Max und Moritz

SKU: CA.1231600

ISBN 9790007087081. Language: German. Text: Busch, Wilhelm. Text: Wilhelm Busch.

... those who know Bredenbach's Lustige Lieder, know that his music isn't always easy, which it doesn't have to be! He [Bredenbach] knows what children are capable of ... The piece is fun: first, because the story is well-known; second, because the melodies are original and witty (children have an excellent sense for why the melody must be angular in certain places, and why an exploding pipe cannot be set in decending major thirds), third, because hymns, folksongs, and children's songs are hidden everywhere, which strengthen and underline the comedy or joke in each situation ... (Wurtt. Blatter fur Kirchenmusik 2/00).

SKU: HL.49004699

ISBN 9790001049245. German.

SKU: HL.49031414

ISBN 9790001049252. German.

SKU: CA.1240100

ISBN 9790007087746. Language: German. Text: Busch, Wilhelm. Text: Wilhelm Busch.

May also be preformed with pantomime.

SKU: CA.1240119

ISBN 9790007138776. Language: German. Text: Busch, Wilhelm. Text: Wilhelm Busch.

May also be preformed with pantomime. Score and parts available separately - see item CA.1240100.

SKU: CA.1231699

ISBN 9790007098919.

Scor e available separately - see item CA.1231600.

SKU: BT.DHP-0981152-140

In October 1997, Jacob de Haan visited the Swiss village of St. Moritz, where he worked as a conductor with a symphonic wind band. The Mountains around St. Moritz were covered in marvelous autumn colors. The Colors, the quietness and nature itself inspired Jacob de Haan to compose this lyrical composition.

Oktober 1997. Jacob de Haan besucht St. Moritz in der Schweiz, wo er als Dirigent mit einem Symphonischen Blasorchester arbeitet. Die Berge rings um die Stadt, die Rhätischen Alpen, leuchten in kräftigen Herbstfarben. Die Berggipfel nahe der italienischen Grenze scheinen noch einmal tief Atem zu holen, bevor der erste Schnee fällt und Horden von Touristen das Gebiet wieder bevölkern. Die Farben, die Gerüche, die Ruhe und die Natur inspirierten mich.“ Kaum wieder zu Hause, schreibt Jacob de Haan die lyrische Komposition Yellow Mountains.

En octobre 1997, Jacob de Haan se rend Saint-Moritz en Suisse. La nature a quitté ses habits d’été pour revêtir une extraordinaire palette de couleurs. Les montagnes radieuses retiennent leur souffle dans l’attente des premières neiges et le paysage tout entier diffuse un sentiment de paix et de sérénité. Le modèle est idéal et inspire Jacob de Haan cette pièce aux couleurs tonales variées. Tel un peintre, il créé une œuvre aux traits fluides et souples, où les arrondis donnent naissance des teintes chaleureuses.

Nell 'ottobre del 1997, Jacob de Haan visitò il paese svizzero di St. Moritz, dove lavorò come direttore di una banda sinfonica di fiati. Le montagne intorno a St. Moritz erano ricoperte dei meravigliosi colori dell'autunno. La variet cromatica e la quiete della natura ispirarono a Jacob de Haan questa composizione lirica.

SKU: BT.DHP-1001913-060

ISBN 9789043131650.

In October 1997, Jacob de Haan visited the Swiss village of St. Moritz, where he worked as a conductor. The Mountains around St. Moritz were covered in marvelous autumn colors. The Colors, the quietness and nature itself inspired Jacob de Haan to compose this lyrical composition.

In oktober 1997 bezocht Jacob de Haan het Zwitserse St. Moritz. De bergen rondom waren getooid in schitterende herfstkleuren. De componist raakte in deze omgeving ge nspireerd door de kleuren, de rust en de natuur en schreef daaropzijn lyrische compositie Yellow Mountains, dat door Foppe Jacobi fraai is gearrangeerd voor accordeonorkest.

H erbst im schweizerischen St. Moritz: Die Berge sind in die unterschiedlichsten Herbstfarben getaucht und die Natur strahlt eine gelassene Ruhe aus. Jacob de Haan war im Oktober 1997 in dieser Umgebung und schrieb dort, von den Farben, der Ruhe und der Natur inspiriert, seine lyrische Komposition Yellow Mountains.

En octobre 1997, Jacob de Haan se rend Saint-Moritz en Suisse. La nature a quitté ses habits dâ??été pour revêtir une extraordinaire palette de couleurs. Les montagnes radieuses retiennent leur souffle dans lâ??attente des premières neiges et le paysage tout entier diffuse un sentiment de paix et de sérénité. Le modèle est idéal et inspire Jacob de Haan cette pièce aux couleurs tonales variées. Tel un peintre, il créé une oeuvre aux traits fluides et souples, où les arrondis donnent naissance des teintes chaleureuses.

SKU: BR.CHB-301-94

Piano vocal score by the composer

In late March 1851, Robert Schumann was sent a copy of the fairy tale Der Rose Pilgerfahrt. He was so inspired by Moritz Horn's text that he immediately composed the piano score.

ISBN 9790004400920. 6.5 x 9.5 inches.

Simultaneou sly, he corresponded with the poet about cuts and revisions of the libretto, and, towards the end of the year, even let himself be persuaded by friends to orchestrate it. Der Rose Pilgerfahrt was given its first performances in Dusseldorf and Leipzig in February and March 1852 in this full-scored version before being printed in late 1852.

Piano vocal score by the composerIn late March 1851, Robert Schumann was sent a copy of the fairy tale Der Rose Pilgerfahrt. He was so inspired by Moritz Horn's text that he immediately composed the piano score.

SKU: BR.CHB-301-85

Piano vocal score by the composer

In late March 1851, Robert Schumann was sent a copy of the fairy tale Der Rose Pilgerfahrt. He was so inspired by Moritz Horn's text that he immediately composed the piano score.

ISBN 9790004400890. 6.5 x 9.5 inches.

Simultaneou sly, he corresponded with the poet about cuts and revisions of the libretto, and, towards the end of the year, even let himself be persuaded by friends to orchestrate it. Der Rose Pilgerfahrt was given its first performances in Dusseldorf and Leipzig in February and March 1852 in this full-scored version before being printed in late 1852.

Piano vocal score by the composerIn late March 1851, Robert Schumann was sent a copy of the fairy tale Der Rose Pilgerfahrt. He was so inspired by Moritz Horn's text that he immediately composed the piano score.

SKU: BR.CHB-301-88

Piano vocal score by the composer

In late March 1851, Robert Schumann was sent a copy of the fairy tale Der Rose Pilgerfahrt. He was so inspired by Moritz Horn's text that he immediately composed the piano score.

ISBN 9790004400906. 6.5 x 9.5 inches.

Simultaneou sly, he corresponded with the poet about cuts and revisions of the libretto, and, towards the end of the year, even let himself be persuaded by friends to orchestrate it. Der Rose Pilgerfahrt was given its first performances in Dusseldorf and Leipzig in February and March 1852 in this full-scored version before being printed in late 1852.

Piano vocal score by the composerIn late March 1851, Robert Schumann was sent a copy of the fairy tale Der Rose Pilgerfahrt. He was so inspired by Moritz Horn's text that he immediately composed the piano score.

SKU: BR.CHB-301-91

Piano vocal score by the composer

In late March 1851, Robert Schumann was sent a copy of the fairy tale Der Rose Pilgerfahrt. He was so inspired by Moritz Horn's text that he immediately composed the piano score.

ISBN 9790004400913. 6.5 x 9.5 inches.

Simultaneou sly, he corresponded with the poet about cuts and revisions of the libretto, and, towards the end of the year, even let himself be persuaded by friends to orchestrate it. Der Rose Pilgerfahrt was given its first performances in Dusseldorf and Leipzig in February and March 1852 in this full-scored version before being printed in late 1852.

Piano vocal score by the composerIn late March 1851, Robert Schumann was sent a copy of the fairy tale Der Rose Pilgerfahrt. He was so inspired by Moritz Horn's text that he immediately composed the piano score.

SKU: AP.36-A249347

ISBN 9798892704113. UPC: 659359816307. English.

The CANTATA No. 4: CHRIST LAG IN TODES BANDEN, BWV 4, is one of the earliest church cantatas by J.S. Bach (1685-1750). Bach wrote it for an application to a job opportunity at a Lutheran church in Mulhausen. It is the first of his cantatas to construct its textual and melodic material on a chorale. His first cantata for Easter Sunday, it was later revised in Leipzig in 1724 and 1725 with additional instrumental parts in order to harness the rich musical resources available to the composer. The original version has not survived. This edition by Moritz Hauptmann was created in 1851 as part of the Bach-Gesellschaft Ausgabe (Bach Society Edition). Instrumentation: 0.0.0.0: 0.1.3.0: Org: Str (2-2-2-1-1 in set): Soli SATB: Mixed Chor.

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