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Sicilianischer Jahrgang (TELEMANN GEORG PHILIPP)
433.84
Sicilianischer Jahrgang (TELEMANN GEORG PHILIPP)
Orchestre
[Partition]
Barenreiter
Zwölf Kirchenmusiken Vom 7. Bis Zum 18. Sonntag Nach Trinitatis Und Michaelis. ...
(+)
Zwölf Kirchenmusiken Vom 7. Bis Zum 18. Sonntag Nach Trinitatis Und Michaelis. Par TELEMANN GEORG PHILIPP. Following the principles of the edition, the volume contains a segment of 12 contiguous pieces of church music from a single cycle. They are excerpted from the so-called 'Sicilian Cycle” and consist of the compositions for the 7th - 18th Sundays after Trinity (except the 11th Sunday), the music for which is no longer extant) plus the feast of Michaelmas. The pieces in the cycle reveal elements attributed to the music of southern Italy, which occur in at least one movement of each work. Among these elements are pastoral instrumentation, with oboes and occasionally recorders, and the melodious writing of the arias, all embedded in a translucent texture. The cycle was written for the ducal court in Eisenach, where Telemann was titular chapel-master. It cannot be precisely dated, but the period of composition can be narrowed down between 1717 and 1721. The underlying words, printed as an annual cycle in 1720, stem from the singer, instrumentalist and later Eisenach court secretary Johann Friedrich Helbig. A Foreword and Critical Commentary provide information on the genesis, sources and reception of this very widely disseminated cycle. Also included are facsimiles from the musical and textual sources and an edition of the underlying texts./ Répertoire / Orchestre
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Joseph M. Martin: Come to the Shadows (from Song of the Shadows): Orchestra:
44.99
Joseph M. Martin: Come to the Shadows (from Song of the Shadows): Orchestra:
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This mournful contemplative anthem from Joseph and Pamela Martin's cantata Song...
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This mournful contemplative anthem from Joseph and Pamela Martin's cantata Song of the Shadows sets the stage for the last days of Jesus's time on earth. Come to the Shadows is a solemn remembrance of Christ's finaldays from the waving of the palms through the agony of Calvary. Written for a service of darkness during Holy Week this moving octavo is especially effective for Maundy Thursday or Good Friday services.
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Messiah (Messias)
599.80
Messiah (Messias)
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Facsimile of the autograph score in the British Library, London. Par HAENDEL GEO...
(+)
Facsimile of the autograph score in the British Library, London. Par HAENDEL GEORG FRIEDRICH. The first performance of George Frideric Handel’s oratorio “Messiah” on 13 April 1742 in Dublin aroused unqualified rapture. A newspaper report a few days later declared that it combined “the Sublime, the Grand, and the Tender”. Its success has remained undiminished ever since, and the “Messiah” has taken its place in musical life. In 2009, to mark the 250th anniversary of Handel’s death, the British Library and Bärenreiter joined forces and made the autograph score of the “Messiah” available to the public in a meticulously reproduced, lavishly published facsimile. The renowned Handel scholar Donald Burrows introduces the characteristics of Handel’smanuscript, describes the history of the work’s composition, and explains the differences between later versions of the “Messiah”, as reflected in the conducting scores. A two-page sketch from the Fitzwilliam Museum Cambridge completes the publication. Facsimile of the autograph in the British Library. 282 + 2 pages of facsimile and 55 pages of introduction (English/German/Japanese) half-linen, hardback / Oratorio / Répertoire / Divers
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Three Interludes For Orchestra by Benet Casablancas was commissioned by Fundaci...
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Three Interludes For Orchestra by Benet Casablancas was commissioned by Fundación Autor and the Spanish Association of Symphonic Orchestras (AEOS) for its World Premiere in the 2012-2013 season.The score consists of three movements – Pastorale (Tranquillo) Scherzo (Con moto) and Memento e Corale (Lentissimo Ampio e tenuto) – and has an approximate duration of 14 minutes. The spaciousness and transparency of its textures the clearness of its harmony and a general calm and quiet tone of the first and final parts set a contrast with the vigour and rhythmical vividness of its central scherzo.During the course of the piece the shape of chamber writing coexists with the greatness of orchestral peaks. The last section embraces a lower and expressive tone which ends with a great chorale that will lead to a more contemplative coda which fades into silence. Sadness for the devastating tsunami that struck Japan on those same days was present in the mind of the author at the time of writing this movement.“It shows the accused dramatic quality (especially in the third piece) which dominate the orchestral writing of the composer from Sabadell enriched by a pitch atmosphere of neo-impressionistic quality and a healthy rhythmical energy. The concert version contributed with intensity and performance depth which we hope to deepen in future performances and which motivated the greeting of Casablancas.” - Germán Gan Audio Clásica
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Joseph M. Martin: Song of the Shadows: Orchestra: Parts
324.99
Joseph M. Martin: Song of the Shadows: Orchestra: Parts
Orchestre
Shawnee Press
Orchestration-Song of the Shadows is an invitation to contemplate the love and s...
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Orchestration-Song of the Shadows is an invitation to contemplate the love and sacrifice of Christ. Tracing in song the last days of the Savior this deeply moving work is truly an opportunity to worship. Choirs of every level will find it within their scope.
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Robert Schumann: Ouverture zu Goethes Hermann und Dorothea op. 136: Orchestra:
11.99
Robert Schumann: Ouverture zu Goethes Hermann und Dorothea op. 136: Orchestra:
Orchestre
Eulenburg
The overture was written in just five days in December 1851. The starting point ...
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The overture was written in just five days in December 1851. The starting point for this composition was Schumann's desire to use Goethe's work of the same name as a basis for a singspiel. The Marseillaise that can be heard in the overture alludes to a scene of the epos.
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Happy Birthday Variations: Orchestra: Score & Parts
386.99
Happy Birthday Variations: Orchestra: Score & Parts
Orchestre
[Conducteur et Parties séparées]
Hal Leonard
Score and Parts-Written for a 1995 Boston Symphony Orchestra concert at Tanglewo...
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Score and Parts-Written for a 1995 Boston Symphony Orchestra concert at Tanglewood celebrating the birthdays of Seiji Ozawa Yo-Yo Ma Itzhak Perlman and Leon Fleischer.
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Sämtliche Kantaten, 19 Bände Im Versand-Schuber (BACH JOHANN SEBASTIAN)
648.40
Sämtliche Kantaten, 19 Bände Im Versand-Schuber (BACH JOHANN SEBASTIAN)
Orchestre
[Conducteur d'étude / Miniature]
Barenreiter
19 Bände im Versand-Schuber. Par BACH JOHANN SEBASTIAN. Awarded with the German...
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19 Bände im Versand-Schuber. Par BACH JOHANN SEBASTIAN. Awarded with the German Music Edition Prize 'Best Edition' 2008. Johann Sebastian Bach: Sämtliche Kantaten, Motetten, Choräle und Geistliche Lieder. The complete cantatas, chorales and motets in study editions in 19 volumes. This special edition exclusively offers the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. It is well presented on high quality paper and has a durable sewn binding. A MUST for everyone who is passionate about Bach´s music! No group of works in Johann Sebastian Bach?s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then. Bärenreiter?s unique edition, which encompasses more than 11, 000 pages, includes all cantatas together with the motets, chorales and sacred songs in the Urtext of the ?New Bach Edition? (NBA Series I and III). As a special extra, the recently rediscovered aria ? Alles mit Gott und nichts ohn ? ihn ? is also included. Only available here is an additional volume with an introduction (German/English) by Christoph Wolff and an index. The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices! Barenreiter presents the Complete Cantatas, Chorales and Motets in a handy, readable and affordable paperbackformat. The special ediion of 19 volumes (including an index) exclusively offers the authoritative musical text of these masterworks. Each volume is printed on high quality paper and has a durable sewn binding A must for everyone who is passionate about Bach's music. These scores are the last word in Bach scholarship and an extraordinary publishing achievement / Mottet / Répertoire / Partition de Poche
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Antonio Vivaldi: Il Teuzzone RV 736: Orchestra: Score
159.30
Antonio Vivaldi: Il Teuzzone RV 736: Orchestra: Score
Orchestre
[Conducteur]
Ricordi
Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano ...
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Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese). With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.
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