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Cowboy Songs for Strings and Winds : Cowboy Songs

Cowboy Songs for Strings and Winds : Cowboy Songs

Score with 5 parts (V I, VII, Va (V III).Cowboy Songs are old but ever popular tunes from the pioneering days of the Wild West.This edition presents these songs in simple arrangements for String Quartet or StringOrchestra and form an ideal introduction to ensemble playing. An alternative third Violin part may be substituted for the Viola.With such favourites as “Home on the Range”, “Arkansas Traveler” and “TheYellow Rose of Texas”, these Cowboy Songs will be a hit with young String players.

SEK 226.00
1

Enigma I- IV & VI für gemischten Chor a cappella : Enigma I - IV und VI

Enigma I- IV & VI für gemischten Chor a cappella : Enigma I - IV und VI

For mixed chorus a cappella.Text by Leonardo da Vinci from Profezie.The very concise pieces of medium difficulty can easily be handled by competent amateur choirs.With his extremely impressive musical language, Furrer captures thepoetry and timeless imagery of Leonardo's classical literature. The texts describe every day occurrences such as a dream, metal and fire. By using a simple grammatical device, the future tense, the texts are transformed into thelanguage of prophecy: The strange in the familiar. Includes notes on historical performance practice (Eng/Ger).

SEK 287.00
1

Es grunen die Zweige : 14 Lieder für Kinderchor

Es grunen die Zweige : 14 Lieder für Kinderchor

The cycle of 14 songs for Children's Choir The Twig Is Turning Green traces the seasons of the year from spring to winter. The songs are written specifically for children's voices, to be sung in unison withPiano accompaniment; Eben wrote some of the songs for two or three parts, all of which are simple to master, while others also have solo voices woven into the choral line.The independent parts of the cycle appearedgradually for practice purposes, from very simple songs to those which require greater focus on intonation. At the same time, the composer achieved something unusual in that these choral songs, even several generationslater,soundlike modern pieces intended for the concert platform and for public performance, yet they also hold the attraction of songs which the children love singing for their own enjoyment.Contents:Fruhlingssonne[Ctvrtek, Vaclav]Fruhlingslied [Ctvrtek, Vaclav]In unserem Garten [Ctvrtek, Vaclav]Die Weidenpfeife [Seifert, Jaroslav]Fruhling will kommen [Bojar, Pavel]Hahn und Henne [Hrubin, Frantisek]Wenn nichts war[Carek, Jan]Liedchen fur die Mutter [Krystofek, Oldrich]Herbstlied [Ctvrtek, Vaclav]Regentropfen [Krystofek, Oldrich]Schwalben und Schnee [Carek, Jan]Schnee [Ctvrtek, Vaclav]Spatzenlied [Ctvrtek,Vaclav]Lustige Schlittenfahrt [Ctvrtek, Vaclav]

SEK 245.00
1

Vltava (The Moldau)

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

SEK 99.00
1

Vltava (The Moldau)

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

SEK 99.00
1

Vltava (The Moldau)

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

SEK 99.00
1

Vltava (The Moldau)

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

SEK 99.00
1

Vltava (The Moldau)

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

SEK 99.00
1

Mass In D Major Op.86 : Organ version

Mass In D Major Op.86 : Organ version

Dvorák composed the “Mass in D major” in 1887 at the suggestion of his patron Josef Hlávka for the inauguration of the Lužany castle chapel. It is written for choir and organ with sporadic passages for soloists, uses simple expressive devices and makes light technical demands. Thus, this work is easy to perform, also by amateur church choirs: all that is needed is a small choir and the solo parts can be sung by members of the choir.The choral score, likewise based on this edition, is tailored to meet thedemands of today’s performers. It is compatible with all versions of the work, including Dvorák’s later orchestral version. Dvorák composed the “Mass in D major” in 1887 at the suggestion of his patron Josef Hlávka for the inauguration of the Lužany castle chapel. It is written for choir and organ with sporadic passages for soloists, uses simple expressive devices and makes light technical demands. Thus, this work is easy to perform, also by amateur church choirs: all that is needed is a small choir and the solo parts can be sung by members of the choir.The choral score, likewise based on this edition, is tailored to meet thedemands of today’s performers. It is compatible with all versions of the work, including Dvorák’s later orchestral version.

SEK 292.00
1

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

SEK 107.00
1

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

SEK 125.00
1

Jazzetueden

Jazzetueden

The Czech composer Emil Hradecký (born 1953) is the author of a whole number of instructive pieces for children, often inspired with dance music and jazz. In this publication, he introduces beginner pianistswith the means to express jazz, which is not represented in so-called classical music. He emphasises the different phrasing (“pronunciation”) especially in the case of quavers and syncopations. The first part of the publicationcomprises nine simple studies, followed by four pieces for more experienced players and ending with two blues in which it is possible to experiment with basic improvisations. All the studies include instructions fortheircorrect interpretation. The accompanying texts are printed in three languages (Czech, German, English).

SEK 175.00
1

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

SEK 107.00
1

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

SEK 196.00
1

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

SEK 107.00
1

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

SEK 107.00
1

Te Deum

Te Deum

The Te Deum, H148, is the last of the six settings of this text by Marc-Antoine Charpentier (1643–1704), whose death is now being commemorated three centuries later. Unlike the betterknown and relatively lavish Te Deum of the “Eurovision Fanfare” (H 146), this version reduces the ensemble to four-voice chorus and basso continuo. Thanks to its relatively simple fabric, it is thus ideally suited forchurch choirs and small amateur ensembles. Despite its reduced forces, this Te Deum proves to be an impressive work of great effect in performance. - Urtext based on the latest scholarly research-Straightforward continuo - Four-voice chorus (SATB) without vocal soloists - Duration: approx. 6 minutes - Separate organ part available (BA7591-67)

SEK 96.00
1

Fruhling im Garten : Vier Klavierkompositionen für Kinder

Fruhling im Garten : Vier Klavierkompositionen für Kinder

The set of four Piano pieces for children titled Jaro V Zahrade (Spring In The Garden), H. 125 by Bohuslav Martinu (1890-1959) is here published in a new edition.The composer's autograph ismissing today, and therefore the editor Ales Brezina (whose changes are indicated in the musical text with square brackets) limited himself to correcting several obvious errors. He has retained the fingering suggested by VilémKurz who prepared the first edition.Perhaps the most visible change from earlier editions is omission of the titles of individual pieces in the set, because it is very likely that they are not the invention of thecomposerbut rather were added later by the publisher or someone else.The Piano texture is simple and takes into consideration the instructive intention of the work, whose greatest attributes are its lyricism andplayfulness.Preface by the editor is published in four languages (Cz./Eng./Ger./Fr.).

SEK 165.00
1

Der Harmonische Gottesdienst : Lent and Easter Cantatas

Der Harmonische Gottesdienst : Lent and Easter Cantatas

72 Solo Cantatas for Voice, Melodic Instrument and Basso continuo.Lent & Easter - High Voice.When Telemann issued his first annual cycle of printed cantatas,Der Harmonische Gottesdienst (Hamburg , 1725-6), he was already one of the leading cantata composers of his time. Thanks to their brevity and their simple scoring, the 72 solo cantatas have remained very popularto the present day.These editions (BA 5891 through to BA 5896) divide the annual cycle into cantatas for high voice and cantatas for medium voice.Each series spreads the works overthreevolumes accompanied by separate parts for solo instrument and continuo. The cantatas follow the order of the liturgical year, beginning with the Christmas season and continuing with Easter and Trinity.Beingpractically minded, Telemann arranged the ambitus of the vocal parts so that the cantatas for medium voice are ‘also suitable for an ordinary alto or bass’.Similarly, the solo instrumentsare suitable for Violin, Oboe, Recorder or Flute.Interesting solo cantatas for use in church services.Urtext from the Telemann Edition.Separate partsfor instrument and continuo.

SEK 218.00
1

Two Poems

Two Poems

“Triptyk” (“Triptych”) and “Mörkblå tillit” (“Dark Blue Trust”) have been written by hospital chaplain/author Kerstin Dillmar.In her work she often meets people who walk in the shadow of death and her dealings and thoughts about this are a central part of her writing. This is most clearly seen in “Mörkblå tillit” whose key message is to trust that we will be safe and secureafter passing away in sleep.Jansson’s intention with the music was to enhance this feeling of comforting trust without taking away the seriousness of the subject. “Triptyk” on the other hand describes a journey within a person in three stages which moves from despair, “God, myGod why have I forsaken myself?”, through to hope and faith that God is within.The music depicts these stages, starting with a dark-searching tonality, then describing the simple beauty of trust through to a joyful expectation of hope and ending with a strong conviction.

SEK 110.00
1