Gesaenge I-Z und Nachtraege : Nos. 331-813 - Zyklische Sammlungen Vol. 5

Critical Commentary - Gesaenge I-Z und Nachtraege (Nos. 331-813) / Critical Commentary - Zyklische Sammlungen (Vol. 5).Verzeichnisse:1. Verzeichnis der Textincipits I–Z und Nachträge (Nr. 331–813)3. In Band 3, 4 und 7 benutzte Quellen nach Bibliotheksorten4. Allgemeine Abkürzungen5. Bibliographische Abkürzungen6. Publikationen (Editionen und Literatur)Kritische Berichte zu Gesänge I–Z (Bd. 3–4, Nr. 331–813)Kritische Berichte zu Zyklische Sammlungen (Bd. 5)

Concerto K 246 Do

I?d do anything for love

From the Homeland / Z domoviny - Smetana, Bedrich

for Violin and Piano Performance score, set of parts, Urtext edition V/piano Hæftet udgave

Gesänge N-Z und Nachträge : Nos 537-813 - Das Deutsche Kirchenlied

Fantasia on All People That on Earth Do Dwell : Op. 109

Die Musik in Geschichte und Gegenwart : Subject Encyclopedia, Volume 9: Sy-Z

Die Musik in Geschichte und Gegenwart : Biographical Encyclopedia, Volume 17: Vin-Z

Internationales Quellenlexikon der Musik (RISM), Serie A/1. -

Einzeldrucke vor 1800: Addenda et Corrigenda S - Z book Indbundet udgave

Tasta Groove - Spengler, Christoph

113 Pop-Arrangements zur Begleitung Neuer Geistlicher Lieder Liedanfänge L-Z Performance score, CD, Anthology keyb/piano Hæftet udgave

Die Entführung Aus Dem Serail : German singspiel in three acts

“I know for a fact that the Emperor is proposing to mount a German opera in Vienna, and that he is making every effort to find a young Kapellmeister who understands German, has talent and is capable of striking out on a newpath. [...] I think it would be a good thing for me provided, of course, that the pay is good. If the Emperor will give me a thousand gulden, I will write a German opera for him.”Thus Mozart in a letter of 1011 January 1778 from Mannheim to his father, Leopold. He continued by asking his father to “write to every good friend in Vienna you can think of and say that it is in my power to do honor to the Emperor. If he won’t take meonany other terms, then let him try me with an opera. After that he can do what he likes for all I care.”Urtext of the New Mozart EditionFull score (BA4591-01), vocal score (BA4591-90) and studyscore format 22.5 x 16.5cm (TP311) available for salePerformance material available for hire (BA4591-72)

A Taste Of Schubert : For High Voice

Do you know our performing edition of Schubert Lieder? 13 volumes containing the complete Lieder for solo voice and piano in editions for high, medium and low voice are planned. Nine of these volumes have already been published and provide the basis for this special sampler at a very special price. “A Taste of Schubert” presents one to three pieces from each volume to create a cross-section of Schubert’s complete lieder œuvre. Lieder from his famous cycles are included as well as “Sehnsucht”, of which he wrote several settings.

A Taste Of Schubert : For Medium Voice

Do you know our performing edition of Schubert Lieder? 13 volumes containing the complete Lieder for solo voice and piano in editions for high, medium and low voice are planned. Nine of these volumes have already been published and provide the basis for this special sampler at a very special price. “A Taste of Schubert” presents one to three pieces from each volume to create a cross-section of Schubert’s complete lieder œuvre. Lieder from his famous cycles are included as well as “Sehnsucht”, of which he wrote several settings.

Spazio Immergente

Innovative work by the Siemens prize winner 2018 (the “Nobel prize” of music)Beat Furrer’s Duo “Spazio Immergente I” (everlasting space) leads an over2000-year-old text of visionary breadth into fascinating worlds of sound – with voice, language, and breath. The ancient poet Lucretius describes a concept of dislimitation and apocalypse, whose timelessness lends thischallenging, musically innovative dialogue an incomparable urgency: “... that the walls of the universe do not suddenly flee like flames into an unfathomable void, ... and nothing, not a vestige remains –abandonedspace.”– Valuable addition to the repertoire– Impressive concertante duo

Nun danket alle Gott

Nun danket alle Gott (Now thank we all our God)MotetPachelbel's choral works excel in the magnificence and festive splendour of their tonal effect, but at no point do they depart from an easy singable style. Simplicity of harmonic texture and voice leading is a characteristic of Pachelbel's art generally, but it asserts itself especially in these vocal compositions. They are in the best sense of the word 'Gebrauchmusik', that isfunctional music for the church service on Sundays and feast days, for these choral works are always closely associated with the seasonal liturgical themes by means of themnatic employment of the appropriate choralecantusfirmi.Score & Basso continuo (BA2873) available for sale

Magnificat Anima Mea

Magnificat for a Chorus of four mixed voices and Basso continuoPachelbel's choral works excel in the magnificence and festive splendour of their tonal effect, but at no point do they depart from an easy singable style. Simplicity of harmonic texture and voice leading is a characteristic of Pachelbel's art generally, but it asserts itself especially in these vocal compositions. They are in the best sense of the word 'Gebrauchmusik', that isfunctional music for the church service on Sundays and feast days, for these choral works are always closely associated with the seasonal liturgical themes by means of themnatic employment of the appropriate choralecantusfirmi.Score & Basso continuo (BA2877) available for sale

Samson HWV 57

Handel composed Samson directly after completing the 'Messiah'. After its premiere in 1743 in the Covent Garden Theatre in London, the work rapidly became one of the composer’s most successful oratorios alongside 'Esther' and'Judas Maccabaeus'. This probably had as much to do with the popular Old Testament story of the libretto as with Handel’s masterly shaping of the arias and choruses.By including some movements in the appendix, this editionmakes it possible for the first time to perform the work in its original 1741 version. The edition is based on the complete edition volume of the 'Halle Handel Edition' (BA 4099), offering the complete music text of theoratoriofor the first time. Scholarly-critical edition based on the Urtext of the 'Halle Handel Edition'Idiomatic piano reductionForeword (Ger/Eng

Jazz Inspirations for Organ, Vol. 4

Jazz, swing, samba, rhumba and more all found their way to the organ long ago. Not only do the melodies, harmonies and rhythms of these styles enrich the organ’s concert literature, they can also be meaningfullyincorporated in the liturgy. The series “Jazz Inspirations” for Organ offers a delightful and personal combination of many forms and highly contrasting styles at a moderate level of difficulty. Volume 4 presentsa new array of stylistic and thematic focuses: “Funky Praise” and ”Ich lobe dich von ganzer Seelen” (“I praise thee with all my soul”) can be found alongside a “LittleShepherd’sChachacha” and the familiar carol “Kommet, ihr Hirten”. It even contains two compositions from the American organ scene. Jazz, swing and much more for the organ Authoritativeeditors and composers Pieces of a moderate level of difficulty Bilingual Foreword (Ger/Eng)

Works For Male Choir - Equal Voices : Volume 2

With only one exception, Gade composed his works for male choir with accompaniment for Danish choral societies, numerous of which had been founded across the country since 1839. These societies were often closely connected with professional associations, making them equally important for musical and social matters.This volume contains five occasional works for male choir with accompaniment that were composed between around 1838 and 1883. Three of them were intended for church usage (two funerals and one wedding).Among the works for equal voices and accompaniment in this volume, “Aarstidsbilleder” op. 51 is the longest. It was composed for the women of The MusicSociety in Copenhagen and conducted by Gade himself during the 1871/72 seasons.The appendix contains works that were completed, but do not allow for definitive decisions regarding their final presentation.

Petite Messe Solennelle

The “Petite Messe solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received itsfirst performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scalesacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass tooheavily in later arrangements.

Petite Messe Solennelle

The “Petite Messe Solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration ofher private chapel, where the work received its first performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s most important sacred works.The unusual instrumentation with two Pianosand Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacredcompositionsas written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers mightorchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on theUrtext of the series “Works of Gioachino Rossini”.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

Viola Recital Album : First Position - Volume 4

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 2

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 3

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 1

Viola Recital Album Volume 1: 9 Recital Pieces in First Position for Viola and Piano or Two ViolasViola Recital AlbumVolumes 1-4 (BA8990-BA8993)These volumes contain a wide selection of easy recital pieces.They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces are written entirely in first position, they can be used just after a fewmonths of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may be played by the teacher or an advanced student. Alternatively asecondviola part allows duet playing with the teacher during lessons. The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start on the Viola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces inVolume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowingtechniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound.New pieces to supplement the SassmannshausViola methodAll pieces in first positionInclude an additional viola part for duet version and a piano accompaniment