Cantata No. 21 - BWV 21 : Cantata for the 3rd Sunday after Trinity

Ich Hatte Viel Bekümmernis - Lord My God, My heart And Soul Were Sore Distrest BWV 21.Cantata for the 3rd Sunday after Trinity.The cantata “Ich Hatte Viel Bekümmernis” dates from around 1713 and was probablyperformed for the first time that year in the Liebfrauenkirche in Halle. Its assigning to the third Sunday after Trinity probably only occurred the following year.With its large-scale structure and strong emphasis onbiblical texts, it was extremely popular in the 19th century and remains one of Bach’s best-known cantatas today.The cantata is published here with a Vocal score based on the New Bach Edition with anidiomatic,straightforward Piano reduction by Martin Focke.- One of Bach’s best-known cantatas.- Urtext based on the “New Bach Edition”.- Clear straightforward Piano reduction.- Study score(TP1021), Vocal score (BA10021-90) & performance material (BA10021) available for sale.

Alessandro : HWV 21

Chor - Visionen in Musik -

Essener Thesen zum Chorsingen im 21. Jahrhundert book Paperback

21 Etudes - Duport, Jean-Louis

for Violoncello with an Accompaniment of a 2nd Violoncello (ad lib.) with Text volume Performance score, part(s) Vc Hæftet udgave

Concerto K 246 Do

Spirituals -

21 bekannte Spirituals und Gospelsongs für Blechbläser (Posaunenchor) 2-5stimmig bearbeitet vom Herausgeber Performance score, Anthology brass Hæftet udgave

Symphony No.1 In C Op.21

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertakingbecause of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtextedition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. Full scores, study scores and completeperformance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.1 In C Op.21

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertakingbecause of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtextedition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. Full scores, study scores and completeperformance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.1 In C Op.21

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertakingbecause of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtextedition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. Full scores, study scores and completeperformance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.1 In C Op.21

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertakingbecause of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtextedition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. Full scores, study scores and completeperformance material to Beethoven’s Nine Symphonies are available for sale.

I?d do anything for love

Piano Concerto No. 21 in C Major KV 467

Wolfgang Amadeus Mozart's concertos for Piano and Orchestra reveal the then young form in classical perfection. Among the most beautiful of them, which are quite equals of his great symphonies, are the works which hecomposed in a two year period (1784- 1786) which marks the highest peak in Mozart's instrumental writing and in his career as a virtuoso.- Urtext of the New Mozart Edition- Full score & parts(BA5317), two-Piano reduction (BA5317-90) and study score format 22.5 x 16.5cm (TP148) available for sale.

Rondo In E-Flat K.371

Mozart composed his Rondo In E-Flat Major for Horn and Orchestra on 21 March 1781 just five days after his move from Munich to Vienna. The Rondo was most likely intended as a final movement of what wouldhave been Mozart's first Horn concerto.

A Midsummer Night's Dream Op.21 : Ouvertüre. Autograph: Biblioteka Jagiellonska Kraków

An enchanted night, virtually fragrant dreams, floating fairies – the sensory associations evoked and fashioned by the music of Mendelssohn’s overture “A Midsummer Night’sDream” are almost inexhaustible.Written by the composer in 1826 in a carefree summer spent between the summerhouse and his siblings, this is without doubt Mendelssohn’s most popular concertoverture.The renowned musicologist Friedhelm Krummacher shows in the introduction how finely Mendelssohn interwove motifs and themes. He also looks into the origins of the work, especially a conjecturalfirstsketch, which is reproduced in facsimile in the appendix.To mark the 200th anniversary of Mendelssohn’s birth, Bärenreiter in cooperation with the Biblioteka Jagiellonska Kraków published ahigh-quality facsimile designed for the bibliophile, vividly bringing the composer’s delicate handwriting to life.

The Techniques of Violin Playing - Arditti, Irvine / Platz, Robert HP

The DVD can be played with the free-of-charge VLC Media Player book, DVD (Video) Paperback

Ich bin ein rechter Weinstock : Motet no. 21 from Geistliche Chormusik 1648

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

Ich Bin Ein Recheter Weinstock SWV 389

Published in 1648, Heinrich Schütz’s “Geistliche Chor-Music” is still regarded as one of his seminal works. A two-volume performance edition based on Werner Breig’s revised new text is available (BA5901/BA 5902).Now selected motets are being issued in separate volumes. They offer a modern notation and layout, retain the original keys and include an integrated figured bass realisation.In keeping withcontemporary performance practice, the ‘choral’ parts can be performed by instruments as well as voices. Instrumental parts with underlaid words may be purchased separately for performances with instruments(seeperformance material for BA 5901 and BA 5902).- Ich bin ein rechter Weinstock SWV 389 No.21 from Geistliche Chor-Music- Cantus, Sextus, Countertenor, Tenor, Quintus, Bassus, Basso continuo ad lib.

Thränenbenezt For Viola and Piano

Philipp Maintz was born in Aachen, Germany, in 1977. He received his first composition lessons from Michael Reudenbach. He studied composition with Robert HP Platz in Maastricht from 1997-2003, graduating with distinction,followed by a further degree in composition and electronic music with Karlheinz Essl at the Bruckner Conservatory in Linz. He has received scholarships and invitations from institutions including the Electronic Studio at theUniversity of Liège, the International Summer Courses for New Music in Darmstadt, IRCAM Paris and the North Rhine-Westphalia Ministry of Culture, an Artist’s Scholarship from Lower Saxony for the Künstlerhof Schreyahn andotherhonours: the Supportive Prize from the Ernst von Siemens Music Foundation in 2005, a scholarship from the Wilfried Steinbrenner Foundation in 2006 and a German Government Scholarship to study at the Cité Internationale desArts, Paris in 2007, Scholarship awarded by the German Minister of Culture for a one-year stay at the German Academy Rome, Villa Massimo (2010). His compositions have been performed at festivals including the InternationalGaudeamus Music Week Amsterdam, agora-festival, Paris, ars nova (SWR), International Summer Courses for New Music in Darmstadt, Wittener Tage für Neue Kammermusik, musica (Strasbourg), Wien Modern, Hear&Now London and the SalzburgFestival.

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 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

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.

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

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