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Elegie auf den Tod der Tochter Olga : Kantate für Tenor solo, Gemischter Chor und Klavier

Das neugebor'ne Kindelein

In the Mists

Christmas for female voices

Christmas for female voices

After the success of 'Christmas a cappella' (BA 7573) for mixed choir, Graham Buckland has now turned his attention to an edition for female voices. This collection includes popular Christmas melodies in traditional as well asmore popular settings from many countries around the world including USA, UK, France, Germany, Austria, Poland and the Czech Republic. All pieces are arranged for two female voice parts with a piano accompaniment but athird optional voice part is also included in many cases. This edition presents one of the most comprehensive collections of Christmas choral settings for female voices.Collection of international Christmas songsforfemale voicesFor two to three parts with piano accompanimentTraditional as well as more popular settingsAll song texts in German and English A selection:A child this day is born /Adeste, fideles / Angels, from the realm of glory /A virgin most pure / Away in a manger / Deck the hall! / Entre le bœuf et l’ ne gris / Es ist ein Ros entsprungen /Fröhliche Weihnacht überall! / Go, tell it on the mountain / Isaw three ships / Joy to the world / Les anges dans nos campagnes /Macht hoch die Tür / Nun komm, der Heiden Heiland /O Heiland reiß die Himmel auf / O Jesulein süß / Orientis partibus / Quando nascette Ninno / Stern überBethlehem /The angel Gabriel from heaven came / The Carol of the Drum /The first Nowell / We wish you a merry Christmas /Wie schön leuchtet der MorgensternThe editorGraham Buckland is a conductor and composer andstudied in Cambridge, London and Brno. He is now university music director in Regensburg.

SEK 324.00
1

Performance Practices : In The Violin Concerto Op. 64 and Chamber Music For Strings

Performance Practices : In The Violin Concerto Op. 64 and Chamber Music For Strings

Mendelssohn’s Violin Concerto Op.64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohnperformed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and HubertLéonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for thesoloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was alreadyknown that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorableevening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings andadditional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’scorrespondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.The editor, Clive Brown, is an acknowledgedexpert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (Eng/Ger)- Full score in therevised early and late (popular) versions (BA9099) available for sale- Parts of both early and late versions (BA9050) available for sale- Violin & Piano in the revised late (popular) version (BA9099-90)

SEK 228.00
1

Ode a la Musique

Ode a la Musique

Ode à la Musique (1961)for Baritone, 4-part mixed chorus, trumpet, two horns, three trombones, piano and double bass Frank Martin (1890-1974) Frank Martin was born in Geneva, Switzerland, on 15September 1890. He was the tenth and youngest child of a clergyman’s family. He played and improvised on the piano even before he went to school. By the age of nine he had composed charming children’s songs thatwere perfectly balanced without ever having been taught musical forms or harmony. A performance of Bach’s St. Matthew Passion, heard at the age of twelve, left a lasting impression on the composer, for whom J.S. Bachremainedthe true master. He attended classical languages high school and, to please his parents, went on to study mathematics and physics at the University of Geneva for two years. Simultaneously he started studying piano andcomposition with Joseph Lauber, who initiated him in the “craft”, especially in instrumentation. Between 1918 and 1926 Frank Martin lived in Zurich, Rome and Paris, working on his own, searching for a personal musicallanguage. In 1926 he founded the “Société de Musique de Chambre de Genève” which he led as pianist and harpsichord player for ten years. He taught improvisation and theory of rhythm at the“Institut Jacques-Dalcroze” and chamber music at the Geneva Conservatory of Music. He was artistic director of the “Technicum Moderne de Musique” from 1933 to 1940 and president of the Swiss Association ofMusicians between 1942 and 1946. In 1932 he became interested in the 12-tone technique of Arnold Schönberg. He incorporated certain elements into his own musical language, creating a synthesis of the chromatic andtwelve-tone techniques, without however abandoning the sense of tone – that is, the hierarchical relations between notes. Le Vin Herbé (1941) was the first important work in which he completely mastered this verypersonal idiom. Together with the Petite Symphonie Concertante (1944-45) it established his international reputation. Martin’s many musical activities in Switzerland interfered with the peace and

SEK 255.00
1

Konzert In E - Performing Edition : Für Violine und Orchester Op. 64

Konzert In E - Performing Edition : Für Violine und Orchester Op. 64

Mendelssohn’s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohnperformed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and HubertLéonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for thesoloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was alreadyknown that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorableevening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings andadditional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’scorrespondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the MendelssohnViolin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.- New sourcesituation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

SEK 303.00
1

Konzert In E : Für Violine und Orchester Op. 64

Konzert In E : Für Violine und Orchester Op. 64

Mendelssohn’s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohnperformed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and HubertLéonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for thesoloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was alreadyknown that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorableevening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings andadditional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’scorrespondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the MendelssohnViolin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.- New sourcesituation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

SEK 340.00
1