Four German Folk Songs (Vier deutsche Volkslieder)

SKU: CA.4020820

ISBN 9790007065263.

Scor e available separately - see item CA.4020800.

SKU: CA.220305

ISBN 9790007186753.

For mixed choirs with just one male voice part, the long-awaited new volume in the Loreley choral collection series is now published. 70 German folk songs have been arranged by 30 composers for choirs with just one male voice part for the new Loreley. Loreley once again is devoted to German folk songs in new, up-to-date arrangements: as well as unaccompanied settings, there are arrangements with ingenious piano accompaniments. There is also another group of pieces with melodious four-part settings for three upper voices plus one male voice. Over 70 settings reflect different styles and levels of difficulty. editionchor (without CD). Score available separately - see item CA.220300.

SKU: BT.EMBZ20036

English-German-Hungari an.

Based on the Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for male voices. The lyrics in this Urtext edition are in the original languages and in the translations authorized by the composer. Literal English translations are provided in the appendix, which also includes the early version of Four Hungarian Folk Songs and the German version of movements 3 to 6 from Székely Folk Songs.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailedinformation on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for children's and female voices and for mixed voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.

SKU: CL.026-4908-00

Folk Songs From Somerset, the third movement from Ralph Vaughan Williams’ English Folk Song Suite is a classic march incorporating four traditional folk songs: Blow Away The Morning Dew, High Germany, The Tree So High and John Barley’s Corn. Using both 2/4 and 6/8 meters, Vaughan Williams has created a unique educational opportunity for ensembles to contrast duple and compound meter. Creatively adapted for the Build-A-Band series by master composer/arranger, Ed Huckeby, this masterful work is now available for ensembles with unusual or limited instrumentation. Your students and audiences will love this English band classic!

SKU: CL.026-4908-01

Folk Songs From Somerset, the third movement from Ralph Vaughan Williams’ English Folk Song Suite is a classic march incorporating four traditional folk songs: Blow Away The Morning Dew, High Germany, The Tree So High and John Barley’s Corn. Using both 2/4 and 6/8 meters, Vaughan Williams has created a unique educational opportunity for ensembles to contrast duple and compound meter. Creatively adapted for the Build-A-Band series by master composer/arranger, Ed Huckeby, this masterful work is now available for ensembles with unusual or limited instrumentation. Your students and audiences will love this English band classic!

SKU: CA.5281100

ISBN 9790007302023.

The fourth volume of the Lieder und Chorwerke (Songs and Choral Works) from the Reger Hybrid Edition of Works (RWA) presents songs Max Reger composed between November 1903 and July 1905. In his Opus 75 songs, Reger set verses by classic German poets, such as Goethe and Hölderlin, as well as folksong texts in his usual avant-garde manner. In the 30 songs from the first two collections of the Schlichte Weisen, Op. 76, on the other hand, the composer distanced himself from his previous approach to songwriting by adopting a simpler, folk-like style. The popular Schlichte Weisen were also a concession to his publishers' wishes. The songs in Opus 88 were published not by Lauterbach & Kuhn but by Simrock, a firm more willing to accept music that departed from Alltagsgeschmack (everyday or popular taste). The four songs were dedicated to the mezzo-soprano Lula Mysz-Gmeiner.In January 2008 the Max-Reger-Institut (MRI) in Karlsruhe began publishing a scholarly-critical edition of the works of Reger (RWA), supported by the Mainz Academy of Sciences and Literature. As a Hybrid Edition, it is exploring new approaches in editorial techniques.The digital offer belonging to the volume is published in an online portal.Contents:< CR>Eighteen Songs op. 75Schlichte Weisen op. 76, vol. ISchlichte Weisen op. 76, vol. IIFour Songs op. 88Ehre sei Gott in der Höhe WoO VII/37AppendixWaldeinsamkeit op. 76 no. 3Minnelied op. 76 no. 21.

SKU: BA.BA08772

ISBN 9790006502349. 30 x 23 cm inches. Language: German/English. Preface: Knecht, Edgar.

Edgar Knecht is a jazz pianist who has created his own unique style. His dbut CD, “Good Morning Lilofee” (with four-piece combo), conquered the clubs and earned him invitations to international festivals. His treatment of the original melodies is refreshingly different from standard jazz arrangements: It is characterized by a free perception of the tunes, varied rhythms as well as unconventional harmonies. The same recipe for success underlies his second CD, “Dance On Deep Waters”, with which the Edgar Knecht Quartet is again going on tour, with many gigs lined up for spring and summer.

All eight of the songs in our edition offer agreeable and stimulating literature outside the classical and jazz pigeonholes for pianists everywhere, whether or not they dig German folksongs. Familiar tunes such as “Es freit der wilde Wassermann” or “Die Gedanken sind frei” gain a wholly new quality and pizzazz in his arrangements. Though based on the original songs, the pieces go far beyond them in form, harmony and rhythm, thereby turning the originals into top-quality jazz ballads. All the pieces have suggestions for improvised passages, usually with chords and written-out ostinato bass lines.

All the pieces are recorded on the like-named CD with Edgar Knecht at the piano, accompanied by his trio of bass, drums and percussion.


Th e Author
Edgar Knecht lives in Kassel (Germany), where he heads a piano school and tours with his combo. Since the age of 14 he has held concerts with his own piano pieces and written many theatre, film and TV scores. With his Edgar Knecht Trio he transforms German folksongs into fascinating jazz ballads with which he fills his programmes and venues.

Playlist:< br>www.youtube .com/playlist?list=PLh-AU h-Pv3D4lXqmq2cdu-ubVBDIfv xQJ

SKU: CA.910700

ISBN 9790007026271. Language: German.

Hand und Fuss (hand and foot) is a piece written for choir and ensemble from the cycle entitled Wolken (Clouds). It consists, on the one hand, of settings of Swiss folk songs for four 4-5 voices and, on the other hand, various compositions which emply noise, without singing. In Hand und Fuss there is stamping and clapping, and even balloons play a role in it.

SKU: BR.CHB-5386

ISBN 9790004413876. 7.5 x 10.5 inches. German.

It is unknown when exactly Brahms wrote his 13 Kanons op. 113, a collection of 13 rounds for female voices. However, it is likely that the individual pieces were composed between 1859 and 1863 and for various occasions. In this period, Brahms did various counterpoint studies to which the rounds as one the strictest forms of counterpoint fit nicely. Another contributing factor around this time was Brahms' work with the newly founded Hamburger Frauenchor [Hamburg Female Choir]. Some of the rounds can be found in the part books of this ensemble. The innocent, small, amorous lines that should be sung lightly and joyfully by pretty girls were not published until 1891. For the whole set, Brahms received the formidable salary of 6000 marks. As well as using lines by famous writers, Brahms drew lyrics from folk songs, too.

For three, four and six female voices a cappella.

SKU: BR.CHB-5386-02

ISBN 9790004413876. 7.5 x 10.5 inches. German.

It is unknown when exactly Brahms wrote his 13 Kanons op. 113, a collection of 13 rounds for female voices. However, it is likely that the individual pieces were composed between 1859 and 1863 and for various occasions. In this period, Brahms did various counterpoint studies to which the rounds as one the strictest forms of counterpoint fit nicely. Another contributing factor around this time was Brahms' work with the newly founded Hamburger Frauenchor [Hamburg Female Choir]. Some of the rounds can be found in the part books of this ensemble. The innocent, small, amorous lines that should be sung lightly and joyfully by pretty girls were not published until 1891. For the whole set, Brahms received the formidable salary of 6000 marks. As well as using lines by famous writers, Brahms drew lyrics from folk songs, too.

For three, four and six female voices a cappella.