SKU: BA.BA03409
ISBN 9790006434053. 27.5 x 19.5 cm inches.
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
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY 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
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY 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: CA.2704809
ISBN 9790007199395. Key: D major. Language: Latin.
The Carus program featuring music of the Court of Dresden has been expanded with the publication of the first edition of the great masses of Johann David Heinichen, who, next to Hasse and Zelenka, was the most important musical representative of this capital of Saxony. A peculiarity of this work is the fact that Heinichen inserted an actual concerto movement for solo flute, 2 oboes, strings and continuo between the Gloria and Credo, which recommends the Mass for concert performances. Score and parts available separately - see item CA.2704800.
SKU: CA.5100100
ISBN 9790007087654.
Foll owing the great success of the first set of Mozart Masses and Vesper settings, Carus is offering a set of all his additional sacred works as study scores in an attractive case. The editions are based on the latest musicological developments and they offer musicians and music lovers alike a treasure of Mozart's sacred music.
SKU: BR.OB-5565-11
ISBN 9790004342695. 12.5 x 10 inches.
Jan Dismas Zelenka's Missa Dei Filii is the second of three transmitted Missae ultimae, but consists, like other short masses of the 18th century, solely of a Kyrie and Gloria. Nevertheless, it is an extensive work, and the lengthy, multipartite Gloria is considered as the most impressive Gloria setting that Zelenka created in his over 20 masses. What remains to be answered is whether Zelenka had originally planned a complete mass composition.The full score and the piano vocal score are based on volume 100 of the Denkmaler edition Das Erbe deutscher Musik, in which the gaps in the musical text found in the autograph towards the end of the Gloria were cautiously supplemented. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).
SKU: CA.2703514
ISBN 9790007199197. Key: C major. Language: Latin.
Of the 19 Masses by Dittersdorf which have been handed down, the present Mass, which is being published for the first time, enjoyed a special popularity during the composer's lifetime and it was even performed for the coronation of emperor Franz II in the Frankfurt Cathedral. This solemn, prestigious Mass shows evidence of choral movements in traditional contrapuntal church style as well solo parts with a modern, cantabile character. In addition, the Gloria includes a lengthy virtuosic violin solo, which also lends the work a concertante character (Dittersdorf was a professional violinist). Score and part available separately - see item CA.2703500.
SKU: BR.MR-2163
ISBN 9790004487136. 9 x 12 inches.
In the vocal oeuvre of Johann Sebastian Bach, the arias scored for obbligato flute, for two flutes or for oboe constitute a dazzlingly varied repertoire. Treated on an equal footing with the vocal part, the obbligato parts assume solo duties in many pieces. The most demanding solo passages composed for these instruments in the 18th century are occasionally hidden in Bachs arias.The MUSICA RARA edition of Bach's collected arias presents an authentic musical text which follows the principal sources in phrasing and articulation.
SKU: CA.4067809
ISBN 9790007076481. Language: Czech/German.
The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score and parts available separately - see item CA.4067800.
SKU: HL.48182295
UPC: 888680840044. 9.0x12.0x0.194 inches.
Quartet for Saxophones is a piece for four saxophones composed by Alfred Desenclos in 1964, which lasts around 15 minutes and 30 seconds. Initially written for the Marcel Mule Quartet, Quartet for Saxophones is a typical French quartet, quite smooth and suave. The beginning of the piece that sets up the Soprano Saxophone against the others is quite jazzy but then it continues on to a more lyrical part, quite slow, with a simple melody. The tension is gradually built up and the finale unison is introduced quite dramatically, with some bursts of energy. This Quartet for Saxophones would fit a Quartet of advanced to professional players. Alfred Desenclos (1912-1961) is a French Composer who won the Prix de Rome in 1942. He also composed masses such as 'Messe de Requiem' and other pieces for Double Bass, Harp, Flute, Trumpet or French Horn.
SKU: BR.OB-5589-16
ISBN 9790004344200. 10 x 12.5 inches.
Prelude to Mastery The Missa Sanctissimae Trinitatis was probably composed within a few weeks in the late fall of 1736, an occasion for the composition is not recorded. With this mass, the first in a series of five late masses, Jan Dismas Zelenka entered upon the phase of his masterful late works. Its spacious conception abundant in numbers, stylistic and compositional wealth, as well as its vehement, musical expressive power clearly differentiate this work from Zelenka's previous masses. This new edition is based on the corresponding volume of the series Das Erbe deutscher Musik, from which the preface and critical report also derive.Have a look into the piano vocal score. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).
SKU: BR.OB-5565-15
ISBN 9790004342718. 10 x 12.5 inches.
SKU: BR.OB-5589-23
ISBN 9790004344224. 10 x 12.5 inches.
SKU: BR.OB-5329-11
ISBN 9790004333525. 10 x 12.5 inches.
According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna , dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.
SKU: BR.OB-5556-19
ISBN 9790004342879. 10 x 12.5 inches.
The Missa Dei Patris ZWV 19 was composed in 1740 and ranks among the later works of the Bohemian composer Jan Dismas Zelenka. It opens an incompletely transmitted cycle of six masses which the composer himself designated as Missae ultimae.The musical text of the present conductor's score is based on that of Volume 93 of the Denkmaler edition Das Erbe deutscher Musik. The new piano vocal score has been edited by the reputable expert Andreas Kohs. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).
SKU: CA.4067703
ISBN 9790007074258. Key: F major. Language: Latin.
The first edition of a Missa in F by Giovanni Platti (ca. 1690-1763) is a rarity. Platti served at the Court of the Counts of Schonborn-Wiesentheid, and during his more than 40 years of service at the Court he worked for more than five masters and each of them knew how to make use of his musical abilities. Thus, in addition to his position as a virtuoso oboist, singer and violinist, he was also entrusted with the musical education of musicians. The Missa in F major is primarily a composition for choir; it is very singable, its construction is transparent and it is accompanied by only four strings and an organ. Score available separately - see item CA.4067700.
SKU: CA.9190500
ISBN 9790007124892. Language: Latin.
SKU: CA.5070509
ISBN 9790007224424. Text language: Latin.
After Johann Adolf Hasse had ended his career as a composer for the opera stage and finally settled down in Venice, he wrote a number of sacred works. Since he had long been obligated to the Saxon Court, where he served as a composer for three decades until 1763, these works were originally intended for the Catholic Court Church in Dresden. The solemn-pathetic Missa in G minor (1783), with the inserted movement Ad te levavi, is Hasse's final work: a crowning conclusion to an oeuvre whose significance in music history has only recently begun to be recognized and has now received the fitting acknowledgement it deserves. Score and parts available separately - see item CA.5070500.
SKU: BA.BA06936
ISBN 9790006483860. 27 x 19 cm inches. Key: F minor.
SKU: CA.9221808
ISBN 9790007237448. Language: Latin.
Score available separately - see item CA.9221800.
SKU: BR.MR-1909
The MUSICA RARA edition of Bach's collected arias presents an authentic musical text which follows the principal sources in phrasing and articulation.
ISBN 9790004485040. 9 x 12 inches.
In the vocal oeuvre of Johann Sebastian Bach, the arias scored for obbligato flute, for two flutes or for oboe constitute a dazzlingly varied repertoire. Treated on an equal footing with the vocal part, the obbligato parts assume solo duties in many pieces. The most demanding solo passages composed for these instruments in the 18th century are occasionally hidden in Bachs arias.The MUSICA RARA edition of Bach's collected complete arias and sinfonias presents an authentic musical text which follows the principal sources in phrasing and articulation.
SKU: BR.OB-5556-12
ISBN 9790004342848. 10 x 12.5 inches.
SKU: CA.2704813
ISBN 9790007199425. Key: D major. Language: Latin.
The Carus program featuring music of the Court of Dresden has been expanded with the publication of the first edition of the great masses of Johann David Heinichen, who, next to Hasse and Zelenka, was the most important musical representative of this capital of Saxony. A peculiarity of this work is the fact that Heinichen inserted an actual concerto movement for solo flute, 2 oboes, strings and continuo between the Gloria and Credo, which recommends the Mass for concert performances. Score and part available separately - see item CA.2704800.
SKU: HL.49020856
ISBN 9783254001993. German.
Das kunstlerische Wirken des Komponisten und Dirigenten Wilhelm Furtwangler war ein Leben lang begleitet von dem Bemuhen, sich daruber auch theoretisch Rechenschaft zu geben. Zahlreiche Aufzeichnungen belegen das. So spannt sich ein weiter Bogen uber diese Aufsatze und Vortrage aus den Jahren 1918 bis 1954. Der Reichtum der Themen, die Allgemeingultigkeit der Problemstellung, die Gedanken und Auffassungen sind aus der Schule des Lebens selbst, aus der unmittelbaren Erfahrung von Werk und Publikum erwachsen. Furtwangler setzt sich in diesen Arbeiten mit grundsatzlichen Fragen, so u.a. der Werktreue, der Programmgestaltung, der kunstlerischen Verantwortung, der modernen Musik, auseinander und entwickelt seine Gedanken uber Bach, Beethoven, Brahms, Bruckner, Wagner, Hindemith, Strawinsky und andere Komponisten.
SKU: BR.OB-5589-30
ISBN 9790004344248. 10 x 12.5 inches.
SKU: DZ.DZ-4287
ISBN 9782898522048.
Antà ´nio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio LuÃs de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately , Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antôni o Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio LuÃs de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première Å“uvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses Å“uvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là , certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des Å“uvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses Å“uvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'Å“uvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureuseme nt, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
