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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).

DKK 141.00
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Missa brevis in F major K.192

Missa brevis in F major K.192

The autograph of the Missa brevis K.192 (186f), known as the Little Credo Mass (because of the Credo calls interspersed in the text of the third movement), is dated Salzburg, 24 June 1774. This Mass, intended for Sundays andminor feasts, was in any case written for Salzburg Cathedral, in the archives of which is preserved an authentic set of parts, containing markings by Mozart and his father. When the master journeyed to Paris in 1777, he took theautograph of this work along with him, leaving it with the canons of Heilig Geist Kloster in Augsburg to have parts copied out.According to Abert, (who wrote a classic biography of Mozart) this work is considered 'by manytobe the high point of Mozart's 'youthful Masses'', and, 'as far as the motivic unity of the individual movements and the strengthening of the contrapuntal element is concerned, goes far beyond everything composedhitherto'.Urtext of the New Mozart EditionFull score, performance material (BA4770) and vocal score (BA4770-90) available for sale.

DKK 154.00
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Missa in C major K.337 : Missa solemnis

Missa in C major K.337 : Missa solemnis

Mozart composed the Mass in C K.337 about one year after the Coronation Mass K. 317; 'nel Marzo 1780 in Salisburgo' he wrote on the first page of his original score. And just as was the case with K.317, this work, togetherwith a new church sonata (K. 336/336), will have been intended for the Easter High Mass in Salzburg Cathedral. The formal instrumentation of the score with oboes, solo bassoon, trumpets and timpani (but without horns) only servesto strengthen such a supposition.What is striking about the work is the rigorously contrapuntal Benedictus, which forms a stark contrast to the similarly unusual Agnus Dei, in which a solo organ alternating withtheconcertante wind instruments (oboe and bassoon) provides a framework for the coloratura-rich part of the solo soprano.Urtext of the “New Mozart Edition”Ideal for church services and concertperformancesFull score & performance material (BA4881) and vocal score (BA4881-90) for sale

DKK 175.00
1

Concerto For Harpsichord No.6 In F Major

Concerto For Harpsichord No.6 In F Major

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it isalmost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The Concerto in F major, BWV 1052 is the sixth of the harpsichord concertos contained inthe autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek, Mus. ms. Bach P 234). The initials at the end of the piece, SDGl ('Soli Deo Gloria'), form a pendant to the J.J. ('Jesus Juva') found attheopening of the D-minor Concerto, BWV 1052. This indicates that BVW 1057 formed the final piece in this six-work opus, the only authentic and self-contained collection of concertos we have from Bach apart from his presentationcopy of the Brandenburg Concertos (1721). Like all the other concertos in this series, BWV 1057 is an arrangement of an earlier work, in this case the Fourth Brandenburg Concerto in G major (BWV 1049).Urtext of the NewBach EditionFull score & parts (BA5229), two-keyboard reduction (BA5229-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

DKK 226.00
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St. Matthew Passion - Early Version BWV 244B

St. Matthew Passion - Early Version BWV 244B

Attractive alternative to the well-known St. Matthew PassionUrtext from the “New Bach Edition”Straightforward and easy-to-play piano reduction in the vocal scoreUnique to the marketBach’s St. Matthew Passion as we know it today evidently had a long history dating back before 1727. It is unclear whether the work performed at the Thomaskirche on Good Friday 1729 was based on a still earlier version.Whatever the case, the surviving version of 1729 presents the work in a form strikingly different from its later incarnation. For example, the opening section ends with the chorale “ Jesum lass ich nicht von mir ”whichwas replaced by the large-scale cantus firmus chorus “O Mensch , bewein dein Sünde gross” for the 1736 performance. The well-known alto aria “Ach! nun ist mein Jesus hin ” is still assigned to abass in the earlier version, and the aria “ Komm süsses Kreuz ” calls for a lute instead of the later viola da gamba. Moreover, the pieces for double chorus only require a single continuo group. Otherdifferences can be found in the instrumental scoring and voice-leading. The early version of the St. Matthew Passion is thus a most interesting addition to the great concert repertoire. The corresponding volume of the“New Bach Edition” (series II/volume 5b) serves as a conducting score (BA5099-01).

DKK 294.00
1

Athalia HWV 52

Athalia HWV 52

Oratorio in three parts The oratorio “Athalia” tells the Old Testament story of the Queen Athalia. Handel composed it in 1733 for Oxford University where it was first performed laterthat year during the celebrations for the awarding of honorary degrees. The great success of this performance is generally regarded as a reason for Handel’s renewed interest in the oratorio form. As was frequentlythe case, Handel also carried on composing this work after the first performance. Thus, for the version which was performed in London in 1735, he introduced numbers in Italian for the Italian singer Carestini in theroleof Joad. He also ended the work with an organ concerto. For the performance in 1756 he drew on other works for the third act. Conversely, large parts of the music to Athalia form the basis for other works by Handelsuch as “Parnasso in festa” (HWV 73) and the Wedding Anthem (HWV 262). The Piano reduction by Andreas Köhs (BA4082-90), based on the Urtext of the “Halle Handel” Edition, includes themain version of 1733 together with an appendix containing the versions of 1735 and 1756 as well as the outline of a planned version of 1743 which was not performed. - Based on the Urtext of the “HalleHandel” Edition - Includes all versions - Detailed foreword (Ger/Eng) - Full score (BA4082) and Vocal score (BA4082-90) available for sale - Performance material (BA4082-72) available forhire

DKK 626.00
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