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Holmboe Sonata No.2 Op.16 Pf/Vl

Music for the Queen's Court

Carl Philipp Emanuel Bach: Gamba Sonatas - Edition For Cello

Like his father, Carl Philipp Emanuel Bach wrote three sonatas for Viola Da Gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent Viola Da Gamba player in the court orchestra a chance to show his virtuosic skills. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father’s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the Harpsichord compete with the solo instrument in three equal parts. These sonatas can also be played very effectively on the Cello; the fingerings in the marked copies provide helpful suggestions.

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)

C.P.E. Bach: Gamba Sonatas Wq 88, 136, 137, Edition for Gamba (Viola)

Like his father, Carl Philipp Emanuel Bach wrote three sonatas for viola da gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent viola da gamba player in the court orchestra an opportunity to show his virtuosic ability. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father?s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the harpsichord compete with the solo instrument in three equal parts. The original register of the viola da gamba part also permits a version for viola, a practice that has been verified in the sources of the time. This version is available in our Urtext edition as an alternative part.?

Fanfare for Justice

Commissioned by the Owen J. Roberts Middle School in Pottstown, Pennsylvania, the piece honors the school's namesake, Supreme Court Justice Roberts who served from 1930-1945. Composed using a single tempo Fanfare for Justice provides a nice feature spot for the entire percussion section along with variety in scoring from chamber-like passages to dynamic full band statements. Dur: 2:40

Four and Twenty Fiddlers : The Violin at the English Court 1540-1690

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.

Johann Adolf Hasse in seiner Zeit : Bericht über das Symposium vom 23. bis 26. März 1999 in Hamburg.

Johann Adolf Hasse was probably the most successful composer of his time. The Music Director at the magnificent Court of Dresden maintained splendid relations with Frederick the Great and Empress Maria Theresa, and his works were performed in theaters and monasteries, in Naples and Venice, as well as in Lisbon, Dresden and Warsaw. The broad thematic spectrum in the present report of the Symposium of the Hasse Society, with contributions by 25 internationally-renowned authors, presents a compendium of the current state of Hasse research.

Lentini's Ballad

Giacomo da Lentini was a 13th century Italian poet who was a notary at the court of the Holy Roman Emperor Frederick II and is said to have invented the sonnet. Lentini’s Ballad is based on the famous poem ‘Amor è un desio che ven da core’ (Love is a desire that comes from the heart). It sounds great as an instrumental work, but there is also an option for a vocal version using the Italian lyrics of the poem, making the arrangement even more special!

Franz Joseph Haydn: String Quartets Volume VIII, op. 64 [Second Tost Quartets]

The quartets were dedicated to the violinist Johann Tost, who was the second principal violinist at the Esterházy court during the 1780s. His business sense led him to sell twelve quartets - opus 64 was probably amongst them - to a Parisian publisher. Whether Haydn approved of this is open to question - the dedication was, however, no longer present in the second imprint or the following ones. Our edition follows the Haydn Complete Edition and for the first time juxtaposes the quartet in E flat major and the two original trios.

Verdi: Don Carlos In Full Score

Don Carlos which debuted in 1867, ranks among the composer's most complex and challenging works. Based on the verse play by Schiller about tragic love and intrigue at the court of Philip II of Spain, the opera features a rich assortment of memorable characters and dramatic situations. Verdi revised the work twice, incorporating his changing musical ideas into a thoroughly revised Italian translation of the five act work, with optional cuts for a four-act version. This new edition is of the final version, reprinted from the authoritative G.Ricordi edition.

Stephen Oliver: Blondel - Vocal Selection

Set in England during the 1180s, this light-hearted, rock-orientated music tells the story of Blondel, troubadour at the court of Richard the Lionheart.Richard leaves for the Crusades and, in his absence, Prince John tries to usurp the throne. Blondel leaves England in search of Richard, and rescues him from his imprisonment by the Duke of Austria. meanwhile, at home in England, John ahs declared Richard dead. Richard, Blondel and his long-suffering partner Fiona return just in time to prevent the coronation. Richard is restored to the throne, and Blondel, his faithful troubadour, is pronounced the country?s foremost composer.

Tales & Legends

This three-movement work by the Swiss composer Etienne Crausaz reflects three true stories and fascinating legends from the Middle Ages. The first movement tells the dramatic story of the ‘witch’ Catherine ‘Catillon’ Repond (1662–1731). She was the last woman ever to be executed for sorcery. In the second movement, the famous court jester Girard Chalamala occupies centre stage. This jester, the last one at the castle of Count Greyerz, could make everyone laugh. The third movement tells the story of Count Michael. He went down in history as a spendthrift bon-vivant. His burden of debt became so high that he did a moonlight flit and never came back!

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.

Bach, J.L.: Sämtliche Motetten

The motets of Johann Ludwig Bach occupy an outstanding position within this genre. Though rooted firmly in the shorter motets from the Thuringian tradition, nonetheless they reach dimensions which are seldom observed in that tradition. This is also true with respect to polychoral music, which here is raised from the exception to the rule on the other hand, it is valid, when one bears in mind the necessity of representing the prestige of a royal court. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. Without a doubt these motets by the “Meininger Bach,“ highly regarded by J. S. Bach, are a treasured enrichment of therepertoire of all choirs.

Wolfgang Amadeus Mozart: Serenade In B Flat K.361 - Gran Partita

“Wind music of a very special nature on a large-scale, a composition by Hr. Mozart ” – this was the way the “Wiener Blättchen” announced the concert in the National Court Theatre, in which the clarinettist Anton Stadler was to hold his academy. There were twelve Wind instruments supported by a Double Bass, which was a very unusual combination of instruments, and the contemporary critics raved about it, “Oh, what an effect it made – glorious and grand, excellent and exquisite!”. The title “ Gran Partita ”, which was added to the autograph in an unknown hand, also bears witness to admiration and respect. Our edition is based on the autograph which has changed hands many times and is today held in Washington.

Johann Sebastian Bach: Six Sonatas for Violin and Piano (Harpsichord) BWV 1014 - 1019

Bach probably composed his six violin sonatas between 1717 and 1723, during his tenure as court Kapellmeister in Köthen. Apparently he was no longer content with adding the solo part to a bass-line, so wrote the harpsichord part out in full instead. As for compositional technique, his model here was the Baroque trio sonata, but the path to the duo sonata in the modern sense, however, is already traced out. The sonatas were not published until 50 years after Bach’s demise. The transmission of the individual sonatas is sometimes problematic, especially since only little autograph material has survived. In the Appendix to this Urtext volume, we have reproduced various versions ofdifferent pieces.

John McCabe: Two Scenes From Edward II

Two pieces from the score of the full-length ballet Edward II. The ballet iteslf was commissioned by the Stuttgart Ballet, and completed in 1995. The first performance took place in Stuttgart in April 1995, and in the same year this arrangement for 2 Pianos of two scenes was commissioned by the Port Fairy Festival of Australia.The first pieces represents one of the lighter moments of the ballet, and is based upon a set of dances at the French Court> The second piece is a reminder of the darker nature of the ballet as a whole, expressing the lust for power as the Barons opposed to Edward II unite in anger at his behaviour.

Early Hungarian Dances from Gömör

The title of the suite Early Hungarian Dances from Gömör suggests the arrangement and harmonization of dance tunes, but this three-movement cycle is far more than that: in fact, the old court dances that provide the thematic material have been freely thought through and brought to completion. The composer has breathed new life into the 18th-century melodies, as Zoltán Kodály did with the Galanta and Marosszék dances, Antonin Dvo ák with Slav dances, and Johannes Brahms with those of Hungary. The chief virtues of the work are its colourful, varied instrumentation, the tasteful combination of its archaic style with the musical language of our day, and not least the fact thatits every bar is enjoyable to play and easy to listen to.

Requiem in C major : First edition - C major

Johann Adolf Hasse, Kapellmeister at the Saxon-Polish court in Dresden, composed the Requiem in C for the ceremonial exequies of the deceased Elector Frederic August II in November 1763 in the Catholic Hofkirche in Dresden. With this work, he composed a monument in music to his long-standing, generous employer, who was also King of Poland under the name August III: passionate choral movements, echoes of historic compositional styles, expressive vocal solos and arias undeniably revealing Hasse the opera composer, plus trumpets and timpani in the orchestra – all these are the ingredients of a “royal” Requiem Mass in the style of a Missa solemnis. - First edition- Passionate choral movements of medium difficulty- Expressive vocal soli- “Royal” Requiem Mass in the style of a Missa solemnisAdditional program suggestion: Miserere in C minor by Hasse (Carus 40.961)

Elburg Fantasy

This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes, the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif, which will reappear later in the work. Next, the rest of Elburg is featured, including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then, cheerful sounds can be heard at the Vischpoort (Fish Gate), where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature, reflecting the mercantile spirit of the town residents.Then follows the slow middle movement, in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea), and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key, followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time, a slow, expressive theme in Baroque style mirrors Elburg’s tranquil places, such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction, followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now, suddenly, there is an echo from the past, depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre.

The Graces of Love : Le Gratie d'Amore

“The Graces of Love” (Le Gratie d’Amore) is the title of a book published in 1602 by Cesare Negri, the famous dance master of the Milan court in the Renaissance. It contains numerous dance tunes and precise descriptions of courtly dances. It also includes the tune Il bianco fior (The White Flower) on which the first movement of my piece is based. A vigorous dance in three-four, it leads to an acceleration and a sudden shift to an even meter towards the end. The second movement, calm and contemplative in character, features the tune Vaghe bellezze ... (Veiled Beauty …). Widely spaced melodic parts surround two solos during which the tune is varied anddeveloped. Finally, the third movement contains a Saltarello based on a tune by Vincenzo Galilei, the father of the famous astronomer, Galileo Galilei. It brings the work to a close with a hypnotic rhythm which is noble and virtuosic at the same time.

Richard Wagner: Tannhauser (Vocal Score)

Wagner completed the first version of the opera in 1845 during his tenure as Kapellmeister at the royal court of Dresden, but he continued to redraft and revise it for the rest of his life. The setting is medieval Germany: the minstrel Tannhauser has fallen into sin with the goddess Venus but after a year, in a moment of realisation he demands to leave. He finds himself near his home and is reunited with Elisabeth, a girl he once loved. Elisabeth's uncle, the landgrave, organises a singing competition between Tannhauser and Wolfram, who also loves her. Wolfram's song is simple and moving, while Tannhauser, confused by Venus, outrages the audience by singing of profane love. He is banished to Rome on a pilgrimage to seek redemption, and Elisabeth follows him with Wolfram. After much searching, she gives up and dies, just missing Tannhauser, who Wolfram discovers creeping back to Venus, the Pope having said that it was as impossible for him to be forgiven as for his staff to sprout flowers. Tannhauser sees Elisabeth and casts himself to die by her coffin, and the Pope's staff bursts into bloom. This is the Schirmer edition of the Vocal Score, edited and translated into English by Natalia MacFarren.