Canon And Gigue - Score And Parts

This is the Edition Peters Urtext edition of Pachelbel's Canon and Gigue for 3 Violins with Basso Continuo.

Canon D

While Pachelbel has been most admired as a composer of organ works and Lutheran church music, his Canon in D has long been one of his most celebrated compositions. It combines two time-honored compositional devices. The firstof these is of course the canon, a procedure whereby a melody in one part is strictly imitated by one or more other parts; a round (such as, for example, Frère Jacques) is a type of canon. The second device involves a shortbass line (refeered to as a ground bass) that is repeated constandly, over which the composer writes continuous variations. In its original form, the work consists of an initial statement of an eight note ground bass, followedby27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts, an appropriate harmonic background would have been improvised on harpsichord, lute or organ. In thepresent arrangement, Pachelbel's note values have been doubled for greater ease of reading, and the work's canonic structure has been somewhat modified in order to make it more readily playable by violinists and pianists at anintermediate level. Since dynamics, bowing indications, articulations, and slurs were not customarily provided by composer of the Baroque era, the arranger and the editor have added them here, as well as a metronome indication anda few cadential trills. Obviously these editorial additions should be regarded only as suggestions.

Canon in D major

Pachelbel’s exuberant and justly famous Canon may well have been first heard at the wedding of Johann Christoph Bach. Originally for small ensemble, Mary Cohen’s new arrangement of the work for solo piano or keyboard will suit players moving from easy towards intermediate repertoire.

Baptism Canon

Russian Operatic Arias for Soprano : 19th and 20th Century Repertoire

Fifteen arias from the Russian operatic canon that span the breadth of the 19th and 20th centuries, selected and edited by David Fanning for Soprano and Piano.Each aria is complete with translations in English, German andFrench, as well as a pronunciation guide. You'll find a full synopsis of each featured opera explaining fully the context in which each aria is presented. Includes works by Glinka, Shostokavich and Tchaikovsky.

Solo with Obligatto Acc. of Two Voices in Canon : and Six Short Inventions on the Subjects of the Solo

The Flower

Early in 2007, while staying at the Old Rectory in Bemerton, I set four verses of George Herbert’s poem The Flower at the suggestion of Canon Judy Rees of the George Herbert in Bemerton Group, who had invited a number of composers to make new settings of Herbert’s poetry as hymns for congregational use. I subsequently re-worked this simple hymn-tune into the present more elaborate version as a short anthem for unaccompanied choir, especially for Ex Cathedra and Jeffrey Skidmore. This version is for upper voices (SSA).

The Flower

Alec Roth's The Flower for SATB choir and Tenor/Baritone solo a cappella. 'Early in 2007, while staying at the Old Rectory in Bemerton, I set four verses of George Herbert’s poem‘The Flower’ at the suggestion of Canon Judy Rees of the George Herbert in Bemerton Group, who had invited a number of composers to make new settings of Herbert’s poetry as hymns for congregational use. Isubsequently re-worked this simple hymn-tune into the present more elaborate version as a short anthem for unaccompanied choir.' - Alec Roth First performance on 20 November 2011 at Birmingham TownHallgiven by Ex Cathedra, conducted by Jeffrey Skidmore. The Flower is recorded by Ex Cathedra, directed by Jeffrey Skidmore, on the CD Shared Ground (Signum Classics SIGCD270).

The Art Of Fugue

The Kunst der Fuge is a cycle of fourteen fugues and four canon. In this edition for organ by Edition Peters.It is to be demonstrated what, phrased by the first Bach-biographer Johann Nikolaus Forkel, „was möglicher Weiseüber ein Fugenthema gemacht werden könne. Die Variationen, welche sämmtlich vollständige Fugen über einerley Thema sind, werden hier Contrapuncte genannt“. To clarify the contrapuntally structure of the work, Bach scored everyvoice (all occurringfugues, doule-fugues, play-fugues and more are four-handed at most) on individual staves, meaning scores. Doing this he follows old traditions, scoring polyphonic key-music, which reached its prime-age inthe17th century.The final sequence by Bach is controversialto this day. The fragments not only cause manifold speculations but is key to meticulous, music-historcal and critical analysis of the sources.

Die Sieben Letze Worte Unseres Erlösers Am Kreuze

Joseph Haydn's Die Sieben Letze Worte Unseres Erlösers Am Kreuze. The Seven Last Words of Our Savior on the Cross' Op.51 In 1785 or '86, Haydn received a commission from the Canon ofCadiz for what would serve essentially as 'incidental' music for a Good Friday service (akin to the one centering upon The Stations of the Cross, although there are twelve of those) in which the celebrant recites in turn each ofChrist's utterances on the way to Calvary, then gives a 'reflection' thereupon, followed by music to accompany a brief interval of silent congregational prayer. To this Haydn added an introductory movement, and aconclusiondepicting the earthquake that followed the passing of Jesus. The structure of the work, then, is: Introduction -- 'Father, forgive them, for they know not what they do.' -- Sonata 1 -- 'Verily I say unto thee, todayshalt thou be with me in Paradise.' -- Sonata 2 -- 'Woman, behold thy son.' -- Sonata 3 -- 'My God, my God, why hast thou forsaken me?' -- Sonata 4 -- 'I thirst.' -- Sonata 5 -- 'It is finished.' -- Sonata 6 -- 'Father, into thyhands I commend my spirit.' -- Sonata 7 -- Conclusion (Earthquake)