (The Creation). The almost operatic work displays a wealth of different facets: from the virtuoso aria, through the tranquil depiction of nature in music, to the portrayal of the most heartfelt emotions. As a true jewel of Viennese classicism, Die Hirten (The Shepherds) is a worthwhile addition to the Christmas repertoire. Score available separately - see item CA.9700700.
SKU: CA.9700719
ISBN 9790007164720. Text language: German.
SKU: CA.9700712
ISBN 9790007238940. Text language: German.
Joseph Leopold Eybler had frequent contacts with the great composers of his day: both Joseph Haydn and Albrechtsberger were his teachers and friends, and he had a close friendship with Mozart and Johann Michael Haydn. His major Christmas oratorio Die Hirten bei der Krippe zu Bethlehem (1794) was composed four years before Haydn's Die Schopfung (The Creation). The almost operatic work displays a wealth of different facets: from the virtuoso aria, through the tranquil depiction of nature in music, to the portrayal of the most heartfelt emotions. As a true jewel of Viennese classicism, Die Hirten (The Shepherds) is a worthwhile addition to the Christmas repertoire. Score and part available separately - see item CA.9700700.
SKU: CA.9700705
ISBN 9790007164737. Text language: German.
SKU: CA.9700749
ISBN 9790007165246. Text language: German.
SKU: CA.9700713
ISBN 9790007238957. Text language: German.
SKU: CA.9700711
ISBN 9790007238933. Text language: German.
SKU: CA.9700714
ISBN 9790007238964. Text language: German.
SKU: CA.9700700
ISBN 9790007164713. Text language: German.
Joseph Leopold Eybler had frequent contacts with the great composers of his day: both Joseph Haydn and Albrechtsberger were his teachers and friends, and he had a close friendship with Mozart and Johann Michael Haydn. His major Christmas oratorio Die Hirten bei der Krippe zu Bethlehem (1794) was composed four years before Haydn's Die Schopfung (The Creation). The almost operatic work displays a wealth of different facets: from the virtuoso aria, through the tranquil depiction of nature in music, to the portrayal of the most heartfelt emotions. As a true jewel of Viennese classicism, Die Hirten (The Shepherds) is a worthwhile addition to the Christmas repertoire.
SKU: PR.16400272S
UPC: 680160588442. 8.5 x 11 inches.
My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.
SKU: PR.164002720
UPC: 680160573042. 8.5 x 11 inches.