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CUP - Koblenz, Babette

for 3 Wind Instruments Performance score, set of parts wind instr. Hæftet udgave

Rusalka's Song To The Moon

Antonin Dvorak's Rusalka's Song To The Moon for Soprano and Piano accompaniment, as arranged by Karel Solc.

I Want To Be A Guitarist

This children’s album by renowned Czech composer-guitarist Lukáš Sommer reflects the latest trends in playing and teaching the Guitar. It is suitable for the first three years of lessons. Some of the pieces have even been performed by children and young Guitar students at competitions and concerts in Europe.Each of these little programme pieces is written in a different style with brief explanations of its technical features. Several are composed in an open-ended form that allows players to define the rhythm or to add an accompaniment on open bass strings. In this way the author grants leeway to the learners’ creativity and stimulates their musicalimagination.The pieces are easy to play and the edition comes with attractive illustrations.

Lélio (The Return to Life) - Berlioz, Hector

A Lyric Monodrama The sequel to Symphonie fantastique complete edition, Anthology, Urtext edition 2TSolo/BarSolo/speaker/mixed choir: SSTTBB/2Fl/2Ob/2clarinet/2bassoon/4Hn/2Trp/3trombone/Op/timpani/percussion/piano/Str Indbundet udgave

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.

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

Fragments to Stage Works

To ask the flutist - Huber, Klaus

Flötensolo aus der Komposition "Askese" (1966) (BA 6003) Performance score Fl-Solo Hæftet udgave

Die Melodien 1596 to ca. 1610 -

(Notenband und Textband) complete edition, Anthology Indbundet udgave

Overture to "Don Giovanni" - Mozart, Wolfgang Amadeus

score, Urtext edition 2Fl/2Ob/2clarinet/2bassoon/2Hn/2Trp/timpani/Str Hæftet udgave

Gloria RV 589 (Organ)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

Gloria RV 589 (Cello/Bass)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

Gloria RV 589 (Vocal Score)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

Gloria RV 589 (Violin II)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

Gloria RV 589 (Viola)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

Gloria RV 589 (Violin I)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

Die Melodien to 1570: Melodien aus Gesangbüchern II -

Text- und Notenband complete edition, Anthology voices Indbundet udgave

Cadenzas to Beethoven's Violin Concerto - Beethoven, Ludwig van

for Violin and Orchestra For score, performance material and Piano reduction see BA 9019 Performance score, Anthology V-solo Hæftet udgave

Kyrie Rv587

Vivaldi's Kyrie RV 587 (BA 8950), is scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a Choral work without solopassages.Today the “Gloria” RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period. Vivaldi wrotethe “Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his periodatthe Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scored solopassages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Informative foreword (Ger/Eng).