Broke Baroque

SKU: CA.2004505

ISBN 9790007165123. Text language: German.

With this magnificent setting of Psalm 136 from the Psalmen Davids of 1619, Heinrich Schütz broke new ground: he brought the court trumpet ensemble into the realm of art music (similar to Michael Praetorius at around the same time). Alongside the trumpet ensemble, a five-part ripieno choir ensures musical splendor, whilst the leading role is given two two favoriti choirs, one high (SSTT) and one low (TTBB, scored for tenor and three trombones). Schütz did not write out the trumpet ensemble parts, but made do with notating just the middle part, around which the other parts were to improvise. For this critical edition, the trumpet ensemble is available separately in a reconstruction by the internationally-famous baroque trumpet specialist Edward H. Tarr. This edition is also used for the recording of the Psalm with the Dresdner Kammerchor conducted by Hans-Christoph Rademann. Score available separately - see item CA.2004500.

SKU: BR.DV-9515A-15

ISBN 9790200490602. 9 x 12 inches. German.

In the latter half of the 18th and in the 19th century the Old Preface Testament Christmas prophecy (Isaiah 9, 1-6) formed the basis for numerous motetto- and cantata-like compositions originating from the Erzgebirge and the Vogtland of Saxony. From very early times, this text was included in Matins for Christmas day, hut until the period specified it was usually intoned on a reciting note. The present cantata is one of the few surviving testimonies to musical activity in the small Thuringian town of Schleiz. The prophecy Das Volk, so im Finstern wandelt was written - probably for performance at court services - in all likelihood by Johann Georg Reichard, a magistrate in the Grafschaft (County) of Reuss who later held higher judicial appointments. Reichard was born at Oels (Olefoica) in Silesia in 1710 and studied law at Leipzig from 1732. He then went to Schleiz and rose from the position of archivist to high legal office, at the same time succeeding Gottfried Siegmund Liebich (d. 1736) as director of the court chapel. He died in Schleiz on 2 June 1782. A few of his church cantatas and other pieces (serenades etc) written for the court at Schleiz once belonged to the Fursten- and Landesschule of St Augustine at Grimma whose music holdings are now preserved in Dresden. Some of Reichard's compositions are autograph, some in copies made by his son Heinrich Gottfried Reichard (1742-1801) who pursued an active career at Grimma both in music and ancient philology, first as cantor, finally as co-rector. The 'Prophecy' cantata survives anonymously in a score copied by Heinrich Gottfried Reichard who may well have sung it himself when he was fourteen, before bis voice broke - as the date Anno 17 56 suggests. He probably prepared the score in bis later years from the original parts, now no langer existent, as he did in the case of other works of his father's. Whether he revised the musical text, and to what extent, cannot now be established. This short and attractive work has all the lightness and exuberance of the rococo as well as genuine emotional depth. In addition, it is easy to perform and should prove very popular. Liturgically, it still occupies a place in Christmas matins or vespers. Permission for this publication was kindly given by Dr. Wolfgang Reich of the Sachsische Landesbibliothek Dresden, Musikabteilung. Wolfram Steude, Dresden, January 1972.

SKU: BR.DV-9515A-16

ISBN 9790200490619. 9 x 12 inches. German.

In the latter half of the 18th and in the 19th century the Old Preface Testament Christmas prophecy (Isaiah 9, 1-6) formed the basis for numerous motetto- and cantata-like compositions originating from the Erzgebirge and the Vogtland of Saxony. From very early times, this text was included in Matins for Christmas day, hut until the period specified it was usually intoned on a reciting note. The present cantata is one of the few surviving testimonies to musical activity in the small Thuringian town of Schleiz. The prophecy Das Volk, so im Finstern wandelt was written - probably for performance at court services - in all likelihood by Johann Georg Reichard, a magistrate in the Grafschaft (County) of Reuss who later held higher judicial appointments. Reichard was born at Oels (Olefoica) in Silesia in 1710 and studied law at Leipzig from 1732. He then went to Schleiz and rose from the position of archivist to high legal office, at the same time succeeding Gottfried Siegmund Liebich (d. 1736) as director of the court chapel. He died in Schleiz on 2 June 1782. A few of his church cantatas and other pieces (serenades etc) written for the court at Schleiz once belonged to the Fursten- and Landesschule of St Augustine at Grimma whose music holdings are now preserved in Dresden. Some of Reichard's compositions are autograph, some in copies made by his son Heinrich Gottfried Reichard (1742-1801) who pursued an active career at Grimma both in music and ancient philology, first as cantor, finally as co-rector. The 'Prophecy' cantata survives anonymously in a score copied by Heinrich Gottfried Reichard who may well have sung it himself when he was fourteen, before bis voice broke - as the date Anno 17 56 suggests. He probably prepared the score in bis later years from the original parts, now no langer existent, as he did in the case of other works of his father's. Whether he revised the musical text, and to what extent, cannot now be established. This short and attractive work has all the lightness and exuberance of the rococo as well as genuine emotional depth. In addition, it is easy to perform and should prove very popular. Liturgically, it still occupies a place in Christmas matins or vespers. Permission for this publication was kindly given by Dr. Wolfgang Reich of the Sachsische Landesbibliothek Dresden, Musikabteilung. Wolfram Steude, Dresden, January 1972.

SKU: BT.DHP-1125334-070

ISBN 9789043138383. 9x12 inches. English-German-French-Dutch.

Sinfonia and Caprice is comprised of two contrasting sections. Both sections are characterised by the arrangement of the eight voices into two four-part groups that play in dialogue with each other.The first, slow movement is a Sinfonia in the baroque sense?a majestic opening work. With its dotted rhythms and semiquaver runs, the movement is reminiscent of a French overture. The fast second movement, the Caprice, features an almost unbroken galloping rhythm. In this section an energetic main theme in a minor key plays in alternation with a lyrical subsidiary major theme. The work closes with a triumphant fanfare.

Het werk Sinfonia and Caprice bestaat uit twee contrasterende gedeelten. Het arrangement van beide delen wordt gekenmerkt door de verdeling van de acht partijen in twee groepen van vier, die in dialoog met elkaar spelen.Het eerste, langzame deel is een majestueuze sinfonia in barokke sfeer. Met zijn gepunteerde ritmes en loopjes van zestiende noten doet dit deel denken aan een Franse ouverture. Het snelle twee deel, de caprice, omvat een bijna onafgebroken galopritme. In dit deel wordt een energiek hoofdthema in mineur afgewisseld door een lyrisch ondergeschikt thema in majeur. De compositie wordt afgesloten met een glorierijke fanfare.

Sinfonia and Caprice besteht aus zwei kontrastierenden Teilen. Typisch für beide Teile ist die Aufteilung der acht Stimmen in zwei vierstimmige Gruppen, die miteinander im Dialog stehen.Der erste, langsame Satz ist eine Sinfonia im barocken Sinne, also ein majestätisches Eröffnungsstück. Mit seinen punktierten Rhythmen und Sechzehntelfolgen erinnert der Satz im Charakter an eine französische Ouvertüre. Der schnelle zweite Teil, die Caprice, weist einen fast unablässig durchlaufenden Galopp-Rhythmus auf. In diesem Satz wechselt sich ein markiertes Hauptthema in Moll mit einem lyrischen Seitenthema in Dur ab. Das Werk endet mit einem fanfarenartigen,triumphalen Schluss.

Sinfonia and Caprice se compose de deux parties contrastées. Celles-ci se caractérisent, lâ??une comme lâ??autre, par lâ??arrangement des huit voix en deux groupes de quatre qui jouent en dialogue.Le premier mouvement est une sinfonia au sens baroque du terme - une introduction lente et majestueuse. Avec ses rythmes pointés et ses lignes en doubles croches, ce mouvement fait penser une ouverture française. Le second mouvement, un caprice rapide, se distingue par un rythme galopant presque ininterrompu. Le thème principal en mineur est plutôt déterminé, alors quâ??un second thème lyrique en majeur se fait entendre en alternance. Lâ???uvre sâ??achèvesur une fanfare triomphante.

SKU: BT.EMBZ8016

English-German-Hungarian.

Owing to its conceptual variety, the Wohltemperiertes Klavier constitutes one of Bach's most complete opuses. It equally comprises the world of the chorales and passions, the Baroque dance movements and concertos.The edition is based on Volume 14 of the complete edition of the Bach-Gesellschaft (Breitkopf and Härtel, Leipzig, 1864) as well as on Hermann Keller's new Urtext edition (Edition Peters, Leipzig, 1963). In shaping the text of the publication we also studied the major Urtext editions in general use today. The text variants of an Urtext validity which by and large equal the main text, are given in ossia. The editor's addenda are put in square brackets, or in the case ofligatures, are marked with broken lines. (István Lantos).

SKU: BR.EB-8937

ISBN 9790004186046. 0 x 0 inches.

Given that hardly any printed collections of new keyboard music were offered in Germany in the first decades of the 18th century, Christoph Graupner's eight Partien auf das Clavier , published in 1718, marked a new beginning. The suites are arranged according to an ascending sequence of notes and generally follow the scheme Allemande - Courante - Sarabande - Gigue, but this order is repeatedly broken, also by movements that are rather unusual for a suite. The focus is on the characteristics of the individual movements and the joy of playing with figures typical for the movement or instrument, as well as on challenging playing techniques, such as hand changes in runs (passaggi), wide-ranging chord breaks and the use of the thumb, which was not very common at the time. In this respect, Graupner's suites offer not so much a formal advancement, but rather an expansion of the demands of playing technique. Although several CD recordings of these suites already exist, this volume constitutes the first modern Urtext edition. Complementing her scholarly activities, the editor Genevieve Soly provides important impulses on performance practice in the preface, especially on the execution of the passaggi and the ornamentation, thus opening up the view on her activity as a harpsichordist.