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Mass in B minor

Mass in B minor

Study score format 16.5 x 22.5cm.Also available paperback full score (BA5935), hardback full score (BA5935-01), vocal score (BA5935-90) and performance material (BA5935) for sale.The New Bach Edition (NBA) volume of J. S. Bach’s Mass In B Minor BWV 232 has been the definitive edition for generations of singers and musicians. However the Bach Archive Leipzig in conjunction with Bärenreiter are constantly striving to bring new discoveries of editorial research to the fore. It is precisely for this reason that a new revised edition of the Mass in B Minor will now appear. The Urtext performing edition is based on the first volume of the new 15 volume series New Bach Edition- Revised (NBA rev).Edited by Uwe Wolf, one of the Directors of Research at the Bach Archive Leipzig, this new edition of the Mass will present new findings and new insights. For the first time the Dresden parts of 1733, which were largely written by Bach, are included as valuable additional source material to the autograph score. At the same time state-of-the-art scientific methods (x-ray spectograph) into Bach’s manuscript score shed light on additions made by C.P.E. Bach and others. The methods also enable in-depth analysis of areas which have been eroded to a large extent by ink gall erosion.The “Dresden Parts': Valuable information to the readings of the autograph score of the Missa can be drawn from the “Dresden parts” of 1733, largely written by Bach himself. The different readings of the parts are clearly differentiated from the readings of the autograph score by the use of passages printed in grey.In search of the original state of the autograph manuscript using scientific methods: For the first time annotations by J. S. Bach and C. P. E. Bach can be differentiated using ink analysis (x-ray spectrography of over 500 places in the score). All corrections, additions and alterations by Bach’s son and places which remain doubtful (because of iron gall ink erosion) appear in the edition in square brackets.

SEK 331.00
1

Complete Organ Works I-X

Complete Organ Works I-X

Louis Vierne (1870 1937) brought symphonic French organ music to its stylistic climax. Besides being a productive composer, he also gained a reputation as a brilliant improviser at his place of employment, the Notre DameCathedral in Paris, and throughout the world.In 1928 Vierne, one of the best-known organists of his day, made one of the earliest organ recordings, playing Bach works and his own improvisations in Notre Dame.Thisscholarly practical edition is based on the critical examination and evaluation of all the autographs, engravers’ copies and first prints available, as well as on his writings and previously unpublished letters. It endeavourstobe philologically consistent in solving the editorial problems which have surfaced.The edition includes all Vierne's works, those published during his lifetime, those previously unpublished and those attributed tohim.- New source material incorporated- Extensive trilingual Foreword (Fr/Eng/Ger) with detailed notes on performance practice- Comprehensive Critical Commentary (Fr/Eng/Ger)- Illustrations andfacsimiles

SEK 4026.00
1

Symphony No.26 In E-Flat, K.184

Symphony No.26 In E-Flat, K.184

Study Score format 22.5cm x 16.5cm. The Symphony No.26 In E-Flat, K.184 (166a) was probably written in Salzburg in March 1773. Scored for Flute (2), Oboe (2), Bassoon (2), Horn (2), Trumpet (2),Strings. Available for sale full score & performance material (BA4744) and study score (TP72). The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it intoa practical format. The Barenreiter Urtext Study Scores, format 16.5 x 22.5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and bindingaswell as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices.

SEK 160.00
1

Seven Last Words Of Our Saviour On The Cross : Orchestral version of 1785

Seven Last Words Of Our Saviour On The Cross : Orchestral version of 1785

The Seven Last Words Of Our Saviour On The Cross Hob. XX:1A - Orchestral version of 1785. Urtext from Joseph Haydn Werke, G. Henle Verlag Munich. Study score format 22.5 x 16.5 cm. The BarenreiterUrtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores, format 16.5 x 22.5cm, are ideal for musical analysis, rehearsalpurposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scoresatextremely affordable prices! The Vocal version is published as BA4655. Vocal score (BA4655-90) available for sale; full score & performance material available for hire.

SEK 245.00
1

Requiem - Grand Messe Des Morts Opus 5

Requiem - Grand Messe Des Morts Opus 5

The Grande mess des morts (Requiem) was composed in 1837 as the result of a commission from the French Minister of the Interior, Adrien de Gasparin. By means of annual commissions of this kind Gasparin intended to “restoresacred music to the prestige which it had long ago lost in France”.Urtext of the New Berlioz EditionFull score (BA5449), vocal score (BA5449-90) and study score format 22.5 x 16.5cm (TP332)available for salePerformance material (BA5449-72) available for hire

SEK 324.00
1

Viola Recital Album : First Position - Volume 2

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

SEK 186.00
1

Viola Recital Album : First Position - Volume 4

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

SEK 186.00
1

Viola Recital Album : First Position - Volume 3

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

SEK 186.00
1

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56Cantata for the 19th Sunday after TrinityBach’ssolo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenthSunday after Trinity.Urtext of the New Bach EditionPerformance material (BA10056), vocal score (BA10056-90) & study score format 22.5 x 16cm (TP1056) available for sale

SEK 170.00
1

Piano Concerto No. 21 in C Major KV 467

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.

SEK 298.00
1

Piano Concerto No. 21 in C Major KV 467

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.

SEK 579.00
1

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56Cantata for the 19th Sunday after TrinityBach’ssolo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenthSunday after Trinity.Urtext of the New Bach EditionPerformance material (BA10056), vocal score (BA10056-90) & study score format 22.5 x 16cm (TP1056) available for sale

SEK 75.00
1

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56Cantata for the 19th Sunday after TrinityBach’ssolo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenthSunday after Trinity.Urtext of the New Bach EditionPerformance material (BA10056), vocal score (BA10056-90) & study score format 22.5 x 16cm (TP1056) available for sale

SEK 75.00
1

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56Cantata for the 19th Sunday after TrinityBach’ssolo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenthSunday after Trinity.Urtext of the New Bach EditionPerformance material (BA10056), vocal score (BA10056-90) & study score format 22.5 x 16cm (TP1056) available for sale

SEK 75.00
1

Piano Concerto No. 21 in C Major KV 467

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.

SEK 117.00
1

Piano Concerto No. 21 in C Major KV 467

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.

SEK 117.00
1

Cantata BWV 56 Ich Will Den Kreuzstab : Cross Staff Cantata (Kreuzstabkantate)

Cantata BWV 56 Ich Will Den Kreuzstab : Cross Staff Cantata (Kreuzstabkantate)

Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56Cantata for the 19th Sunday after TrinityBach’ssolo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenthSunday after Trinity.Urtext of the New Bach EditionPerformance material (BA10056), vocal score (BA10056-90) & study score format 22.5 x 16cm (TP1056) available for sale

SEK 122.00
1

Piano Concerto No. 21 in C Major KV 467

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.

SEK 117.00
1

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56Cantata for the 19th Sunday after TrinityBach’ssolo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenthSunday after Trinity.Urtext of the New Bach EditionPerformance material (BA10056), vocal score (BA10056-90) & study score format 22.5 x 16cm (TP1056) available for sale

SEK 80.00
1

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Cantata BWV 56 Ich Will Den Kreuzstab : Cantata for the 19th Sunday after Trinity

Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56Cantata for the 19th Sunday after TrinityBach’ssolo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenthSunday after Trinity.Urtext of the New Bach EditionPerformance material (BA10056), vocal score (BA10056-90) & study score format 22.5 x 16cm (TP1056) available for sale

SEK 170.00
1