Lied (Ohne Worte) from Serenade Op. 24

SKU: HL.49008004

ISBN 9790001112383. 9.0x12.0x0.15 inches.

This collection is more than just a continuation of volume 1 (4 Lieder ohne Worte = AVV 131), pieces from both volumes can be mixed and played in different running order. The intermezzi are in irregular metres with strongly accented rhythms. The remaining items are mood pieces with violin and piano part closely interwoven.

SKU: CA.9705000

ISBN 9790007131265.

Felix Mendelssohn Bartholdy's Lieder ohne Worte arranged for choir and organ by Bernd Stegmann The individual pieces of the collection adhere to the model or distance themselves from it considerably. In the latter cases it is rather a question of a game played with the building blocks of the original. Thus the songs (Lieder) with words are not transcriptions in the usual sense. All of the texts have been chosen so that they do not result in a narrowing of the denomination. The goal of the collection is to enrich the choral repertoire for worship services and concerts with an interesting color.

SKU: BT.EMBZ13582

The series Moments Musicaux contains popular and well-known short masterpieces and transcriptions. An admitted aim of the publisher was to release high-standard editions of these popular pieces for a moderate price. Each piece of the series may be performed on violoncello solo with piano accompaniment. This publication is printed on high quality, durable paper made from renewable raw materials in an environmentally friendly way.

SKU: FH.VC6

ISBN 978-1-55440-542-8.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Concertos:
Concerto No. 4 in G Major, op. 65 - Goltermann, Georg arr. Leo Schulz
- First Movement: Allegro
Concertino No. 1 in C Major, op. 7 - Klengel, Julius
- First Movement: Allegro
Concerto No. 1 in A Minor, RV 422 - Vivaldi, Antonio arr. Eberhard Wenzel
- Second Movement: Largo cantabile
Sonatas and Suites:
Sonata in D Minor, op. 8, no. 9 - De Fesch, Willem arr. Jason Noble
- First Movement: Siciliano
- Second Movement: Allemande
Sonata in G Minor, RV 42 - Vivaldi, Antonio
- First Movement: Preludio
- Second Movement: Allemanda
Sinfonia in F Major - Pergolesi, Giovanni Battista arr. Joseph Schmid
- Third Movement: Adagio
- Fourth Movement: Presto
Concert Repertoire:
Lied ohne Worte, op. 109 - Mendelssohn, Felix
Cantillation - Ethridge, Jean
Supplication - Bloch, Ernest
Romanze - Reger, Max
La Provencale - Marais, Marin arr. May Mukle
Gavotte, op. 67, no. 2 - Popper, David
Serenade espagnole, op. 20, no. 2 - Glazunov, Aleksandr arr. M.P. Belaieff
Andaluza (Playera) - Granados, Enrique arr. Manuel Calvo
Apparition - Rathburn, Eldon
Siciliana - Piazzolla, Astor
Unaccompanied Repertoire:
Suite No. 5 in C Minor, BWV 1011 - Bach, Johann Sebastian
- Seventh Movement: Gigue
Suite No. 2 in D Minor, BWV 1008 - Bach, Johann Sebastian
- Third Movement: Courante
Suite No. 1 in G Major, BWV 1007 - Bach, Johann Sebastian
- First Movement: Prelude
I Dropped My Ice Cream Cone - Laut, Edward
Ballad - Laut, Edward.

SKU: CA.9705099

ISBN 9790007131739.

Mendelssohn's well-known Lieder ohne Worte (Songs without words) have been arranged by Bernd Stegmann for mixed choir and organ. In the process he has set sacred texts to music. The melodies, often vocal in character, and the distinctive accompanying figures are sometimes simple, in one-part adopted from the model; at other times they are in a four to six-part choral setting, sometimes as a dialog of different groups or treated as polyphonic play using the building blocks of the original. Rich color and striking music is combined with profound texts which invite reflection as well as listening. Score available separately - see item CA.9705000.

SKU: BT.AMP-396-130

9x12 inches. English-German-French-Dutch.

Hava Nagila (the title means ‘let us rejoice’) is perhaps the best known example of a style of Jewish music called ‘klezmer’. Klezmer music originated in the ‘shtetl’ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ‘klezmorim’, had performed at celebrations, particularly weddings, since the early Middle Ages.‘Klezmer’ is a Yiddish term combining the Hebrew words ‘kley’ (instrument) and ‘zemer’ (song) and the roots of the style are found in secular melodies, popular dances, Jewish ‘hazanut’ (cantorial music) and also the ‘nigunim’, the wordless melodies intoned by the ‘Hasidim’ (orthodox Jews).Since the 16th century, lyrics hadbeen added to klezmer music, due to the ‘badkhn’ (the master of ceremony at weddings), to the ‘Purimshpil’ (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. The melody of Hava Nagila was adapted from a folk dance from the Romanian district of Bucovina. The commonly used text is taken from Psalm 118 of the Hebrew bible.

Hava Nagila (de titel betekent ‘laat ons gelukkig zijn’) is misschien wel het bekendste voorbeeld van klezmer, een Joodse muziekstijl.De klezmermuziek komt van oorsprong uit de sjtetls (dorpen) en de getto’s van Oost-Europa, waar rondtrekkende Joodse troubadours, bekend als klezmorim, al sinds de middeleeuwen hadden opgetreden bij feestelijkheden, en dan met name bruiloften.Klezmer is een Jiddische term waarin de Hebreeuwse woorden kley (instrument) en zemer (lied) zijn samengevoegd. De wortels van de stijl liggen in wereldlijke melodieën, volksdansen, de joods-liturgische hazanut en ook de nigunim, de woordeloze melodieën zoals die worden voorgedragen doorchassidische (orthodoxe) joden.Sinds de 16e eeuw zijn er aan de klezmermuziek ook teksten toegevoegd, dankzij de badchen (de ceremoniemeester bij huwelijken), het poerimspel (het verhaal van Esther tijdens Poerim/het Lotenfeest) en tradities binnen het Jiddische theater, maar de term werd geleidelijk synoniem aan instrumentale muziek met een hoofdrol voor de viool en klarinet.De melodie van Hava Nagila is afkomstig van een volksdans uit de Roemeense regio Boekovina. De meest gebruikte tekst voor het lied kom uit psalm 118 van de Hebreeuwse Bijbel.

Hava Nagila (auf Deutsch ‚Lasst uns glücklich sein’) ist vielleicht das bekannteste Beispiel für den jüdischen Musikstil namens ‚Klezmer’. Klezmermusik hat ihren Ursprung in den Shtetls“ (Städtchen) und den Ghettos Osteuropas, woumherziehende jüdische Troubadours, die man ‚Klezmorim’ nannte, schon seit dem frühen Mittelalter auf Feiern, vor allem Hochzeiten, zu spielen pflegten. Klezmer ist ein jiddischer Begriff, der sich aus den hebräischen Wörtern ‚kley’(Instrument) und ‚zemer’ (Lied) zusammensetzt. Die Wurzeln des Musikstils liegen in weltlichen Melodien, populären Tänzen, jüdischem ‚Chasanut’ (Kantorengesang) und auch ‚Niggunim’, Melodien ohne Text, vorgetragen von den‚Chassidim’ (orthodoxen Juden). Seit dem 16. Jahrhundert wurden die Klezmermelodien mit Texten versehen, was auf die ‚Badchan’ (Zeremonienmeister bei Hochzeiten), auf das ‚Purimshpil’ (Das Esther-Spiel zum Purimfest) und aufTraditionen des jiddischen Theaters zurückgeht. Der Begriff Klezmer wurde jedoch mit der Zeit gleichbedeutend mit Instrumentalmusik, im Besonderen mit den Instrumenten Violine und Klarinette. Die Melodie von Hava Nagila ist eine Adaption einesVolkstanzes aus der rumänischen Bukowina. Der üblicherweise verwendete Text stammt aus Psalm 118 der hebräischen Bibel.

Hava Nagila (qui signifie Réjouissons-nous) est sans aucun doute la chanson traditionnelle hébra que de style klezmer la plus connue de toutes.La musique klezmer est née dans les shtetl (villages) et les ghettos d’Europe de l’Est, où les baladins juifs ambulants, appelés klezmorim, célébraient toutes sortes de cérémonies, en particulier les mariages, et ce depuis le début du Moyen- ge.Le terme yiddish klezmer est la combinaison de deux mots : klei, que l’on peut traduire par instrument et zemer qui veut dire chanson. Cette tradition musicale tire ses origines dans les mélodies profanes, les danses populaires, la musique juive hazanout (musique vocale) ainsi que les nigunim,les mélodies sans paroles entonnées par les hassidim (juifs orthodoxes).Au cours du XVIe siècle, les paroles ont été ajoutées la musique klezmer, afin d’illustrer le rôle du badkhn (le maître de cérémonie lors des mariages), le pourim-shpil (monologue où est paraphrasé le livre d’Esther) ou encore les traditions liées au thé tre yiddish, mais le terme est progressivement devenu synonyme de musique instrumentale, en particulier dans une interprétation au violon et la clarinette.La mélodie Hava Nagila a été adaptée partir d’une danse folklorique de la région roumaine de Bucovine. Le texte, couramment utilisé, est extrait du Psaume 118 de la bible hébra que.