SKU: CA.3601913
ISBN 9790007213886. Language: German.
There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score and part available separately - see item CA.3601900.
SKU: CA.3601949
ISBN 9790007091613. Language: German.
SKU: CA.3601905
ISBN 9790007112608. Language: German.
There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score available separately - see item CA.3601900.
SKU: CA.3601919
ISBN 9790007096939. Language: German.
There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score and parts available separately - see item CA.3601900.
SKU: CA.3601915
ISBN 9790007213909. Language: German.
SKU: CA.3601999
Language: German.
SKU: UT.OAN-4
ISBN 9790215323490. 9 x 12 inches.
The Codex J.II.9 is a volume of 159 large-framed folios of richly decorated parchment. It is composed of 302 pieces, polyphonic for the most part, belonging to very different types in both the sacred and secular fields. The present volume offers diplomatic transcriptions of the first 30 virelais and rondeaus of the last booklet of J.II.9. Although the exact date of the compilation of the pieces in this codex is not known, we do know that it was probably part of the dowry provided by Anne de Lusignan for her marriage to Louis de Savoie in 1434. Cyprus was then under french domination and the style of the songs that we find here often evoke the style of the Burgundian songs of the first third of the 15th century.This manuscript has the particularity of having no attributions or concordances: all the pieces are unicae and anonymous. The musical styles of the songs are varied, alternating pieces of simple construction in the manner of the 3 part Burgundian song of the first third of the 15th century, with examples of the most refined and elaborate types that can exist.
SKU: HH.HH288-SOL
ISBN 9790708092322.
Solo keyboard adaptations of Handel's orchestral music were common during the 18th century, although few have matched the idiomatic command and interest achieved by the present text. Dating from the mid- 1780s, the unnamed arranger has shown enterprise and imagination when producing these highly effective keyboard versions. Organists, harpsichordists and fortepianists will here find substantial, rewarding and attractive repertoire additions, fully attuned to late 18th-century English keyboard practice.
SKU: CF.CM9581
ISBN 9781491154038. UPC: 680160912537. 6.875 x 10.5 inches. Key: G minor. English. Traditional Appalachian Carol.
This arrangement of the beautiful Appalachian carol is very expressive and meant to be performed with much freedom and thoughtful attention to the words, dynamic contrasts, and tempo alterations. Once you have learned this piece and are familiar with these changes to volume and tempo indications, watch your director very carefully for cues for these subtleties. It is very important that you stay together and make these changes as a unified group. The effect will be amazing! Even though this song begins very gently, be certain to pronounce your words carefully and with good diction. There are many words that sound similar: wonder / wander / under, for example. The beauty of the poetry and alliteration will be lost on your listener if your lyrics cannot be understood. Also, the story is in the words, carried to the listener on the wings of the melody and arrangement. Always, no matter what your volume level and even at the very softest levels, pronounce, pronounce, pronounce! Enjoy the ethereal beauty and reflective musings of this meditative piece! ~ Ruth Elaine Schram.This arrangement of the beautiful Appalachian carol is very expressive and meant to be performed with much freedom and thoughtful attention to the words, dynamic contrasts, and tempo alterations. Once you have learned this piece and are familiar with these changes to volume and tempo indications, watch your director very carefully for cues for these subtleties. It is very important that you stay together and make these changes as a unified group. The effect will be amazing!Even though this song begins very gently, be certain to pronounce your words carefully and with good diction. There are many words that sound similar: wonder / wander / under, for example. The beauty of the poetry and alliteration will be lost on your listener if your lyrics cannot be understood. Also, the story is in the words, carried to the listener on the wings of the melody and arrangement. Always, no matter what your volume level and even at the very softest levels, pronounce, pronounce, pronounce!Enjoy the ethereal beauty and reflective musings of this meditative piece!~ Ruth Elaine Schram.
SKU: ST.CD0092
When Sydney Carter died in March 2004, his obituary in The Guardian anointed him 'folk poet, holy sceptic, and iconoclastic theologian'. The man who once called himself 'God's loyal opposition' might have thought that a bit excessive, but there is some truth there and it is likely he wouldn't have minded too much. Franciscus Henri knew the songs on this CD forty years ago. In 1972 he was chosen accompanist on Sydney's tour of Australia. These songs are part of the performer's continuing journey. TRACKS 1 The Candle light 2 Bell of Creation 3 My Mum was a Woman 4 Silver in the Stubble 5 Mixed-up Old Man 6 Coming or Going Away 7 Green Like the Leaves 8 Feeling Sad and Lonely 9 Creator of the living 10 Crow on the Cradle 11 Bird of Heaven 12 Shake and Shiver 13 Lord of the Dance 14 Come Holy Harlequin 15 The Devil 16 Every Star shall sing a Carol 17 Travel On 18 Julian of Norwich 19 Run the film backwards 20 Child 21 The Burden 22 The Rat Race 23 The Holy Box 24 The Sin of Being 25 Anonymous 26 Interview.
SKU: HL.14035285
The Five Lesser Joys of Mary begins with a conventional Nativity scene - the ox and the ass for warmth, the star, the Wise Men - to verses attributed by Warlock to one Daniel Lawrence Kelleher, editor of Christmas Carols (No. 18 in the second series of Augustan Books of English Poetry) where the anonymous verses were published.
The fourth stanza recounts Jesus 'Confounding the doctors, the poor little Child,' while the fifth carries us to Calvary and a singularly lame conclusion as Mary 'Saw Jesus droop over and lie very still, She thought of the good times they had long ago When He'd droop in her arms and she'd singhusheenlo.'
Strophically composed, with small variations, Warlock's tenderness seems generic.
SKU: BA.BA10420
ISBN 9790260108387. 31 x 24.3 cm inches. Key: G minor. Preface: David R. Beveridge.
Composed in 1876, Dvorákâ??s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form.The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel Å olc.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CF.CM9756
ISBN 9781491162446. UPC: 680160921195. Key: E minor. Latin, English.
Personent Hodie is a medieval Christmas carol from the larger work Piae Cantiones—a published collection of songs intended for cathedral schools in 16th century Finland. The original tune uses modality and plainchant to evoke the mysterious character of Christmastide.This rhythmic setting of Personent Hodie expresses the tune in compound meter, resulting in a joyful energy. The optional hand drum and finger cymbals complement the melody with an exciting, dance-like pulse.“Ideo, gloria in excelsis Deo!â€Therefore, glory be in the highest to God!Ideas for study and reflection: How might word stress be used to enhance overall musicality? What syllables should be stressed vs. unstressed? What dynamic markings are indicted in the score, and where do they occur? Listen to a recording of the original “Personent Hodie†written in 4/4 time. How are the two settings different? .
SKU: BA.BA09504-83
ISBN 9790006533633. 32.5 x 25.5 cm inches.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BR.OB-32120-16
ISBN 9790004350485. 10 x 12.5 inches.
This cantata is a composition by Kuhnau for the first of the Christmas holidays [Christmas Day] and one of his most extensive works. It is underlaid with the free poetry of a hitherto anonymous author, not including any Bible or chorale texts. Though the dating has not yet been clarified, the structure - two recitative-aria pairings, framed by two magnificent tutti movements - indicates a genesis period within the last years of the composer's tenure as St. Thomas cantor in Leipzig. Additional indications are the triple use of the da capo form as well as the four-part vocal setting, partly differentiated in solo and tutti, taking the individual parts to the limits of their ambitus as was later customary with Johann Sebastian Bach.Particularly noteworthy are two details of the instrumentation: Firstly, there are three violin parts in the score, the first of which has to master an exceptionally virtuoso solo part. Secondly, in the third movement, Kuhnau expressly notates an obbligato organ solo part, not to be found in any of his other extant compositions. This virtuosic part also already foreshadows the later and far more famous obbligato organ parts in various Bach cantatas.
SKU: BR.EB-32120
ISBN 9790004187272. 7.5 x 10.5 inches.
SKU: SU.80101352
Keyboard Duration: 5' Composed: 2014 Published by: Zimbel Press The formal inspiration for this piece came from early Italian keyboard toccatas (those of Frescobaldi are probably the most famous today, though there are certainly many others). However, the early influences do not come exclusively from a single source. The toccatas of Hassler, the ricercari of Steigleder, the fantasias of Cornet and Kerckhoven, the fugues of Couperin, and anonymous late medieval keyboard music all are thrown into the mix, and blended with a contemporary use of mixed modality. This piece may be played on any keyboard instrument (organ, piano, harmonium/reed organ, harpsichord, clavichord, or electronic keyboard).
