SKU: HG.GH-11771
ISBN 9790202825143.
Im Ensemblespiel ubernimmt der Kontrabassist meistens die tiefste Begleitstimme. Nur selten bekommt er die Gelegenheit, die Melodie zu ubernehmen. Die vorliegenden Play Alongs ermoglichen es nun dem Kontrabassisten, bekannte klassische Werke im tiefen Register zu spielen. ,,Melodien fur Kontrabass umfasst vorwiegend bekannte klassische Werke. Unter anderem sind Komponisten wie J. S. Bach, J. Brahms, L. v. Beethoven, G. Bizet, A. Borodin, A. Dvorak, E. Grieg, G. Holst, W. A. Mozart, J. Pachelbel, F. Schubert, R. Schumann, P. I. Tschaikowsky und A. Vivaldi vertreten. Die Ausgabe umfasst zahlreiche Bearbeitungen fur Kontrabass, die zu farbenfroh instrumentierten Play Alongs gespielt werden konnen. In den Demoversionen ist zusatzlich die Kontrabass-Stimme zu horen. Die Audiodateien konnen mit dem Download-Code heruntergeladen werden. Wer gerne gemeinsam mit dem Klavier musiziert, findet die Noten der Begleitungen im Hauptheft. Begonnen wird jeweils mit dem Tonmaterial, das sich sowohl in der 1/2 Lage als auch in der I. Lage spielen lasst. Es wird nach und nach erweitert. So konnen sowohl Anfanger als auch Fortgeschrittene das Spiel im tiefen Register erproben.
SKU: CA.3124514
ISBN 9790007211417. Language: German/English.
With the unfinished revision (1739) as an appendix. The St. John Passion ranks among the great vocal works from Bach's Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he made numerous changes. All previous editions of the St. John Passion have combined readings from various layers of sources. The wish often expressed by conductors to perform an authentic version is made possible for the first time with the present edition in this fourth and final version which was performed under Bach's direction in 1749. At the same time, with the aid of the appendix it is possible to perform the work in the traditional mixed version.. Score and part available separately - see item CA.3124500.
SKU: SU.00220239
The complete Double Bass parts [CD-ROM] for the 53 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 10: Bach, Handel and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: ARNE The Masque of Comus, Overture; C. P. E. BACH Magnificat, Sinfonia in D, Sinfonia in Eb, Sinfonia in F; J. S. BACH Brandenburg Concertos 1-6, Christmas Oratorio, Concerto for Violin in A Minor, Concerto for Violin in E Major, Easter Oratorio (Kommt, eilet und laufet), Magnificat in D Major, Mass in B Minor, St. John Passion, St. Matthew Passion, Orchestral Suites 1-4; BOCCHERINI Sinfonia, Op. 22, No. 1, Symphony No. 23 in D Minor, Op. 37, No. 3; CIMAROSA Il Matrimonio Segreto, Overture; DITTERSDORF Symphonies 1-6; GLUCK Dance of the Blessed Spirits, Don Juan Ballet Suite, Iphigenia in Aulis Overture, Orfeo ed Euridice Overture, Paris and Helena Ballet Suite; HANDEL Music for the Royal Fireworks, Israel in Egypt, Judas Maccabaeus, Julius Caesar, Messiah (Mozart version), Messiah (Prout version), Saul Overture, Water Music, Xerxes; HÉROLD Zampa Overture; LULLY Ballet Suite (Mottl); MÉHUL Joseph Overture; PAISIELLO Barber of Seville Overture; RAMEAU Ballet Suite from Platèe, Castor and Pollux Suite, Sixth Concert (Suite) Visit for more information
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: CA.3124814
ISBN 9790007211509. Language: German/English.
With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. The basis for this publication are Bach's autograph score and the original parts. The conducting score contains an appendix with a concise Critical Report which provides information about the sources and their readings; when necessary, the latter are discussed in more detail, especially with regard to how the editor arrived at solutions for questions of articulation which differ from those found in previous editions. The representative, clothbound volume is supplemented by a study score as well as a choral score, a vocal score and complete orchestral material. In the orchestral material short excerpts containing the conclusions of the secco recitatives are rendered with cue notes in separate vocal systems printed above the score where the instrumentalists pause, thus enabling them make their entrances in the movements which follow these recitatives. This work is also available in carus music, the choir app! Score and part available separately - see item CA.3124800.
SKU: BA.BA05231-82
ISBN 9790006506699. 32.5 x 25.5 cm inches. Key: D minor.
SKU: BR.EOS-522-26
ISBN 9790004785393. 8.5 x 11.5 inches.
The Sinfonia in E-flat major was probably written by Johann Christian Bach in his first decade in London, around 1765-70. Because of its small instrumentation and ease of performance, this E-flat major symphony enjoyed great popularity even during Bach's lifetime.
SKU: BR.EB-9268
ISBN 9790004185681. 12 x 9 inches.
This piece originated as an introduction to instrumental musique-concrete. In this sort of piece it is common for sound phenomena to be so refined and organised that they are not so much the results of musical experiences as of their own acoustic attributes. Timbres, dynamics and so on arise not of their own volition but as components of a concrete situation characterised by texture, consistency, energy, resistance.This does not come from within but from a liberated compositional technique. At the same time it implies that our customary sharply-honed auditory habit is thwarted. The result is aesthetic provocation: beauty denying habit.(Helmut Lachenmann),,Cette nouvelle edition est une invitation faite aux violoncellistes qui souhaiteraient redecouvrir leur instrument et la maniere de la faire sonner en realisant dessus un nouveau genre de polyphonie: une polyphonie d'actions. (Francois-Xavier Feron, Circuit, Heft 25, Juni 2015)CDs/LPs:Michael Bach CD cpo 999 102-2 Lucas Fels CD Montaigne Auvidis MO 782075 Walter Grimmer CD col legno WWE 31863 Taco Kooistra CD Attacca Babel 9369-1 Pierre Strauch CD Accord 202082 Michael Bach LP ABE ERZ 1003 Werner Taube LP ABE ERZ 1003ensemble phorminxCD WER 6682 2Michael M. KasperCD Michael M. Kasper rounds per minute, Ensemble Modern Medien, EMCD-006Michael Svoboda (trombone)CD Wittener Tage fur neue Kammermusik 2011Bibliography:Deltz, Eberhard: begegnung im grenzbereich. Zwei Werke von Helmut Lachenmann und Hideaki Yamanobe im Spiegel eines Haiku von Matsuo Basho, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 36-41.Feron, Francois-Xavier: Enjeux et evolution du systeme de notation dans ,,Pression pour un(e) violoncelliste de Helmut Lachenmann, in: Circuit, Heft 25, 2015, pp. 55-65.GoGwilt, Keir: Templates for Technique in Mantel and Lachenmann. Between Transcendence and Immanence, in: The Dark Precursor: Deleuze and Artistic Research. Band I: The Dark Precursor in Sound and Writing, hrsg. von Paulo de Assis und Paolo Giudici, Leuven: Leuven University Press 2017, pp. 105-113.Griffiths, Paul: ModernMusic and After, 3rd edition, Oxford University Press 2010, pp. 216-219.Handschick, Matthias: Musik als ,,Medium der sich selbst erfahrenden Wahrnehmung. Moglichkeiten der Vermittlung Neuer Musik unter dem Aspekt der Auflosung und Reflexion von Gestalthaftigkeit (= Schriften der Hochschule fur Musik Freiburg 3), Hildesheim u. a.: Olms 2015, dort pp. 161-167.Hiekel, Jorn Peter: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 169-172, 231-232.Jahn, Hans-Peter: simultan eine Erinnerung, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 12-15.Lessing, Wolfgang: Musizieren als Prozess. Zur didaktischen Dimension von Helmut Lachenmanns Pression, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 73-83.ders.: Verweigerung von Gewohnheit. Instrumentaldidaktische Annaherungen an Pression von Helmut Lachenmann, in: Darstellen und Mitteilen. Ein Handbuch der musikalischen Interpretation, hrsg. von Ursula Brandstatter, Martin Losert, Christoph Richter und Andrea Welte, Mainz: Schott 2010, pp. 111-122.ders.: Interpretation, Verstehen und Vermittlung, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 24-39.Mosch, Ulrich: Das Unberuhrte beruhren Anmerkungen zur Interpretation von Helmut Lachenmanns Werken Pression und Allegro sostenuto, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 25-46.Musik als Bildkritik Gesprach zwischen Gottfried Boehm, Helmut Lachenmann und Matteo Nanni, in: Helmut Lachenmann: Musik mit Bildern? Hrsg. von Matteo Nanni und Matthias Schmidt (= eikones, hrsg. von Nationalen Forschungsschwerpunkt Bildkritik an der Universitat Basel), Munchen: Wilhelm Fink 2012, pp. 237-269.Neuwirth, Markus: Strukturell vermittelte Magie. Kognitionswissenschaftliche Annaherungen an Helmut Lachenmanns Pression und Allegro sostenuto, in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Horasthetik bei Helmut Lachenmann, hrsg. von Christian Utz und Clemens Gadenstatter (= musik.theorien der gegenwart 2), Saarbrucken: Pfau 2008, pp. 73-100.Orning, Tanja: The Polyphonic Performer. A Study of Performance Practice in Music for Cello Solo by Morton Feldman, Helmut Lachenmann, Klaus K. Hubler and Simon Steen-Andersen, Diss. Oslo 2014, Oslo: NMH-publikasjoner (mit DVD).Sparrer, Walter-Wolfgang: Wider den geolten Gleichlauf. Von der Notwendigkeit strukturierender Verfahrensweisen bei der Interpretation von Musik. Modell I: Kompositionen fur Violoncello solo von J. S. Bach, Isang Yun und Helmut Lachenmann, in: Musikalische Produktion und Interpretation, hrsg. von Otto Kolleritsch, Wien/Graz 2003 (= Studien zur Wertungsforschung, Band 43), pp. 75-100.Utz, Christian: Erinnerte Gestalt und gebannter Augenblick. Zur Analyse und Interpretation post-tonaler Musik als Wahrnehmungspraxis Klangorganisation und Zeiterfahrung bei Morton Feldman, Helmut Lachenmann und Brian Ferneyhough, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 40-67.World premiere: Como (Autunno musicale), September 30, 1970.
SKU: CA.3840112
ISBN 9790007215149. Language: all languages.
Score and Parts available separately - see item CA.3840100.
SKU: HF.FH-2894
ISBN 9790203428947. 8.3 x 11.7 inches.
1. Bourree (J.A. Hasse), 2. Bunt sind schon die Walder; 3. Der Mond ist aufgegangen (J.A.P. Schulz) ; 4. Gavotte (J.Fr. Handel); 5. Gavotte (G.Ph. Telemann); 6. Hornpipe; 7. Menuett Nr. 1 (J.S. Bach); 8. Menuett Nr. 2 (J.S. Bach); 9. Menuett (L. Boccherini), 10. Rondo (G.B. Bononcini); 11. Walzer (C.M.v. Weber).
SKU: CA.1037914
ISBN 9790007190989. Key: E flat major. Language: German.
Since its first performance in Berlin in 1755, Carl Heinrich Graun's empfindsame (sensible) Passion Cantata Der Tod Jesu, with a libretto by Karl Wilhelm Ramler had long been one of the most frequently performed works in this genre. Until the end of the 19th century this work was able to maintain its position in the repertoire of numerous oratorio societies and singing academies (especially the Berliner Sing-Akademie). It was often given equal billing with Bach's passions, until finally, in the second half of the 19th century Bach's works became more predominant. With the publication of the present critical new edition (the first since it was first published in 1760), Der Tod Jesu is once again available for sale to the musical public. This makes accessible an epoch-making work which in its time set the standard for settings of the Passion. Score and part available separately - see item CA.1037900.
SKU: BR.OB-5509-27
The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.
ISBN 9790004338506. 9 x 12 inches.
The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.
SKU: KU.OCT-10208_VCKB
ISBN 9790206202766. Key: D major.
SKU: KU.GM-1977_VCKB
ISBN 9790206209727. Bach format (230 x 302) inches. Key: G major/d major.
SKU: HL.49045626
ISBN 9790001161664. UPC: 841886028500. 9.0x12.0x0.869 inches.
Much has been speculated on the instrumentation of this contrapuntal masterpiece since Bach's death. For a long time, the fragmentary work was regarded as a piano work but since the early 20th century musicians have experimented with various instrumentations. This arrangement by Hans-Eberhard Dentler, who has carried out scientific research on The Art of Fugue for decades, manages through the choice of instrumentation not to use any kind of transposition. It also ensures the best possible transparency and faithfulness to the score through the soloistic rendering of the individual parts: the combination of bassoon and double bass as well as the assignment of the violoncello to the tenor part are the key to the faithful reproduction of all parts without any intervention of the arranger.
SKU: CA.3440113
ISBN 9790007052065. Key: B flat major. Language: all languages.
Score available separately - see item CA.3440100.
SKU: KU.EKB-1_VCKB
Key: Bb major.
