Tasta Free - Spengler, Christoph

Freie Klavierstücke im Pop-Stil Performance score, CD, Anthology piano Hæftet udgave

Tasta Groove - Spengler, Christoph

113 Pop-Arrangements zur Begleitung Neuer Geistlicher Lieder Liedanfänge G-K Performance score, CD, Anthology keyb/piano Hæftet udgave

Tasta Groove - Spengler, Christoph

113 Pop-Arrangements zur Begleitung Neuer Geistlicher Lieder Liedanfänge L-Z Performance score, CD, Anthology keyb/piano Hæftet udgave

Tasta Groove - Spengler, Christoph

113 Pop-Arrangements zur Begleitung Neuer Geistlicher Lieder Liedanfänge A-F Performance score, CD, Anthology keyb/piano Hæftet udgave

Arrangieren und Instrumentieren : Barock bis Pop

Swinget dem Herrn..! : Das Pop-Piano-Buch zum Evangelischen Gesangbuch

Christus, Der Ist Mein Leben : Vocal Score

Chorale settings form a central part of Telemann’s œuvre. His 1754 setting of the church hymn Christus, der ist mein Leben, based on Melchoir Vulpius’ melody from the Hamburg Hymnal, is especially well-suited to display his mastery in depicting thewords of the chorale. The so-called “Ausfüllungsbass” (a vocal bass added to the principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches. This is the first Urtext edition of this highly successful chorale setting which is based on Georg Philipp Telemann Musical Works. The score contains a realisation of the continuo part.

Fantasy on Hungarian Themes (1850) : Fantasy on Irish [Scottish] Themes (1852)

Joseph Joachim’s “Fantasies on Hungarian and Irish [Scottish] Themes” was his first virtuoso music for the violin with orchestral accompaniment. Joachim was intent on creating popular works, not least at the urging of his family, but they also bore witness to his urbanity: the young Jewish-Hungarian musician spent many summers in England and its familiar, Irish melodies held great appeal for English audiences. Performances of the “Fantasy on Hungarian Themes” in German cities met his need for self-display as the “Hungarian lad”, to use Mendelssohn’s jocular epithet. Joachim was well aware that the style hongrois was all the rage in European capitals.

Christus, Der Ist Mein Leben : Basses

First Urtext edition based on Georg Philipp Telemann Musical Works.An attractive addition to the repertoire with a view to the Telemann Year 2017.Bilingual Foreword (Ger/Eng).Uncluttered idiomaticPiano reduction.Full score and parts (BA5897) and vocal score (BA5897-90) available for sale.Chorale settings form a central part of Telemann’s œuvre. His 1754 setting of the church hymn Christus,Der Ist Mein Leben, based on Melchoir Vulpius’ melody from the Hamburg Hymnal, is especially well-suited to display his mastery in depicting the words of the chorale. The so-called “Ausfüllungsbass” (a vocal bass addedtothe principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches.This is the first Urtext edition of this highly successful chorale setting which is based on Georg PhilippTelemann Musical Works. The score contains a realisation of the continuo part.

Christus, Der Ist Mein Leben : Flute, Oboe and Bassoon parts

First Urtext edition based on Georg Philipp Telemann Musical Works.An attractive addition to the repertoire with a view to the Telemann Year 2017.Bilingual Foreword (Ger/Eng).Uncluttered idiomaticPiano reduction.Full score and parts (BA5897) and vocal score (BA5897-90) available for sale.Chorale settings form a central part of Telemann’s œuvre. His 1754 setting of the church hymn Christus,Der Ist Mein Leben, based on Melchoir Vulpius’ melody from the Hamburg Hymnal, is especially well-suited to display his mastery in depicting the words of the chorale. The so-called “Ausfüllungsbass” (a vocal bass addedtothe principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches.This is the first Urtext edition of this highly successful chorale setting which is based on Georg PhilippTelemann Musical Works. The score contains a realisation of the continuo part.

Christus, Der Ist Mein Leben : Viola

First Urtext edition based on Georg Philipp Telemann Musical Works.An attractive addition to the repertoire with a view to the Telemann Year 2017.Bilingual Foreword (Ger/Eng).Uncluttered idiomaticPiano reduction.Full score and parts (BA5897) and vocal score (BA5897-90) available for sale.Chorale settings form a central part of Telemann’s œuvre. His 1754 setting of the church hymn Christus,Der Ist Mein Leben, based on Melchoir Vulpius’ melody from the Hamburg Hymnal, is especially well-suited to display his mastery in depicting the words of the chorale. The so-called “Ausfüllungsbass” (a vocal bass addedtothe principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches.This is the first Urtext edition of this highly successful chorale setting which is based on Georg PhilippTelemann Musical Works. The score contains a realisation of the continuo part.

Christus, Der Ist Mein Leben : Violin 1

First Urtext edition based on Georg Philipp Telemann Musical Works.An attractive addition to the repertoire with a view to the Telemann Year 2017.Bilingual Foreword (Ger/Eng).Uncluttered idiomaticPiano reduction.Full score and parts (BA5897) and vocal score (BA5897-90) available for sale.Chorale settings form a central part of Telemann’s œuvre. His 1754 setting of the church hymn Christus,Der Ist Mein Leben, based on Melchoir Vulpius’ melody from the Hamburg Hymnal, is especially well-suited to display his mastery in depicting the words of the chorale. The so-called “Ausfüllungsbass” (a vocal bass addedtothe principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches.This is the first Urtext edition of this highly successful chorale setting which is based on Georg PhilippTelemann Musical Works. The score contains a realisation of the continuo part.

Christus, Der Ist Mein Leben : Organ

First Urtext edition based on Georg Philipp Telemann Musical Works.An attractive addition to the repertoire with a view to the Telemann Year 2017.Bilingual Foreword (Ger/Eng).Uncluttered idiomaticPiano reduction.Full score and parts (BA5897) and vocal score (BA5897-90) available for sale.Chorale settings form a central part of Telemann’s œuvre. His 1754 setting of the church hymn Christus,Der Ist Mein Leben, based on Melchoir Vulpius’ melody from the Hamburg Hymnal, is especially well-suited to display his mastery in depicting the words of the chorale. The so-called “Ausfüllungsbass” (a vocal bass addedtothe principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches.This is the first Urtext edition of this highly successful chorale setting which is based on Georg PhilippTelemann Musical Works. The score contains a realisation of the continuo part.

Christus, Der Ist Mein Leben : Violin 2

First Urtext edition based on Georg Philipp Telemann Musical Works.An attractive addition to the repertoire with a view to the Telemann Year 2017.Bilingual Foreword (Ger/Eng).Uncluttered idiomaticPiano reduction.Full score and parts (BA5897) and vocal score (BA5897-90) available for sale.Chorale settings form a central part of Telemann’s œuvre. His 1754 setting of the church hymn Christus,Der Ist Mein Leben, based on Melchoir Vulpius’ melody from the Hamburg Hymnal, is especially well-suited to display his mastery in depicting the words of the chorale. The so-called “Ausfüllungsbass” (a vocal bass addedtothe principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches.This is the first Urtext edition of this highly successful chorale setting which is based on Georg PhilippTelemann Musical Works. The score contains a realisation of the continuo part.

Symphony No.8 In G Major Hob.I : Concerto and ripieno part

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day, consisting of the symphonies Le Matin, Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761, on a commission from Haydn's patron,Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of theseconcertante symphonies to present to a select audience the Prince's chamber ensemble, which had been assembled or expanded that spring, as well as its new conductor. The pieces are laid out on a large scale full of pompandsplendour, and the scoring, at times divided into thirteen separate parts, offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or sevenplayers of the violin or viola (the seventh was actually retained as a flautist), one player each of the violoncello and violone, two oboists doubling on flute, two horn players and a bassoonist. This listing includes Haydnhimself, who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief, there was no harpsichord. Indeed, the only genres that employed a keyboard instrument at that time in the Viennese area werevocal - namely, operas, cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Symphony No.8 In G Major Hob.I

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day, consisting of the symphonies Le Matin, Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761, on a commission from Haydn's patron,Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of theseconcertante symphonies to present to a select audience the Prince's chamber ensemble, which had been assembled or expanded that spring, as well as its new conductor. The pieces are laid out on a large scale full of pompandsplendour, and the scoring, at times divided into thirteen separate parts, offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or sevenplayers of the violin or viola (the seventh was actually retained as a flautist), one player each of the violoncello and violone, two oboists doubling on flute, two horn players and a bassoonist. This listing includes Haydnhimself, who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief, there was no harpsichord. Indeed, the only genres that employed a keyboard instrument at that time in the Viennese area werevocal - namely, operas, cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Symphony No.8 In G Major Hob.I : Violoncello, Contrabass and Bassoon

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day, consisting of the symphonies Le Matin, Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761, on a commission from Haydn's patron,Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of theseconcertante symphonies to present to a select audience the Prince's chamber ensemble, which had been assembled or expanded that spring, as well as its new conductor. The pieces are laid out on a large scale full of pompandsplendour, and the scoring, at times divided into thirteen separate parts, offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or sevenplayers of the violin or viola (the seventh was actually retained as a flautist), one player each of the violoncello and violone, two oboists doubling on flute, two horn players and a bassoonist. This listing includes Haydnhimself, who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief, there was no harpsichord. Indeed, the only genres that employed a keyboard instrument at that time in the Viennese area werevocal - namely, operas, cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Symphony No.8 In G Major Hob.I : Concerto and ripieno part

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day, consisting of the symphonies Le Matin, Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761, on a commission from Haydn's patron,Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of theseconcertante symphonies to present to a select audience the Prince's chamber ensemble, which had been assembled or expanded that spring, as well as its new conductor. The pieces are laid out on a large scale full of pompandsplendour, and the scoring, at times divided into thirteen separate parts, offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or sevenplayers of the violin or viola (the seventh was actually retained as a flautist), one player each of the violoncello and violone, two oboists doubling on flute, two horn players and a bassoonist. This listing includes Haydnhimself, who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief, there was no harpsichord. Indeed, the only genres that employed a keyboard instrument at that time in the Viennese area werevocal - namely, operas, cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Symphony No.8 In G Major Hob.I

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day, consisting of the symphonies Le Matin, Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761, on a commission from Haydn's patron,Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of theseconcertante symphonies to present to a select audience the Prince's chamber ensemble, which had been assembled or expanded that spring, as well as its new conductor. The pieces are laid out on a large scale full of pompandsplendour, and the scoring, at times divided into thirteen separate parts, offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or sevenplayers of the violin or viola (the seventh was actually retained as a flautist), one player each of the violoncello and violone, two oboists doubling on flute, two horn players and a bassoonist. This listing includes Haydnhimself, who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief, there was no harpsichord. Indeed, the only genres that employed a keyboard instrument at that time in the Viennese area werevocal - namely, operas, cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale