Urtext der Neuen Bach-Ausgabe
Series : Bärenreiter Studienpartituren - Study scores
Edition : Study Score. Urtext Edition
Editor : Wolff, Christoph
Binding : paperbound
Instrumentation : Chamber orchestra
Contenu :
Vorwwort
BWV-Konkordanz. Schmieder (1950) : NBA VIII/1
Ricercaar a3
Ricercar a 6
Triosonate (Fl,V,Bc)
5 Canones diversi sopra Thema Regium: Canon 1, a 2 cancrizans
Canon 2, a 2 violini in unisono
Canon 3, a 2 per Motum contrarium
Canon 4, a 2 per Augmentationem, contrario Motu
Canon 5, a 2 per Tonos
Fuga canonica in Epidiapente
Canon perpetuus super Thema Regium
Canon perpetuus
Quaerendo invenietis: Canon a 2
Canon a 4
Anhang I: Ricercar a 6. Ältere Fassung (Autograph)
Ricercar a 6. Jüngere Fassung (Originaldruck)
Anhang II: Auflösung der kanonischen Sätze
Anhang III: Andante der Triosonate. Generalbaßaussetzung von Johann
Philipp Kirnberger

Choralkantate. Par CRUGER JOHANN / MENDELSSOHN-BARTHOLDY FELIX. also contains an arrangemet for organ During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. / Date parution : 1979-02-01/ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Par RINCK JOHANN CHRISTIAN HEINRICH. Rinck’s organ works were oriented toward the needs of the church music of this time, when short and relatively simple pieces were required. This genre of music is exemplified by the Chorale Preludes op. 105, most of which occupy only one printed page, and which are reminiscent of Bach’s Orgelbüchlein. With his imaginative pieces Rinck successfully created a transitional style between baroque linear organ artistry and the sensibility of classicism and early romanticism./ Répertoire / Orgue

Choralkantate. Par CRUGER JOHANN / MENDELSSOHN-BARTHOLDY FELIX. also contains an arrangemet for organ During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. / Date parution : 1979-06-01/ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Arrangeur: Bryan Hesford. Par PACHELBEL JOHANN. Pachelbel s'est établi comme l'un des plus éminents compositeurs pour orgue de JS Bach, avant. Pour ce volume Bryan Hesford a choisi six morceaux appropriés pour les organistes des étudiants et des joueurs plus expérimentés, qui sont aussi appropriées et aussi enrichissant de jouer aujourd'hui que quand ils ont été composés. / Niveau : Elémentaire / Répertoire / Orgue

L'élève de Scheidemann, Johann Adam Reinken lui succède comme organiste à l'église de Sainte-Catherine, à Hambourg, à partir de 1663. Son jeu était d'une telle norme élevée que nul autre que j. s. Bach a voyagé de Lunebourg et Köthen à Hambourg pour entendre les Reinken à jouer de l'orgue. / Orgue

Choralkantate. Par CRUGER JOHANN / MENDELSSOHN-BARTHOLDY FELIX. also contains an arrangemet for organ During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. / Date parution : 1979-06-01/ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Scheibe’s three sonatas for flute (or violin) and obbligato harpsichord were published by Haffner in the late 1750’s but were probably composed much earlier; they contain a significant quantity of elaborate imitative writing that is out of character with Scheibe’s later music. Although rooted in the same tradition as the sonatas for flute and obbligato harpsichord by J.S. Bach C.P.E Bach and composers at Berlin court of Frederick the Great these are more substantial works each having four movements in the traditional slow-fast-slow-fast scheme. For the most part they are trio sonatas the right hand of the harpsichord acting as the secondtreble voice but several movements feature idiomatic writing for the keyboard. Also interesting is the large amount of ornamentation called for particularly in the harpsichord part. While Scheibe disapproved of the excessive embellishments that Bach actually wrote into his melody lines these sonatas are nonetheless heavily ornamented albeit through the insertion of notational symbols; in addition to turns and mordents Scheibe uses no less than three different trill symbols!

in c-Moll A2:55A, g-Moll A2:56A, a-Moll A2:57AThe Maltzan Collection is a trove of manuscripts made up of thirty for the most part unknown works for viola da gamba in the holdings of the library of Adam Mickiewicz University in Pozna?, Poland. Twenty-eight of the works are by Carl Friedrich Abel - including a number of autographs - and one each by Johann Christian Bach and Andreas Lidl. The manuscripts were copied between 1759 and 1789 in England, and purchased there by the then Prussian envoy in London, Count Joachim Carl Maltzan, who brought them back with him to Militsch, Silesia (today Milicz, Poland). In 1945 the manuscripts came into the possession of the library in Poznan. The collection was discovered in 2016 by Sonia Wronkowska, who is also the editor of the ten-volume edition of all the previously unknown works from this collection.The viola da gamba sonatas by Abel in the Maltzan Collection are musically mature pieces that throw a new light on Abel's compositional artistry. For the most part, they pose greater challenges for the player than the previously known sonatas from Abel's time in London. The fast movements are more expansive; the range extends from AA to b ; there are movements with variations and polyphonic passages; unusual keys, such as A-flat Major and E Major, are to be found; and many a slow movement contains a cadenza from Abel's hand. / Viole de gambe / Guntersberg

Leopold Mozart ne pouvait voir dans le talent musical extraordinaire de son fils qu'un don de Dieu 'que mon gamin [?] connaisse déjà à l'âge de 8 ans tout ce que l'on peut demander d'un homme de 40 ans. Bref: celui qui ne l'a ni vu ni entendu ne peut y croire'. Composées à Londres en 1764 - probablement d'après le modèle de l'opus 2 de Johann Christian Bach - ces six sonates sont tout à fait flexibles, puisqu'elles peuvent se jouer sous la forme de trios, de sonates avec violon ou alors au piano seul. Nous avons eu la chance pour cette édition de pouvoir nous appuyer sur des sources 'royales'- l'exemplaire de la British Library porte l'inscription manuscrite: 'This Volume belongs to the Queen 1788'. / Violon Et Piano

Sammartini was an Italian composer oboist organist choirmaster and teacher. He counted Gluck among his students and was highly regarded by younger composers including Johann Christian Bach. It has also been noted that many stylizations in Joseph Haydn's compositions are similar to those of Sammartini although Haydn denied any such influence Sammartini was a prolific composer and his compositions include 4 operas about 70 symphonies ten concertos and a substantial body of chamber music.

Wunderkind Sonatas Volume II for Piano and Violin K. 10-15 Editor: Wolf-Dieter Seiffert Fingering and bowing for Violin: Benjamin Schmid Fingering Piano: Ariane Haering Leopold Mozart was only able to understand his son's musical genius in terms of it being a God-given wonder: That my boy [...] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it, cannot believe it. In 1764 Wolfgang composed six sonatas in London - possibly after the model of Johann Christian Bach's Opus 2 - that can either be played as piano trios, as violin sonatas or simply on the piano. Royal sources were consulted for the edition: the copy in the British Library bears the handwritten note: This Volume belongs to the Queen 1788. Violin Sonata (Wunderkind) B flat major KV 10 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) G major KV 11 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) A major KV 12 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) F major KV 13 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) C major KV 14 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) B flat major KV 15

Composer : Quantz, Johann JoachimInstrumentation : Fl,BcEditor : Augsbach, H;Petrenz, S

e-Moll. Par QUANTZ JOHANN JOACHIM. Tonalité : e-Moll - Augsbach, Horst (Arr. ) - QV 5:116/ Répertoire / Solo Flûte Traversière, 2 Violons, Alto et Basse C