Nonet in B flat

SKU: M7.BP-1312

ISBN 9790015131202.

SKU: BA.BA10986

ISBN 9790006569106. 31 x 24.3 cm inches. Key: B-flat major. Preface: Andreas Friesenhagen.

Haydn composed his Symphony No. 77 along with his Symphonies Nos. 76 and 78 for a planned journey to England that never took place. Nonetheless, H.C. Robbins Landon calls these works the “English symphonies” as they are stylistically closely linked to the “London Bach”, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ‘Leicht und nicht vil Concertirend”, meaning that they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.

Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. The Bärenreiter catalogue now includes the complete performance material for several “Sturm und Drang” symphonies as well as all the London and Paris symphonies.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: HL.49018999

ISBN 9790001173322. 9.0x12.0x0.27 inches.

E flat major - set of parts soloistically - St soli - oboe, clarinet in Bb, horn in Eb, bassoon, 2 violins, viola, cello and double bass.

SKU: BR.EB-8118

ISBN 9790004175019. 9 x 12 inches.

Richard Wagner (1813-1883) is rightly considered as the 19th-century music dramatist whose formal and harmonic originality, for example in Tristan and Isolde, provided a significant impetus to the development of 20th-century music. Despite Wagner's fame, his reuvre for piano remains practically unknown. Tobe sure, these primarily early works and occasional compositions hardly even hint at the outstanding characteristics of the later works such as leit-motifs, flowing transitions or original forms. Nonetheless, whoever is acquainted with Wagner's later music dramas will undoubtedly not fail to be impressed by the individual melodic and harmonic traits of his piano works. The Sonata in B-flat Major Op. 1 is of special interest to us today since it is Wagner's first published work, composed in 1831 and printed in 1832 by Breitkopf & Hartel. At that time, Wagner was studying counterpoint with Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig. Weinlig, however, only agreed to give Wagner lessons if he promised to refrain from composing for half a year. In the course of his studies, Wagner was allowed to compose the piano sonata in B-flat Major as a kind of journeyman-work. His teacher Weinlig succeeded in having the work published by Breitkopf & Hartel. Hence the dedication of this piece to Weinlig is not surprising, since the 18-year-old Wagner would otherwise have had great difficulty finding a publisher. This Sonata in B-flat Major, which has long been out of print, is a reproduction of the first edition by Breitkopf & Hartel (plate number 10433). For this reprint, obvious typographical errors have been corrected (missing or wrong accidentals and dynamic indications). The work presents a four-movement classical sonata form and is stylistically reminiscent of Mozart and Beethoven. Shortly before composing this sonata, Wagner wrote a piano reduction of Beethoven's Ninth Symphony, which was easily playable and yet gratifying to hear. This helps explain the octave-doublings typical of piano reductions. Wiesbaden, Fall 1980

Respectfully dedicated to Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig.

SKU: CA.3000200

ISBN 9790007039424. Key: B flat major. Language: German/English.

The motets of Johann Ludwig Bach occupy an outstanding position within this genre. Though rooted firmly in the shorter motets from the Thuringian tradition, nonetheless they reach dimensions which are seldom observed in that tradition. This is also true with respect to polychoral music, which here is raised from the exception to the rule - on the other hand, it is valid, when one bears in mind the necessity of representing the prestige of a royal court. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. Without a doubt these motets by the Meininger Bach, highly regarded by J. S. Bach, are a treasured enrichment of the repertoire of all choirs.

SKU: CA.3000249

ISBN 9790007203931. Key: B flat major. Language: German/English.

The motets of Johann Ludwig Bach occupy an outstanding position within this genre. Though rooted firmly in the shorter motets from the Thuringian tradition, nonetheless they reach dimensions which are seldom observed in that tradition. This is also true with respect to polychoral music, which here is raised from the exception to the rule - on the other hand, it is valid, when one bears in mind the necessity of representing the prestige of a royal court. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. Without a doubt these motets by the Meininger Bach, highly regarded by J. S. Bach, are a treasured enrichment of the repertoire of all choirs. Score and part available separately - see item CA.3000200.

SKU: PR.165000970

ISBN 9781491100462. UPC: 680160626717. 9x12 inches.

Commissione d by a consortium of 20 high school and university bands coordinated by Scott Hanna of the University of Texas at Austin, Downshifting is inspired by Welcher’s joy of bicycle riding. Welcher explains in the program note: When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting... With three gears on the front sprocket and seven on the rear, it’s possible to keep one’s legs going at a constant speed (for me, q = 126) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing Downshifting, which keeps the same mathematical inner pulse, ‘shifting’ (with a ratchet) as the terrain changes..
One of the joys of life for me is riding my 21-speed bicycle.  As a basically non-athletic person who nonetheless likes to stay in shape, I have found that riding my bike provides just the exercise I need.  The workout is strenuous, but pleasant—and the infinite variety of scenery I pass keeps me alert and wide awake.  When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting.With three gears on the front sprocket and seven on the rear, it’s possible to keep ones legs going at a constant speed (for me, that’s 126 to the quarter note) while the bike itself may be moving very slowly or very quickly.  I determined to capitalize on this in writing the music, which manages to keep the same mathematical inner pulse, “shifting” (with a ratchet) as the terrain changes.  So Downshifting begins with that steady pulse, on a grid of eighth notes in 2/4 to propel the little vehicle forward.  There’s a joyous little tune in our heads as we begin our ride.  As the initial thrill of riding on the flat gives way to monotony, we stay in that pulse for the first minute or so of the ride.  Then, as the first hill becomes visible, we shift the bike down: even though the eighths are equal, the pulse feels slower (and we’re now in 6/8 time).  Ultimately the compound meter shifts again as the climb begins, and we’re now plodding doggedly up the hill.  (The music reflects all of these changes, with subtitles such as “Working harder—Seeing the climb, ahead”, “Steady and committed…the climb begins!”, “Straining against the grade”, etc.).There are two hills, and two long climbs (but in different keys, reflecting the change in scenery).  When at last the summit of the second hill is reached (“Flying, Over the Top”), we coast at last down the other side at breakneck speed.  The initial joyous melody returns, but now in a spread-out coasting pulse.  At the end of the ride, we slow to a stop—then take one last sprint (shifting five times in the process) in order to end on a biker’s high.Downshifting was commissioned by a consortium of fourteen high school and college bands, overseen by my longtime colleague at the University of Texas, Scott Hanna.  The piece is dedicated to him (and to all bicycle enthusiasts).