Tonalité : B-Dur -. Par VOGEL CAJETAN. Gattungen: Kantaten, Messen-Sätze - Verwendung / Anlässe: Marienfeste, Marianische Gesänge - Langue : Latin/ Répertoire / Solo S, Choeur SATB, 2 Cors, 2 Violons, Alto, Viol

Tonalité : B-Dur -. Par VOGEL CAJETAN. Gattungen: Kantaten, Messen-Sätze - Verwendung / Anlässe: Marienfeste, Marianische Gesänge - Langue : Latin/ Répertoire / Solo S, Choeur SATB, 2 Cors, 2 Violons, Alto, Viol

Tonalité : B-Dur -. Par VOGEL CAJETAN. Gattungen: Kantaten, Messen-Sätze - Verwendung / Anlässe: Marienfeste, Marianische Gesänge - Langue : Latin/ Répertoire / Solo S, Choeur SATB, 2 Cors, 2 Violons, Alto, Viol

Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Singet dem Herrn ein neues Lied' is based on a text from the first verses of psalm 98 which occupies a unique position in the oeuvre of Buxtehude, since it employs only one solo instrument. The composition, which is in concertato style, offers both soloists rewarding challenges. / Date parution : 2006-02-01/ Répertoire / Solo S, Violon et Basse Continue

Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called 'Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number. Now the 'Slavonic Rhapsodies” are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source./ Répertoire / Violoncelle (Partie Séparée)

Par DARKE HAROLD. This beautiful carol with words by Victorian poet Christina Rossetti shares all the charm and magic of Darke’s classic Rossetti setting, In the Bleak Midwinter. For Soprano solo, SATB Chorus and Organ./ Feuillet / S Solo, SATB et Orgue

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. 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./ Répertoire / Solo S, Choeur SATB, 2 Violons, Alto et Violoncell

Par RAVEL MAURICE. The set of parts for Maurice Ravel's Introduction And Allegro For Harp, Flute, Clarinet And String Quartet, a lesser-known work by the French composer, completed in 1905./ Répertoire / Parties Séparées

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. 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./ Répertoire / Solo S, Choeur SATB, 2 Violons, Alto et Violoncell

Par ROSSINI GIOACHINO. Pierre LABOLE (Arr. ) / Niveau : Avancé / harmonie avec soliste(s) / Répertoire / Partie Séparée

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Par MAURY JEAN-MICHEL. Chanson idéale pour la rentrée des classes. Pour enfants entre 9 et 11 ans - Formation : Chorale d'Enfants and Instruments, Autres Ensembles, Chorale - Instrumentation : Chorale d'Enfants 1 Flûte 1 Hautbois 2 Clarinettes 2 Saxophones Altos 1 Violoncelle (optionnel) 1 Trombone 1 Piano 1 Contrebasse - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 1 mn 25 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Jean-Michel MAURY - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Children's Choeur 1 Flûte 1 Hautbois 2 Clarinettes

Tonalité : D-Moll - Hochstein, Wolfgang (Arr.) -. Par HASSE JOHANN ADOLF. The festive work with their, for Hasse’s time, relativly large orchestra ensemble, was first performed on 29 June 1751 on the occasion of the dedication of the new Catholic Court Church in Dresden. They are appropriate for performance together in either worship services or in a concert setting. / Messe / Répertoire / Solistes s ATB, Choeur SATB, 2 Flûtes Traversières

Tonalité : D-Moll - Hochstein, Wolfgang (Arr.) -. Par HASSE JOHANN ADOLF. The festive work with their, for Hasse’s time, relativly large orchestra ensemble, was first performed on 29 June 1751 on the occasion of the dedication of the new Catholic Court Church in Dresden. They are appropriate for performance together in either worship services or in a concert setting. / Messe / Répertoire / Solistes s ATB, Choeur SATB, 2 Flûtes Traversières

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor