SKU: IS.G6761EM
ISBN 9790365067619.
This sonata (WeissSW No. 48, 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 XXIII 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 XXIII is a large and mature piece. It probably dates to the last period of the life of Weiss. The Sonata has seven movements: Prelude, Allemande (andante), Courante, Bourée, Sarabande (andante), Menuet, and it ends with a Presto. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. 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 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. They may have been added later in the copying process. The Prelude of this particular Sonata is regarded as spurious, in respect to composition, a rather weak addition. I have included the Prelude in this Edition, leaving it to the guitar player to judge whether it fits with the musical style and idiom of the Sonata or not. Originally, the Sonata is written in F sharp minor, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a major second 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 2nd 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 1st fret.
SKU: BR.EB-32113
The first edition of a forgotten treasure
ISBN 9790004186787. 9 x 12 inches.
Schumann's horn sonatas were composed in 1936/37. Considering the slim repertoire offered horn players from this period, it is more than surprising that these two masterpieces could have slumbered for so long. Both sonatas are similar in structure, with op. 118 being one Schumann's few three-movement sonatas. The first movements of the pieces sparkle with melancholically lyrical melodies, whereas passages strongly marked rhythmically, variously shape the two outer movements. Virtuoso moments can be found, respectively, in the final movements, bringing the works to a brilliant close. The horn parts predominantly range within the full, sonorous middle register, where occasional outbursts up to the notated a flat'' are also not lacking. The clever handling of the balance of sounds, the possibilities on the early valve horn as well as the inner interweaving of themes differentiating horn and piano make the sonatas an exceedingly vivid testimony to Schumann's mature compositional art.Schumann's horn sonatas are a crucial enhancement to each horn player's repertoire. The first edition of a forgotten treasure.
SKU: BR.EB-32114
The first edition of a forgotten treasureThis edition contains the original solo part for horn in D as well as a version for horn in F.
ISBN 9790004186794. 9 x 12 inches.
Schumann's horn sonatas were composed in 1936/37. Considering the slim repertoire offered horn players from this period, it is more than surprising that these two masterpieces could have slumbered for so long. Both sonatas are similar in structure, with op. 118 being one Schumann's few three-movement sonatas. The first movements of the pieces sparkle with melancholically lyrical melodies, whereas passages strongly marked rhythmically, variously shape the two outer movements. Virtuoso moments can be found, respectively, in the final movements, bringing the works to a brilliant close. The horn parts predominantly range within the full, sonorous middle register, where occasional outbursts up to the notated a flat'' are also not lacking. The clever handling of the balance of sounds, the possibilities on the early valve horn as well as the inner interweaving of themes differentiating horn and piano make the sonatas an exceedingly vivid testimony to Schumann's mature compositional art.Schumann's horn sonatas are a crucial enhancement to each horn player's repertoire.
SKU: MB.30989
ISBN 9781513466705. 8.75x11.75 inches.
In this book, guitarist and music historian David Grimes presents 20 â??small sonatasâ? or sonatinas, complete with detailed performance notes and bio sketches of each of the contributing composers: Leonhard von Call, Matteo Carcassi, Ferdinando Carulli, Mauro Giuliani, Francesco Molino, and Antonio Nava. While flexible, the early 19th-century sonatina form usually consists of 2 - 4 contrasting movements, here in guitar-friendly keys, making these pieces ideal for performance by intermediate-level students. In all but the most challenging passages, Grimes has intentionally kept fingering to a minimum to allow students to form their own concept of this critical skill. Then, as many bass notes in these pieces are played on open strings, the player must develop a sense of when to selectively damp dissonant tones or observe a restâ?? exposing and overcoming yet another shortcoming in the education of many guitarists.  Most classic guitar teachers are familiar with the easy didactic studies by Carcassi, Carulli and Giuliani; Favorite Sonatinas offers more highly developed, but not yet virtuoso pieces by the same Italian triumvirateâ?? plus three more composers in a similar veinâ?? promoting confident, enjoyable sight-reading by guitarists of all levels. .
SKU: 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.
SKU: HH.HH451-SOL
ISBN 9790708146582.
At the heart of George Berg's oeuvre are his seven collections of keyboard music. His sonatinas for harpsichord were a by-product of his teaching, appearing in three volumes between 1759 and 1762. Technically fairly simple, these are lively, inventive and finely polished works. Berg's sonatinas are as well suited to the piano as the harpsichord sonatas of Domenico Scarlatti from which they draw so much inspiration, provided that the player makes sparing (or no) use of the sustaining pedal and avoids over-fussy dynamic variation.
SKU: HH.HH450-SOL
ISBN 9790708146575.
At the heart of George Berg’s oeuvre are his seven collections of keyboard music. His sonatinas for harpsichord were a by-product of his teaching, appearing in three volumes between 1759 and 1762. Technically fairly simple, these are lively, inventive and finely polished works. Berg’s sonatinas are as well suited to the piano as the harpsichord sonatas of Domenico Scarlatti from which they draw so much inspiration, provided that the player makes sparing (or no) use of the sustaining pedal and avoids over-fussy dynamic variation.
SKU: BT.EMBZ14067
English-German-Hungarian.
The present volume in the EMB Urtext series is the first complete practical edition of the set of trio sonatas for two violins or two flutes by the prominent Italian violin player of the late Baroque. The six trio sonatas do not belong to the usual Corellian type but introduce bold novelties with regard to form, harmony and melody alike. The sixth sonata proves to be particularly interesting since each of the solo instruments conducted in canon have their own continuo part.
SKU: GI.G-017192
English.
This helpful book for Year C provides celebrant's introductions, prayers of the faithful, and celebrant's closing prayers for each of the Sundays and solemnities of the liturgical year, as well as intercessions to be prayed on civil holidays, world and national religious observances, and days of honor. All are inspired by the liturgical season and Scripture. A CD-ROM containing all texts in the book is included for easy parish download, customization, and printing. Each set of intercessions contains a prayer for the sick, with a place to insert the parish‚ names of the sick, as well as an intercession for those who have died, with a place to insert the names of the dead. 8.5 x 11 Paperback with CD-ROM. Also available for Year A and Year B. (Download edition does NOT include a CD).
SKU: GI.G-017190
UPC: 641151171906. English.
This helpful book for Year A provides celebrant's introductions, prayers of the faithful, and celebrant's closing prayers for each of the Sundays and solemnities of the liturgical year, as well as intercessions to be prayed on civil holidays, world and national religious observances, and days of honor. All are inspired by the liturgical season and Scripture. A CD-ROM containing all texts in the book is included for easy parish download, customization, and printing. Each set of intercessions contains a prayer for the sick, with a place to insert the parish‚ names of the sick, as well as an intercession for those who have died, with a place to insert the names of the dead. 8.5 x 11 Paperback with CD-ROM. Also available for Year B and Year C. (Download edition does NOT include a CD).
SKU: GI.G-017191
This helpful book for Year B provides celebrant's introductions, prayers of the faithful, and celebrant's closing prayers for each of the Sundays and solemnities of the liturgical year, as well as intercessions to be prayed on civil holidays, world and national religious observances, and days of honor. All are inspired by the liturgical season and Scripture. A CD-ROM containing all texts in the book is included for easy parish download, customization, and printing. Each set of intercessions contains a prayer for the sick, with a place to insert the parish‚ names of the sick, as well as an intercession for those who have died, with a place to insert the names of the dead. 8.5 x 11 Paperback with CD-ROM. Also available for Year A and Year C. (Download edition does NOT include a CD).
SKU: HL.48181326
UPC: 888680867447. 9.0x12.0x0.162 inches.
“French oboist, Henri Brod (1799-1839) was a performer, composer and instrument builder during the early Romantic era. Considered a virtuoso, Brod's compilation, Studies and Sonatas for Oboe is very well-informed. Brod introduced his own innovations in Oboe design and playing techniques, both which are still used to this day. The first volume of Studies and Sonatas for Oboe comprises 40 easy studies and 6 progressive sonatas for beginner to intermediate level oboists. These are in a variety of keys and address features, including different rhythms, scales, breath control, phrasing, articulation, ornamentation, accidentals, simple and compound time signatures, range, performance directions, and dynamics, among other aspects. Brod's wealth of experience and expertise which enabled the composition of Studies and Sonatas for Oboe make it an essential purchase for aspiring players of the instrument.â€.
SKU: GI.G-002407
UPC: 641151024073.
A wonder-filled new resource, Redeemer of the Nations, Come explores the treasury of the Church‚ Advent music and Scripture. Chant, carols, and choral anthems are woven into a prayerful service reminiscent of traditional Christmas Lessons and Carols services. All who await the coming of Christ will relish this service of Advent Lessons and Carols. Full score, CD, and people's participation folder are available.
SKU: GI.G-002406
UPC: 641151024066. English.
A wonder-filled resource, Redeemer of the Nations, Come explores the treasury of the Church‚ Advent music and Scripture. Chant, carols, and choral anthems are woven into a prayerful service reminiscent of traditional Advent Lessons and Carols services. All who await the coming of Christ will relish this service. Full score, CD, and people's booklet are available.
SKU: GI.G-002408
UPC: 641151024080.
A wonder-filled new resource, Redeemer of the Nations, Come explores the treasury of the Church‚ Advent music and Scripture. Chant, carols, and choral anthems are woven into a prayerful service reminiscent of traditional Christmas Lessons and Carols services. All who await the coming of Christ will relish this service of Advent Lessons and Carols. The people's booklets are sold in a package of 20. There is no need for cutting, pasting or copying.
SKU: M2.MOS-69449-01
ISBN 9790203755685.
1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.
SKU: M2.MOS-69449
ISBN 9790203755678.
SKU: M2.MOS-69449-60
ISBN 9790203755692.
