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Zwölf Geistliche Gesänge

Zwölf Geistliche Gesänge

In his role as Kapellmeister to the Dresden court Heinrich Schütz composed 'Zwölf Geistliche Gesänge' for the Saxon court church. Six of them belong to the liturgy of the 'German Mass'. They can be sungindividually as well as in their entirety, today as well as then, even by 'small cantors' - as Schütz wanted it to be 'to the honour of God'.This selection of 12 motets for four-part mixed chorus (SATB) opens up theseworks to the field of practical music making.

DKK 192.00
1

Idomeneo K.366 : Dramma per musica in three acts

Idomeneo K.366 : Dramma per musica in three acts

On 29 January 1781 Idomeneo, K. 366, received its first performance at the Cuvilliés-Theater in Munich. It was Mozart’s second opera for the Munich court, the first being his opera buffa La finta giardiniera of1775.Apparently the Munich court itself chose the subject-matter of the new opera: the tragedy Idoménée by Antoine Danchet, in André Campra’s operatic setting of 1712. It also provided detailed written instructions asto how the material was to be reworked into an Italian opera libretto. These instructions the “plan”, as Mozart and his father referred to them in their correspondence hasunfortunatelydisappeared.Urtext of the New Mozart EditionFull score (BA4562-01), vocal score (BA4562-90) and study score format 22.5 x 16.5cm (TP322) available for salePerformance materialavailable for hire (BA4562-72)

DKK 668.00
1

Notebook For Anna Magdelena : Faksimile der Originalhandschrift

Notebook For Anna Magdelena : Faksimile der Originalhandschrift

J. S. Bach's Notebook for Anna Magdalena(1725).This hardback facsimile edition, bound in green with gold trimmings, and bearing the initials “A.M.B.” and “1725” on the front cover, presents oneof the greatest albums of household music. It is primarily the personal album of Anna Magdalena Bach (1701-1760), daughter of the court and military trumpeter Johann Caspar Wilcke, a trained musician and court singer, and secondwife to Johann Sebastian Bach. The album contains partitas (two in Bach's own hand probably intended as a tribute to his wife), minuets, polonaises, marches and short pieces by Johann Sebastian Bach,hischildren, and a few visitors to the Bach home. The volume also contains little vocal pieces, songs and chorales as well as exercises in harmony and thoroughbass realisations.The pieces are arranged chronologically(except for the last section) and several members of the Bach family helped with the copying - only Wilhelm Friedemann's hand is absent. The majority of the pieces (28 works) are in Anna Magdalena's hand, and the volume provides atantalising glimpse into the everyday world of this musical family.Documenta Musicologica II, 25; Format 26cm x 20cm.Afterword (Ger-Eng-Fr); 140 pages facsimile; 24 pages text.

DKK 575.00
1

Cantata No. 132 Bereitet Die Wege : Cantata for the 4th Sunday of Advent

Cantata No. 132 Bereitet Die Wege : Cantata for the 4th Sunday of Advent

The cantata Bereitet die Wege is one of the few works by Johann Sebastian Bach of which we know fairly well how it came into being. The autograph full score bears the date 1715; Bach therefore composed the piece for the churchservice given by the Weimar court orchestra (of which he was the concert master) on 22 December, the fourth Sunday in Advent, in the year 1715. We even know the author of the words: it was the High Ecclesiastical Secretary inWeimar, Salomon Franck, who wrote the poem especially for that occasion and had it printed in his annual cycle of cantata texts entitled Evangelisches Andachtsopfer.

DKK 50.00
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Gypsy Songs Op.55 (Low Voice & Piano) : Op. 55

Gypsy Songs Op.55 (Low Voice & Piano) : Op. 55

Dvorák’s song cycle Gypsy Songs Op.55 on words by the Czech poet Adolf Heyduk, were written at the beginning of 1880 at the request of the Bohemian tenor Gustav Walter, a member of the Vienna Court Opera and thework’s dedicatee. For this Urtext edition the editor Veronika Vejvodová has taken the original print as her main source. The edition appears in two volumes, one for high voice and another for low voice. Third volume from the new five-volume Urtext edition of Dvorák’s complete songs One of the most popular and best-known song cycles of the romantic repertoire Extensive Foreword (Cz/Eng/Ger)andCritical Commentary (Eng) by the editor Vocal texts in three languages (Cz/Eng/Ger)

DKK 200.00
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Gypsy Songs Op.55 (High Voice & Piano) : Op. 55

Gypsy Songs Op.55 (High Voice & Piano) : Op. 55

Dvorák’s song cycle Gypsy Songs Op.55 on words by the Czech poet Adolf Heyduk, were written at the beginning of 1880 at the request of the Bohemian tenor Gustav Walter, a member of the Vienna Court Opera and thework’s dedicatee. For this Urtext edition the editor Veronika Vejvodová has taken the original print as her main source. The edition appears in two volumes, one for high voice and another for low voice. Third volume from the new five-volume Urtext edition of Dvorák’s complete songs One of the most popular and best-known song cycles of the romantic repertoire Extensive Foreword (Cz/Eng/Ger)andCritical Commentary (Eng) by the editor Vocal texts in three languages (Cz/Eng/Ger)

DKK 200.00
1

Sinfonie In F

Sinfonie In F

Along with Symphonies Nos. 80 and 81, Haydn’s Symphony in F major Hob. I:79 belongs to a group of works that he composed in late 1784. He wrote them for his employer Prince Nikolaus Esterházy who wished to be entertained with new music. The symphonies were tailored for the twenty-five to thirty musicians who were in the prince’s court Orchestra.Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. Bärenreiter has already published the complete performance material for several “Sturm undDrang” symphonies and all the Paris and London symphonies.

DKK 451.00
1

Sonata G minor

Sonata G minor

Henry Eccles left behind a number of smaller works most of which were written for violins or flutes. However, the most famous is this Sonata in G minor. Though often played in transcription by violinists and especially by double bass players, the sonata was originally published for cello in four movements – Prelude, Courante, Sarabande and Gigue – accompanied by a figured bass. Little is known about Henry Eccles. Neither his birth nor his death date has been firmly established, ranging respectively between 1675-85 and 1735-45. It is not even certain that he composed this sonata. He probably hailed from London and later served at the court of Louis XV in France. The editorChristoph Sassmannshaus, is the grandson of Egon Sassmannshaus, the founder of the “Early Start” series of string methods.

DKK 158.00
1

The Creation

The Creation

German/English Urtext Edition, edited A. Oppermann.The oratorio The Creation represents not only a crucial point in Joseph Haydn's compositional output, but at the same time, marks the beginning of a newchapter in the history of the oratorio. At the turn of the 19th century, Haydn broke with the traditional dominance of the arias, giving the chorus a distinctly greater significance. This opened the way for a new kind of choraloratorio which became one of the standard features of developing bourgeois concert life.The text, translated from the English original by Baron van Swieten, Prefect of the imperial court library in Vienna,combinesprose texts of the creation story in Luther's translation of the Bible with complementary excerpts from John Milton's Paradise Lost.Instrumentation: Soprano solo, Tenor solo, Bass solo, MixedChoir-SATB, Piano reduction accompaniment

DKK 200.00
1

Music to Soliman second, ou Les Trois Sultanes : Comédie (Laxenburg 1765)

Music to Soliman second, ou Les Trois Sultanes : Comédie (Laxenburg 1765)

The critical edition presents the music to the verse comedy “Soliman second, ou Les Trois Sultanes” by Charles-Simon Favart (1710–1792), which was performed before the Viennese courtly audience in the Schlosstheater Laxenburg bythe French troupe of the Burgtheater on 18 May 1765. This is the first time that Gluck’s music to the Favartian comedy has appeared in print.A popular comedy which in particular was known for its exotic colour, “Solimansecond” quickly made its mark on many European stages. Through the good offices of the court theatre director Count Durazzo, the libretto made its way to Vienna too. As “Direttore della Musica” at Vienna’s Burgtheater and anaccomplished writer of French opéras-comiques, Gluck may have been commissioned to compose the vocal numbers – four solo airs and a duet – which were meant to be performed in the comedy. As far as can be established, Gluck’sinvolvement in incidental music is an exception in his artistic output.In addition to the detailed introduction to the history of the work, the volume contains the Critical Report providing exhaustive information on the sourcematerial, editorial technique and performance practice. The libretto for the premiere performance and illustrative extracts from the sources are reproduced in facsimile.

DKK 1119.00
1

Symphony In C Major Hob. I:60 : Il Distratto

Symphony In C Major Hob. I:60 : Il Distratto

The six movements of Joseph Haydn’s Symphony No. 60 “Il Distratto” once served as incidental music for the comedy “Le Distrait” by Jean-François Regnard (1655–1709), which was performed at the Esterházy court in 1772. This consisted of an overture, four entr’actes – the play is in five acts – and a finale. But this composition is not merely a compilation of stage music: Haydn referred to it in letters as a symphony. As a “character symphony”, it takes up the subject of the play – human absentmindedness – which is expressed in music. The minuet and trio of the symphony, with their stylistic diversity (or rather lack of plan), “portray the musicians in great disarray” as a reviewer stated in the Pressburger Zeitung of 27 January 1776. He also wrote, “One must laugh out loud at the thought of it” concerning the final movement, in which the violins unexpectedly begin to tune their instruments after a few opening measures. These and other compositional effects make the symphony a prime example of Haydn’s musical humour and ingenuity. In continuation of the cooperation between Bärenreiter and G. Henle Verlag regarding Haydn’s large-scale choral works, operas and symphonies, these editions are based on G. Henle Verlag’s complete edition “Works of Joseph Haydn”.

DKK 370.00
1

Maria (IV) : Swedish/English

Maria (IV) : Swedish/English

'My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings which life has to offer. This has led people to describe my music as“so sad that it sounds like birds who have lost their wings” but also as “the happiest classical music that we have ever heard”. My compositions are almost all sacred. They express not only my own faith but also my appreciationand respect for the timeless texts that have been used for centuries and centuries.' - Mårten JanssonMårten Jansson (b. 1965), elected member of the Föreningen svenska tonsättare (theSocietyof Swedish Composers), graduated from the Royal College of Music, Stockholm (KHM) with an MFA degree in Music Education, Dalcroze Eurhythmics and Voice. For more than ten years he was the music director and conductor ofCarmen, one of the most prominent womens’ Vocal ensembles in Sweden. He currently teaches Choral conducting and music theory as well as giving Vocal tuition at the Bolandgymnasiet and Musikskolan in his home town ofUppsala.The Royal Swedish Court commissioned Maria (IV) for the celebration of the Mass on Annunciation to the Blessed Virgin Mary (March 17, 2013). The music depicts Mary’s sorrow as the mother of a childthat belongs not to her, but to all mankind.

DKK 77.00
1

Kleine Geistliche Konzerte II 1639 : Small Sacred Concertos II

Kleine Geistliche Konzerte II 1639 : Small Sacred Concertos II

The "Kleine geistliche Konzerte" (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in abroad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there aresolo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity- especially in the compositions with German text - made Schütz a household name shortly after the "Kleine geistliche Konzerte" were published in print. As the works required no large ensembles, they could be performed fordifferent occasions and in various locations: particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home.Unlike the 1963 edition of the "Kleine geistlicheKonzerte" (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields newinformation regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is gearedtowards musicologists, as well as professional musicians and amateurs with a keen interest in early music.

DKK 3245.00
1

Ballet Music

Ballet Music

This volume is the second of three planned volumes of ballet music composed between 1759 and 1769 in Vienna. They represent only a small portion of Viennese ballet music attributed to Gluck for which musical sources have been preserved. The volumes form a compendium that offers comprehensive editorial coverage of Gluck’s activities as “Compositore von der Music zu denen Balletten” (composer of the music to the ballets). The present volume contains compositions from the years 1759 and 1760 (and, accordingly, the 1759/60 and 1760/61 seasons).The ballets have been passed down only as sets of parts. They were commissioned by Count Joseph Adam Prince of Schwarzenberg andoriginated around the time of the premiere performances from the workshops of Viennese copyists. Today, they are housed in the State Regional Archive Ceský Krumlov (with the exception of the sinfonia for “Le Prix de la Danse”, which has also been handed down as a composition by Ignaz Holzbauer.)The ballet music works consist of a series of mostly short but occasionally lengthier movements that can be repeated or joined into larger musical units. “Les Corsaires” and “Le Prix de la Danse” were both premiered in December 1759 at the Kärntnertortheater in Vienna with choreographies by Charles Bernardi, while Gasparo Angioloni most likely created the choreographies for “Le Berger magicien”, “Les Miquelets espagnols”, and “Le Naufrage” (premiered in 1759 at the Burgtheater), as well as those for “Les Faunes” and “Les Trois Couleurs” (premiered in 1760 at the same venue).The two Bernardi ballets are the only examples for which scenic descriptions have been recorded in the chronicle of theatrical performances by court dancer and ballet master Philipp Gumpenhuber. However, telling titles and works with similar contents help to reconstruct the thematic orientation of the respective ballets.

DKK 3135.00
1