SKU: HL.49009195
ISBN 9790001091992. UPC: 073999214345. 9.0x12.0x0.013 inches. German.
For medium voice and piano. German edition by Ludwig Andersen.
SKU: CA.9133400
ISBN 9790007121884. Language: German.
SKU: BT.DHP-1064121-010
9x12 inches. English-German-French-Dutch.
The German composer Joseph Ignaz Schnabel (1767-1831) was a descendant of a musical family. During his lifetime he occupied several musical posts including Violinist, Organist, Concertmaster, Conductor, Music Teacher and managing director of the Royal Institute for Church Music. Schnabel composed masses, hymns, vespers, military music and a clarinet concerto. His choir work Transeamus usque Bethlehem is still widely performed and Wil van der Beek has produced this excellent arrangement for concert band which does justice to the original.De Duitse violist, organist en componist Joseph Ignaz Schnabel, die leefde van 1767 tot 1831, componeerde onder andere missen, hymnen, vespers, militaire muziek en een klarinetconcert. Zijn prachtige koorwerk Transeamus usque Bethlehemwordt nog altijd veel uitgevoerd. Wil van der Beek maakte van dit werk een uitstekend arrangement voor harmonieorkest, waarin het origineel goed tot zijn recht komt.Der deutsche Komponist, Geiger, Organist, Dirigent und Musiklehrer Joseph Ignaz Schnabel komponierte Messen, Hymnen, Vespern, Militärmusik und ein Klarinettenkonzert. Sein Chorwerk Transeamus usque Bethlehem wird noch immer weltweit aufgeführt. Wil van der Beek schuf ein ausgezeichnetes Arrangement des Stückes für Blasorchester, das dem Original absolut gerecht wird. Le compositeur allemand Joseph Ignaz Schnabel (1767-1831) a composé des messes, des vêpres, des hymnes, de la musique militaire et un Concerto pour Clarinette. Son oeuvre pour Choeur Transeamus usque Bethlehem est encore chantée de nos jours. Wil van der Beek en a réalisé un excellent arrangement pour Orchestre dâ??Harmonie, fidèle la version originale. Il compositore tedesco Joseph Ignaz Schnabel (1767-1831) ha composto messe, vespri ed inni, musica militare nonché un Concerto per Clarinetto. La sua opera per coro Transeamus usque Bethlehem è cantata ancora oggi. Wil van der Beek ne ha realizzato un eccellente arrangiamento per orchestra di fiati, fedele alla versione originale.
SKU: BT.DHP-1064121-140
The German composer Joseph Ignaz Schnabel (1767-1831) was a descendant of a musical family. During his lifetime he occupied several musical posts including Violinist, Organist, Concertmaster, Conductor, Music Teacher and managing director of the Royal Institute for Church Music. Schnabel composed masses, hymns, vespers, military music and a clarinet concerto. His choir work Transeamus usque Bethlehem is still widely performed and Wil van der Beek has produced this excellent arrangement for concert band which does justice to the original.Der deutsche Komponist, Geiger, Organist, Dirigent und Musiklehrer Joseph Ignaz Schnabel komponierte Messen, Hymnen, Vespern, Militärmusik und ein Klarinettenkonzert. Sein Chorwerk Transeamus usque Bethlehem wird noch immer weltweit aufgeführt. Wil van der Beek schuf ein ausgezeichnetes Arrangement des Stückes für Blasorchester, das dem Original absolut gerecht wird. Le compositeur allemand Joseph Ignaz Schnabel (1767-1831) a composé des messes, des vêpres, des hymnes, de la musique militaire et un Concerto pour Clarinette. Son oeuvre pour Choeur Transeamus usque Bethlehem est encore chantée de nos jours. Wil van der Beek en a réalisé un excellent arrangement pour Orchestre d’Harmonie, fidèle la version originale. Il compositore tedesco Joseph Ignaz Schnabel (1767-1831) ha composto messe, vespri ed inni, musica militare nonché un Concerto per Clarinetto. La sua opera per coro Transeamus usque Bethlehem è cantata ancora oggi. Wil van der Beek ne ha realizzato un eccellente arrangiamento per orchestra di fiati, fedele alla versione originale.
SKU: CA.9207200
ISBN 9790007125783.
SKU: CA.9225700
ISBN 9790007126209.
SKU: CA.9106319
ISBN 9790007138608. Key: D major. Language: Latin.
Score and parts available separately - see item CA.9106300.
SKU: HL.49009235
ISBN 9790001092364. German.
SKU: HL.49009261
ISBN 9790001092623. German.
SKU: HL.49026844
ISBN 9790001020435. German.
SKU: HL.49015184
ISBN 9783795730024. German.
Die Besonderheit dieses Bandes liegt in der Auswahl und Zusammenstellungvon Kompositionen fur verschiedenartige Feiern (Taufe, Konfirmation, Ko mmunion, Hochzeit, Trauer, Weihnachten, Schul- und Vereinsfeiern) sowie in den variablen Besetzungsmoglichkeiten, die im Satz berucksichtigt wurden. h Die Besonderheit dieses Bandes liegt in der Auswahl und Zusammensetzung von Kompositionen fur verschiedenartige Feiern (Taufe, Konfirmation, Kommunion, Hochzeit, Trauer, Weihnachten, Schul- und Vereinsfeiern), sowie in den variablen Besetzungsmoglichkeiten, die im Satz berucksichtigt wurden: Klavier (oder Orgel bzw. Harmonium) allein - Gesang und Klavier - 2Violinen und Klavier - Violine, Violoncello und Klavier - Streichquartett und Klavier - Streichquartett - Streichorchester mit Kontrabass ad lib.- Gesang und Streicher. Die Klavierstimme kann ebenso von der Orgel bzw. einem Harmonium ausgefuhrt, die Viola durch eine 3. Violine ersetzt werden.
SKU: HL.49005794
ISBN 9790001062534.
Die Besonderheit dieses Bandes liegt in der Auswahl und Zusammenstellung von Kompositionen fur verschiedenartige Feiern (Taufe, Konfirmation, Kommunion, Hochzeit, Trauer, Weihnachten, Schul- und Vereinsfeiern) sowie in den variablen Besetzungsmoglichkeiten, die im Satz berucksichtigt wurden: Klavier (oder Orgel bzw. Harmonium) allein - Gesang und Klavier - 2 Violinen, Violoncello und Klavier - Violine und Klavier - 2 Violinen und Klavier - Violine, Violoncello und Klavier - Streichtrio: 2 Violinen und Violoncello - Streichquartett und Klavier - Streichquartett - Streichorchester mit Kontrabass ad lib. - Gesang und Streicher (ab Trio). Die Klavierstimme kann ebenso von der Orgel bzw. einem Harmonium ausgefuhrt, die Viola durch eine 3. Violine ersetzt werden. Einzelstimmen sowie eine vollstandige Textausgabe zu diesem Band liegen vor (ED 5600-10/15).
SKU: HL.49031950
ISBN 9790001062572.
SKU: HL.49024475
SKU: HL.49005798
ISBN 9790001062596.
SKU: HL.50577421
SKU: HL.49005795
ISBN 9790001062558.
SKU: HL.49005796
ISBN 9790001062565.
SKU: HL.49005797
ISBN 9790001062589.
SKU: HL.49024474
ISBN 9790001007085. German.
SKU: HL.49006347
ISBN 9790001068772. UPC: 073999329537. 9.0x12.0x0.115 inches.
SKU: CF.CM9580
ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
SKU: HL.50580364
SKU: CA.1037612
ISBN 9790007190798. Language: Latin.
With this pastoral Christmas cantata by the long-serving Royal Hofkapellmeister of Vienna, Johann Heinrich Schmelzer, we wish to draw attention to a prominent baroque composer whose vocal and instrumental works have yet to achieve their historical place in the early music scene which they richly deserve. Schmelzer's easily performable pastoral music is characterized by simple melodic lines in an alpine idiom, partly in the style of Venetian baroque opera. A texture of five to seven voices alternates with settings for one or two voices accompanied by continuo. Score and part available separately - see item CA.1037600.
SKU: HL.14066593