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Sonata After The Quartet For Oboe And Strings

Arranged for Oboe and Piano by W. Salomon. Oboe part revised by Leon Goossens.

Symphony - Haydn, Joseph / Salomon, Johann Peter

Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich set of winds, Urtext edition Hæftet udgave D major

Symphony - Haydn, Joseph / Salomon, Johann Peter

Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich set of winds, Urtext edition Hæftet udgave G major

Symphony - Haydn, Joseph / Salomon, Johann Peter

Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich score, Urtext edition 2Fl/2Ob/2clarinet/2bassoon/2Hn/2Trp/timpani/3percussion/Str Hæftet udgave G major

Symphony - Haydn, Joseph / Salomon, Johann Peter

Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich score, Urtext edition 2Fl/2Ob/2bassoon/2Hn/2Trp/timpani/Str Hæftet udgave D major

Symphony Quintetto - Haydn, Joseph / Salomon, Johann Peter

after Symphony No. 97 Urtext aus/from: Joseph Haydn Werke, G. Henle Verlag München score, set of parts Fl/V1/V2/Va/Vc/piano ad lib. Hæftet udgave C major

Symphony Quintetto - Haydn, Joseph / Salomon, Johann Peter

after Symphony No. 94 "Surprise" for Flute, String Quartet and Piano ad libitum Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich score, set of parts Fl/2V/Va/Vc/piano ad lib. Hæftet udgave G major

Jean-Louis Florentz: L'Anneau de Salomon Op.14a (Orchestra)

Danse symphonique

Symphony Quintetto based on Symphony No. 101 - Haydn, Joseph / Salomon, Johann Peter

Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich score, set of parts Fl/StrQuar/piano ad lib. Hæftet udgave D major

Symphony Quintetto based on Symphony No. 104 "London" - Haydn, Joseph / Salomon, Johann Peter

for Chamber Ensemble Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich score, set of parts Fl/StrQuar/piano ad lib. Hæftet udgave D major

Charlotte Salomon - Der Tod und die Male : Ballett with singers in two movements

Jean-Louis Florentz: L'Anneau de Salomon Op.14b, Danse symphonique (Choral-Mixed accompanied)

Lune de Sawâkyn; Colonnes de Corail; L'Ile de non-retour; Litanies cosmiques; Epilogue - Le Veillard nubien (mixed chorus and orchestra)

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.

Swing Renaiss Shakin' Boogie Woogie

Von Peermusic gibt es Arrangements berühmter Klassiker diverser Genres für Salonorchester in Doppelnummern (Bänden mit 2 Musiktiteln) - ähnlich wie die Doppelnummern für Combo. Unterschieden wird dabei in Besetzungen bis 3 Saxophone/Blechbläser (Standard), bis 5 Sax./6 Blechbläser (Standard + Ergänzer) und den Ergänzer-Stimmensatz. Hier der Standardsatz plus Ergänzerstimmen. Die Besetzung - Standard: C-Stimme (Akkordbezifferung und Text); Gitarre/Melodie (Akkordbezifferung und Text); Drums/Melodie (mit Text); 1./2. Violine; 1./3. Stimme Altsax; 2. Stimme Tenorsax; 1./2. Stimme Trompete; 1. Stimme Posaune; Bass; Klavier (Akkordbezifferung und Text) Ergänzer: 3. Stimme Violine; 4. Stimme Tenorsax; 3. Stimme Trompete; 2. Stimme Posaune; Bariton-Saxophon; Cello. Hier der Doppelband mit Shakin’ Boogie Woogie (Salomon) und Swing Renaissance (Peche).

Symphony C minor Hob. I:95

The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Dated 1791 in the autograph manuscript, the Symphony no. 95 begins in c minor but by the recapitulation of the first movement has turned to the major mode, and the rondo finale gleams entirely in radiant C major. Cellists love the two middle movements, in which Haydn furnished their instrument with wonderful solo passages. This study edition adopts the musical text of the Haydn Complete Edition, therebyguaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Dated 1791 in the autograph manuscript, the Symphony no. 95 begins in c minor but by the recapitulation of the first movement has turned to the major mode, and the rondo finale gleams entirely in radiant C major. Cellists love the two middle movements, in which Haydn furnished their instrument with wonderful solo passages. This study edition adopts the musical text of the Haydn Complete Edition, therebyguaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphony in Eb major Hob. I:103 SE : Symphony in Eb major Hob. I:103 (Drumroll)

The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The E-flat-major Symphony no. 103 was composed in 1795 as the penultimate of the London Symphonies. It owes its epithet to its unique beginning: a solo drumroll in the timpani ushers in the slow introduction. This opening bar, marked with Haydn’s heading Intrada” and a pause, even inspires many a performer to venture a short timpani improvisation. This study edition adopts the musical text of the HaydnComplete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphony in D major Hob. I:104 SE : Symphony in D major Hob. I:104

The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The D-major Symphony no. 104 was composed as the last of the London Symphonies” in early 1795 and is not only the concluding work, but also the highlight of Haydn’s symphonic output overall. It firmly established the high standards of the genre for future generations of composers and probably Haydn’s most performed symphony to this day. This study edition adopts the musical text of the Haydn CompleteEdition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphony in Bb major Hob. I:102 SE : Symphony in Bb major Hob. I:102

The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The energetic, surging B-flat-major Symphony no. 102 belongs to the group of the last three symphonies premiered in early 1795. Exceptionally, Haydn here dispenses with the clarinets that are otherwise generally featured in his late symphonies. The instrumentation of the Adagio is also unusual, in that Haydn includes trumpets and timpani, both muted. This study edition adopts the musical text of theHaydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphony D major Hob. I:93

The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Probably composed in the winter of 1791/92, the Symphony in D major no. 93 was, with its easily accessible (but by no means simple!) musical structure, perfectly tailored to London tastes, which demanded melodic clarity and expressive pathos. The Baroque echoes of Handel in the slow introduction to the first movement and in the festive mood of the finale with its timpani and trumpets would have been wellreceived – no wonder the symphony had to be repeated multiple times in the same season after its performance in 1792! This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Probably composed in the winter of 1791/92, the Symphony in D major no. 93 was, with its easily accessible (but by no means simple!) musical structure, perfectly tailored to London tastes, which demanded melodic clarity and expressive pathos. The Baroque echoes of Handel in the slow introduction to the first movement and in the festive mood of the finale with its timpani and trumpets would have been wellreceived – no wonder the symphony had to be repeated multiple times in the same season after its performance in 1792! This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphony D major Hob. I:96

The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracle”, was bestowed erroneously, for the miracle – that no one was injured when a chandelier fell during a concert – took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracle”, was bestowed erroneously, for the miracle – that no one was injured when a chandelier fell during a concert – took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Cantata BWV 31 Der Himmel Lacht! : Cantata for the 1st Easter Day

Cor Anglais ad lib - not in wind setDer Himmel Lacht! Die Erde Jubilieret BWV 31 (The Heavens laugh, the earth exults in gladness) BWV 31Cantata for the 1st Easter Day- Performance material(BA10031), vocal score (BA10031-90) and study score (TP1031) available for saleThe text, by Salomon Franck who was the librettist of some of Bach's the best-known cantatas, is closely linked to the account ofEaster and recalls the jubilation at the resurrection of Jesus.Bärenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of worksinJohann Sebastian Bach’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, forevery Sunday and festival of the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays.Unfortunately, not all cantatas have survived.However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.

Cantata BWV 31 Der Himmel Lacht! : Cantata for the 1st Easter Day

Der Himmel Lacht! Die Erde Jubilieret BWV 31 (The Heavens laugh, the earth exults in gladness) BWV 31Cantata for the 1st Easter Day- Performance material (BA10031), vocal score (BA10031-90) and studyscore (TP1031) available for saleThe text, by Salomon Franck who was the librettist of some of Bach's the best-known cantatas, is closely linked to the account of Easter and recalls the jubilation at theresurrection of Jesus.Bärenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach’s output isaswide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, aswell as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays.Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works existand form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.

Cantata BWV 31 Der Himmel Lacht! : Cantata for the 1st Easter Day

Der Himmel Lacht! Die Erde Jubilieret BWV 31 (The Heavens laugh, the earth exults in gladness) BWV 31Cantata for the 1st Easter Day- Performance material (BA10031), vocal score (BA10031-90) and studyscore (TP1031) available for saleThe text, by Salomon Franck who was the librettist of some of Bach's the best-known cantatas, is closely linked to the account of Easter and recalls the jubilation at theresurrection of Jesus.Bärenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach’s output isaswide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, aswell as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays.Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works existand form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.

Cantata BWV 31 Der Himmel Lacht! : Cantata for the 1st Easter Day

Bassoon ad lib - not in wind setDer Himmel Lacht! Die Erde Jubilieret BWV 31 (The Heavens laugh, the earth exults in gladness) BWV 31Cantata for the 1st Easter Day- Performance material(BA10031), vocal score (BA10031-90) and study score (TP1031) available for saleThe text, by Salomon Franck who was the librettist of some of Bach's the best-known cantatas, is closely linked to the accountof Easter and recalls the jubilation at the resurrection of Jesus.Bärenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of worksinJohann Sebastian Bach’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, forevery Sunday and festival of the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays.Unfortunately, not all cantatas have survived.However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.

Cantata BWV 31 Der Himmel Lacht! : Cantata for the 1st Easter Day

Der Himmel Lacht! Die Erde Jubilieret BWV 31 (The Heavens laugh, the earth exults in gladness) BWV 31Cantata for the 1st Easter Day- Performance material (BA10031), vocal score (BA10031-90) and studyscore (TP1031) available for saleThe text, by Salomon Franck who was the librettist of some of Bach's the best-known cantatas, is closely linked to the account of Easter and recalls the jubilation at theresurrection of Jesus.Bärenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach’s output isaswide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, aswell as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays.Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works existand form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.