beyond (a system of passing)

Singing Opera in Germany - Knobel, Marita / Steinert, Brigitte

A Practical Guide book Paperback

18th Century Continuo Playing - Christensen, Jesper Bøje

A Historical Guide to the Basics book piano/Org Hardback

Symphony in in D minor : Finale. A Pronunciation Guide for Japanese Singers - Op. 125 No. 9

Symphony no. 9 in D minor op. 125 : Set of Vocal Score and Pronunciation Guide for Japanese Singers

Praludium, Fuge und Allegro

Prelude, Fugue and Allegro BWV 998 transcribed for Guitar. Bach's composition Prelude, Fugue and Allegro BWV 998 was originally destined for a pedal instrument calledLute-Harpsichord, which resembled the sound of a Lute. This composition is often played on ten-string Guitar which fully covers its range. The transcription by Stanislav Jurica for a Classical Guitar is not meant tosimplify the original, but to adapt it for Guitar and providing a fingering system. This enables Guitars players to enjoy Bach's music in a new context.

Fascination Organ Improvisation : A Study and Practice Book

Franz Josef Stoiber, organ professor and organist at Regensburg Cathedral, has decided not to present a conventional improvisation tutor here. Instead, he offers a multi-faceted reader and workbook containing useful methodicaland pedagogical reflections, e.g. on cultivating a feeling for sound and training responsiveness. It also features a wide range of practical exercises for improvising in various styles, all reflecting his years of experience as ateacher and performer.This guide to organ improvisation has the potential of becoming a standard work in the training of today’s organists.- A new approach to organ improvisation- Includes manypracticalexercises and music samples- German/English text- Spacious attractive layout

Die Schuldigkeit Des Ersten Gebots K.35

This work, possibly commissioned by Prince-Bishop Sigismund Christoph von Schrattenbach , was assigned to three Salzburg composers: W. A. Mozart (part 1), Michael Haydn (part 2), and Anton Cajetan Adlgasser (part 3). Only themanuscript of part 1 has survived. Here Mozart drew heavily on the Salzburg tradition of church music and school dramas, perhaps taking Johann Ernst Eberlin and even his father Leopold as his models. The firstperformance took place in the Knights’ Hall of the prince’s palace on 12 March 1767. The libretto was supplied by Ignaz Anton Weiser (1701 1785), town councillor and mayor of Salzburg. Mozart wrote out many oftheappoggiaturas in this early work, thereby providing a useful guide to the vocal practices of his day. Aria No.2 has come down to us with an instructive passage in which the Vocal part is ornamented in the hand of LeopoldMozart.

Musicalisches Lob Gottes : 13 ausgewählte Kirchenmusiken zwischen 1. Advent und Michaelis

This volume represents the only annual cycle of sacred music of the 18th century printed in score: it was completed in 1744. The textual basis stems from Erdmann Neumeister. In contrast to the usual practice of the TelemannEdition to edit segments of the church years, here the entire course of the church year is presented. The music to be performed at the beginning of each part of the church year and at special celebrations is included.Telemannused a variety of expressive polyphonic techniques to create the introductory dicta. These, like the chorales, are written in concentrated three-part harmony.The preface provides information on the printing history of thechurch year and its dissemination supplemented by comments on performance practice: the critical report analyses the rich source material.Editions of Telemann's preface (with his performance notes and an explanation of hisfigured bass system), the preface on the printing of the texts and the texts of the compositions contained in the volume flank the edition of the music. Facsimiles from the original print and from Hamburg performance materials areincluded.

Christus

Oratorio on passages from the Holy Bible and the Catholic liturgy. Franz Liszt’s “Christus” is an attempt to capture in music the life of Christ from his birth to his Passion and Resurrection, therebyfollowing in the tradition of Handel’s biblical oratorios. Despite the familiar subject matter, Liszt was concerned less with depicting Jesus’s deeds than with producing an object of meditation. To this end heemployed a full array of musical devices to create a work abounding in sharp contrasts: symphonic textures alongside simple hymns, modal harmonies alongside bold chromaticism and varied combinations of voices andinstrumentsalongside purely instrumental groupings. David Friddle’s new edition is the first to publish the original text of “Christus” on the basis of all available sources. His extensive introductionalso sheds light on the performance practices of Liszt’s day. Our vocal score contains a German translation of the original Latin as a guide. - First Urtext edition of this work. - Straightforward, easy-to-playpiano reduction. - Duration: approx. 175 minutes. - Full score (BA7680) and vocal score (BA7680-90) for sale; performance material (BA7680-72) for hire.

Fugue No.1 for piano solo

Fugue No.1 from 36 Fugues for Piano (BA9541) The Czech composer Antonin Rejcha (also Anton Reicha, 1770–1836) was famous as both an experimental composer and as a teacher andtheorist. His “36 Fugues for Piano” testify to this experimentalism; they can be seen as a type of “Well-Tempered Piano of the new ages”, basing the traditional Baroque fugue on radical new fundaments.The first edition of this unusual collection was produced in 1803 in Vienna by Reicha’s own publishing company “Au Magasin de l’Imprimerie chimique”. It included both a dedication poem toJosephHaydn and a comprehensive foreword in which Reicha identifies the characteristics of his compositional style. The second edition (Vienna 1805) included a short theoretical text “Über das neueFugensystem” (“On the new fugal system”) in the form of a polemic, reacting to his critics, one of whom was Beethoven. Six fugues are based on the themes of other composers (Haydn, Bach, Mozart, Scarlatti,Frescobaldi, Handel). The musical text (BA9541) is a corrected reprint of the edition by Václav Jan Sýkora from 1973, which itself was based on the referred to edition from 1805 as well as on the later editionby Tobias Haslinger (Vienna, c. 1828). Works historically important to the development of the fugue. New foreword by Roman Dykast (Cz/Eng/Ger)