Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Also hat Gott die Welt geliebet' is a concerto for solo soprano, with a text taken from the Gospel of St. John. The text employs the principle of dialog as a musical competition between individual instruments or between instruments and the voice, with the inclusion of virtuoso passages. / Date parution : 2006-01-01/ Répertoire / Solo S, 2 Violons, Viole de Gambe et Basse Continu

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Also hat Gott die Welt geliebet' is a concerto for solo soprano, with a text taken from the Gospel of St. John. The text employs the principle of dialog as a musical competition between individual instruments or between instruments and the voice, with the inclusion of virtuoso passages. / Date parution : 2006-01-01/ Répertoire / Solo S, 2 Violons, Viole de Gambe et Basse Continu

Par BUXTEHUDE DIETRICH. Buxtehude took the melody and words from the evening hymn Christ, der du bist der helle Tag. The words are embellished with coloratures and a change of meter enhances the work’s charme. This composition goes beyond the bounds of a straightforward chorale cantata through its use of concertante elements, which also applies the voice parts. The title of this work, on a copy made by Gustav Düben, refers to the accompanying violin parts in the words “con due vel piu violini”. This may indicate that each part should be played by several instrumentalists. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

The Library Of Baroque Music is an enormously expansive collection of the greatest works produced during that prolific period that flourished between the Renaissance and Classical eras. All arranged for solo Piano, this volume features works drawn from all the major Baroque composers, including some of the greatest pieces of music ever composed. The progression and development of music during the Baroque period can be heard in these pieces, providing you not only with a window into musical history, but also many exciting additions to your repertoire. The retrospective 'Baroque' label was applied to a diverse range of European compositions-often combining a spirit of experimentation with elaborate new musical structures. Dominated primarily by the Harpsichord and Organ, this period also saw the rise and development of larger-scale forms such as the concerto and oratorio. This superb volume is comprised of Keyboard and ensemble works from all the major Baroque composers, arranged for Piano. Featuring Arne, Boyce, Buxtehude, Corelli, Couperin, Gibbons, Lully, Pachelbel, Purcell, Rameau and Vivaldi, the composers here include some of the most respected and revered figures in musical history. The Library Of Baroque Music spans compositions of many of these masters, ranging from Frescobaldi in the early 1600s to Pergolesi a century later, and the famous three - J.S. Bach, Handel and Domenico Scarlatti.Baroque music, so called for its ornateness, was characterised by a bold exploration of counterpoint and new harmonic possibilities. This was variously expressed through the work of perhaps fifty or so major European composers. By the time Baroque began to segue into a new Classical period around 1750 it had already irrevocably changed and expanded the possibilities of music. The works that precipitated this change are available to play in this single volume, perfect for pianists looking to expand their repertoire with both challenging and exciting music.In this thoroughly enjoyable Library Of Baroque Music, the triumphant progression of this period is illustrated in the best possible way - through the compositions themselves, forming the definitive Baroque collection for solo pianists. / Piano

Par BUXTEHUDE DIETRICH. This six-verse hymn is based on the melody “Herzlich tut mich verlangen, ” which Buxtehude used both for the solo cantata Herzlich tut mich verlangen BuxWV 42 and for a chorale prelude entitled Ach Herr, mich armen Sünder BuxWV 178. Apart from the “Amen, ” with coloratura decoration, the text is set in a simple four-part texture. The accompanying violins are used in the prelude and interludes. This piece exists in a tabulatur copied by Düben before June 1687./ Répertoire / Choeur SATB, 2 Violons et Basse Continue

La musique d'orgue de Buxtehude fasciné JS Bach et des générations d'organistes depuis. Notre nouvelle édition du Tournoi des Maîtres de l'école d'orgue allemand du Nord 'de la série renommée est basée sur la version originale tout en prenant les dernières découvertes de la recherche Buxtehude en compte. Vol. 1 contient 18 Préludes (pedaliter), Vol. 2 trois Toccatas, 1, 2 preambulum ciacones, 9 Canzonas et 3 fugues. / Orgue

Par BUXTEHUDE DIETRICH. Buxtehude took the melody and words from the evening hymn Christ, der du bist der helle Tag. The words are embellished with coloratures and a change of meter enhances the work’s charme. This composition goes beyond the bounds of a straightforward chorale cantata through its use of concertante elements, which also applies the voice parts. The title of this work, on a copy made by Gustav Düben, refers to the accompanying violin parts in the words “con due vel piu violini”. This may indicate that each part should be played by several instrumentalists. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. Buxtehude took the melody and words from the evening hymn Christ, der du bist der helle Tag. The words are embellished with coloratures and a change of meter enhances the work’s charme. This composition goes beyond the bounds of a straightforward chorale cantata through its use of concertante elements, which also applies the voice parts. The title of this work, on a copy made by Gustav Düben, refers to the accompanying violin parts in the words “con due vel piu violini”. This may indicate that each part should be played by several instrumentalists. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. This six-verse hymn is based on the melody “Herzlich tut mich verlangen, ” which Buxtehude used both for the solo cantata Herzlich tut mich verlangen BuxWV 42 and for a chorale prelude entitled Ach Herr, mich armen Sünder BuxWV 178. Apart from the “Amen, ” with coloratura decoration, the text is set in a simple four-part texture. The accompanying violins are used in the prelude and interludes. This piece exists in a tabulatur copied by Düben before June 1687./ Répertoire / Choeur SATB, 2 Violons et Basse Continue

Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Also hat Gott die Welt geliebet' is a concerto for solo soprano, with a text taken from the Gospel of St. John. The text employs the principle of dialog as a musical competition between individual instruments or between instruments and the voice, with the inclusion of virtuoso passages. / Date parution : 2006-01-01/ Répertoire / Solo S, 2 Violons, Viole de Gambe et Basse Continu

Par BUXTEHUDE DIETRICH. Buxtehude took the melody and words from the evening hymn Christ, der du bist der helle Tag. The words are embellished with coloratures and a change of meter enhances the work’s charme. This composition goes beyond the bounds of a straightforward chorale cantata through its use of concertante elements, which also applies the voice parts. The title of this work, on a copy made by Gustav Düben, refers to the accompanying violin parts in the words “con due vel piu violini”. This may indicate that each part should be played by several instrumentalists. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Also hat Gott die Welt geliebet' is a concerto for solo soprano, with a text taken from the Gospel of St. John. The text employs the principle of dialog as a musical competition between individual instruments or between instruments and the voice, with the inclusion of virtuoso passages. / Date parution : 2006-01-01/ Répertoire / Solo S, 2 Violons, Viole de Gambe et Basse Continu

Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Also hat Gott die Welt geliebet' is a concerto for solo soprano, with a text taken from the Gospel of St. John. The text employs the principle of dialog as a musical competition between individual instruments or between instruments and the voice, with the inclusion of virtuoso passages. / Date parution : 2005-02-01/ Répertoire / Solo S, 2 Violons, Viole de Gambe et Basse Continu

Arrangeur: Paul Horn. Par BUXTEHUDE DIETRICH. Horn, Paul (Arr. ) - McCulloch, Derek (Trad. ) - BuxWV 31/ Répertoire / Solo B, (Choeur-) Solistes SS (ou Choeur SSB), Cho