SKU: FZ.5732
ISBN 9790230657327. 24.00 x 33.00 cm inches.
This facsimile of an original by Georg Philipp Telemann is part of our Dominantes collection. Edition: Hambourg, l'Auteur, 1725/1726. Introduction by Susi Mohlmeier and Frederique Thouvenot: biographical notice - presentation - calendar of Lutheran liturgy - understanding the score (terminology, articulation, ornamentation, dynamics) - Some advice to singers - general notation - the realisation of the continuo bass - suggestions - translation of the title page and of Telemann's preface - translation of the manuscsript index - days when the cantatas should be performed. The first book of cantatas printed by Telemann. These cantatas are accompanied by one or two obbligato instruments, making them very suitable for concert performance. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the Bayerische Staatsbibliothek of Munich (Germany). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: BA.BA07813-01
ISBN 9790006560073. 33 x 26 cm inches. Language: German. Preface: Kühnrich, Jana. Text: Helbig, Johann Friedrich.
It was not until 1814, five years after the Sonata op. 81Les Adieux, that Beethoven, then at the height of his popularity during the Congress of Vienna, returned to the piano sonata. The highly lyrical Sonata in E minor, the last piano sonata from his middle period, consists of two movements with solely German tempo marks and is dedicated to his piano-playing friend and patron, Moritz Count von Lichnowsky. In terms of technical difficulty regarding Beethoven's later piano sonatas, this sonata is one of the more accessible for advanced students.
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
SKU: BA.BA02952-29
ISBN 9790006427918. 32.5 x 25.5 cm inches.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: CA.3948819
ISBN 9790007137502.
Score and parts available separately - see item CA.3948800.
SKU: CA.3910412
ISBN 9790007055172. Language: German/English.
Interestingly scored Christmas music from the Fortsetzung des Harmonischen Gottesdienstes. With the solo voice part (d1-f2 or d-f1) Telemann again demonstrates his ability to write suitably for all throats.. Score and part available separately - see item CA.3910400.
SKU: CA.3910411
ISBN 9790007055165. Language: German/English.
SKU: CA.3910449
ISBN M-007-25196-3. German/English.
Interestingly scored Christmas music from the Fortsetzung des Harmonischen Gottesdienstes. With the solo voice part (d1-f2 or d-f1) Telemann again demonstrates his ability to write suitably for all throats. Score and part available separately - see item CA.3910400.
SKU: M7.BP-2812
ISBN 9790015281204.
Die beiden hier erstmals im Druck vorgelegten Triosonaten sind als echter Fund innerhalb der Fülle von noch unpublizierten Kammermusikwerken des 18. Jahrhunderts zu begrüßen. Vor allem die Hohe Qualität der jeweils ersten Sätze in ihrer dichtgearbeiteten Stringenz und mit ausdrucksstarken harmonischen Wendungen zeigen eine über routiniertes Komponieren hinausgehende Beherrschung von Form und Gestalt.
