Format : Accompaniment CD
SKU: CA.2091800
ISBN 9790007186982.
At the age of eighty-six Heinrich Schutz composed his last work in 1671 with his monumental setting of Psalm 119, complemented in an appendix with a setting of Psalm 100, and a setting of a German Magnificat. This group of works, called Schwanengesang [Swansong], is scored for eight vocal parts, but two were lost so that it is not performable in its surviving form. However, as the composition is in a strictly regular style, and the two choirs often have common motivic material, it has been possible to attempt a reconstruction of the missing material from what survives. In 1984 a version reconstructed by the Dresden Schutz scholar Wolfram Steude was published for the first time, and has been performed many times since then. The new edition by Werner Breig as part of the Stuttgarter Schutz-Ausgabe is another attempt to create a performable version. In the process, other reconstruction options have been suggested for many passages, and in addition to this, some previously undiscovered mistakes have been corrected.
SKU: CA.2408200
Text language: German.
The Dresden Kreuzkantor Gottfried August Homilius belongs to the composers whose works have been rediscovered in recent years. Previously almost forgotten, today he is rightly attracting increasing attention. Celebrated by his contemporaries to be accepted as the best church composer, his works are disseminated in countless copies and also frequently in arrangements. The complete, surviving works were examined for this first, exhaustive thematic catalog of the works of Gottfried August Homilius. Not only every work, but also every individual movement is provided with a music incipit and information concerning scoring, and different versions of a work or surviving versions are presented, as well as a list of all known manuscripts, editions, libretti, new editions and, whenever possible, arranged chronologically and geographically. Thus not only a reliable catalog of the works of the Dresden Kreuzkantor is presented here, but also a good deal on church music tradition and church history in the second half of the 18th century is examined and placed in perspective. The volume includes various tables and indexes which amplify the contents of the catalog and in addition important kantors and copyists from Homilius's era are presented in a lexical appendix.
SKU: BR.OB-14679-19
The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag.
ISBN 9790004340905. 10 x 12.5 inches.
Mozart no doubt proved a powerful source of inspiration in the genre of the piano concerto when Ludwig van Beethoven was composing his first work in this genre (B-flat major op. 19) in Bonn. In 1793 the young composer first wrote a final rondo with an inserted Andante, as Mozart had done in his Concerto K. 482. Beethoven then selected a different closing solution and kept the score of the B-flat major Rondo in his desk. There the work was rediscovered only after the composers death, and printed shortly afterward. The autograph thus represents Beethovens earliest surviving and complete orchestral score. The new Urtext edition of the score and orchestral parts is based on the new Beethoven Complete Edition (Henle).
SKU: BR.EB-9306
ISBN 9790004187708. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles.
SKU: BR.EB-9415
ISBN 9790004188897. 12 x 9 inches.
SKU: BR.OB-14679-23
ISBN 9790004340912. 10 x 12.5 inches.
SKU: HL.48025444
ISBN 9783793145806. UPC: 196288216421.
Hans Winterberg has only recently been rediscovered as one of the most important representatives of the Czech avant-garde of the first half of the 20th century. Performed but not published during his lifetime, his works were locked away after his death due to tragic circumstances and are now being published for the first time in a collaboration between the Exilarte Centre of the Vienna University of Music and Boosey and Hawkes. In contrast to his colleagues and friends Ullmann, Haas, Krása and Klein, Winterberg survived the Shoah through a series of miracles. As a student of Alexander Zemlinsky and Alois Hába, he is both a successor to Janácek and a member of the wider circle of the Second Viennese School. The Sonata for Violin and Piano, written and premièred in Prague in 1936, is one of the most important chamber music works of the pre-war period. It exhibits all the characteristics of Winterberg's personal style: a sensuality of sound grounded in French Impressionism with a simultaneous expressionist rigour of harmony, a small-scale motivic structure, a sophisticated play with polyrhythmic patterns and, especially in the last movement, a musical impetus borrowed from Czech folklore.
SKU: BR.OB-14679-27
ISBN 9790004340929. 10 x 12.5 inches.
SKU: GI.G-10769
ISBN 9781574635560.
Every musician has had career disappointments, challenges, and even failures. Often, when faced with discouraging experiences, musicians may feel that their career is over—or is never going to start. How do musicians overcome these challenges to find success? In this publication, a diversity of successful musicians relate a variety of situations that seemed devastating at the time, but that they overcame, learned from, and triumphed over. The stories are powerful, motivational, and truly inspiring. Featuring Interviews with: Kenny Aronoff Eddie Bayers John Beasley John H. Beck Charlie Bisharat Gregg Bissonette Hal Blaine Terry Bozzio Michael Burritt Gary Burton Danny Cochran Anna Détári Peter Erskine Rob Franzblau David Friedman Danny Gottlieb Russell Hartenberger Fred Hersch Ralph Humphrey Elvin Jones Jim Keltner David Kish John LaBarbera Pat LaBarbera Tony Levin Christian McBride Gretchen McNamera Bob Mintzer Rod Morgenstein Andy Newmark Jake Odmark Austin Pancner Jeff Porcaro Layne Redmond Emil Richards John Riley Dave Samuels Nan Schwartz Leigh Howard Stevens Charles West Jiggs Whigham Brian Willson Darin Workman Nancy Zeltsman.
SKU: CA.2709300
ISBN M-007-25077-5. Key: E minor. Latin.
In 1866 Anton Bruckner composed his solemn Mass in E minor, which he revised extensively in 1876-1882. Composed for a performance in the open air, the work stands out among Bruckner's Masses and those of his contemporaries because of its scoring, omitting strings and organ in favor of an accompaniment for wind and brass instruments alone (Harmoniemusik). This scholarly-critical new edition of this second version takes into consideration for the first time the surviving parts from the Bruckner Archive at the St. Florian Monastery and the choral parts rediscovered in 2016 in the Linz Cathedral Choir Archive. These have enabled more precise editorial decisions to be made regarding the scoring of individual passages as well as articulation and dynamics.
SKU: HL.48025440
ISBN 9781784549060. UPC: 196288216391.
Leokadiya Kashperova (1872–1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. The Piano Concerto (1900) is Kashperova's earliest surviving orchestral work, and it was premiered by the composer the following year in Moscow and St Petersburg, bringing her much wider recognition and paving the way for an international career. Cast in three movements and in a Romantic idiom, pianistic virtuosity is often channelled into the pianist's left hand, which is required to negotiate widely-spaced 'extreme' arpeggios – awkwardly angular when adagio, fiendishly technical when molto allegro. Kashperova's orchestral colours are achieved by felicitous solos for the woodwind, horns and brass. Noteworthy, too, are unexpected glimpses of chamber music when, in the last movement for example, the piano combines fleetingly with solo violin and solo cello in passages. The concerto's quick music (Molto allegro and Allegro con anima) admirably portrays the vivacious personality of their composer, described in 1906 as offering those around her 'an abundance of joy, excitement and fun'. The central movement, by contrast, is a tender Adagio which offers the listener a gem of musical poetry.
SKU: CA.2709303
ISBN M-007-25080-5. Key: E minor. Latin.
In 1866 Anton Bruckner composed his solemn Mass in E minor, which he revised extensively in 1876-1882. Composed for a performance in the open air, the work stands out among Bruckner's Masses and those of his contemporaries because of its scoring, omitting strings and organ in favor of an accompaniment for wind and brass instruments alone (Harmoniemusik). This scholarly-critical new edition of this second version takes into consideration for the first time the surviving parts from the Bruckner Archive at the St. Florian Monastery and the choral parts rediscovered in 2016 in the Linz Cathedral Choir Archive. These have enabled more precise editorial decisions to be made regarding the scoring of individual passages as well as articulation and dynamics. Score available separately - see item CA.2709300.
SKU: CA.2709305
ISBN M-007-25293-9. Key: E minor. Latin.
SKU: BR.OB-14679-15
ISBN 9790004340882. 10 x 12.5 inches.
SKU: BR.OB-14679-16
ISBN 9790004340899. 10 x 12.5 inches.
SKU: BR.OB-14679-30
ISBN 9790004340936. 10 x 12.5 inches.
SKU: CA.2709304
ISBN M-007-24966-3. Key: E minor. Latin.
SKU: BR.EB-9305
ISBN 9790004187692. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2.
SKU: PE.EP73044A
ISBN 9790577013428. 190 x 272mm inches. English.
The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music.
Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as a church composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience.
This edition of Durante’s Requiem has been recorded by Stephen Darlington, with Oxford’s Christ Church Cathedral Choir, soloists from The Sixteen and Oxford Baroque.
SKU: HL.48025439
ISBN 9781784549077. UPC: 196288216384.