Transcription pour piano d'oeuvres baroques Contenu : Marc-Antoine Charpentier: Prélude (Te Deum) Henry Purcell: Cold Song (King Arthur) Antonio Vivaldi: Gloria (Gloria) - Allegro (Der Frühling - Die vier Jahreszeiten / Spring - The Four Seasons / Le printemps - Les quatres saisons) Danza Pastorale (Der Frühling - Die vier Jahreszeiten / Spring - The Four Seasons / Le printemps - Les quatres saisons) Allegro (Der Herbst - Die vier Jahreszeiten / Autumn - The Four Seasons / L'autumne - Les quatres saisons) Largo (Der Winter - Die vier Jahreszeiten / Winter - The Four Seasons / L'hiver - Les quatres saisons) Antonio Corelli: Pastorale (Concerto grosso op. 6/8) Georg Philipp Telemann: Presto (Violakonzert / Concerto for Viola / Concert pour alto; TWV 51: G9) Johann Sebastian Bach: Großer Herr und starker König (Weihnachts-Oratorium / Christmas Oratorio / L'oratorio de Noel BWV 248) Sinfonia (Weinachts-Oratorium / Christmas Oratorio / L'oratorio de Noel BWV 248) Jauchzet, frohlocket (Weihnachts-Oratorium / Christmas Oratorio / L'oratorio de Noel 248) Mache dich, mein Herze rein (Matthäus-Passion / St. Matthew Passion / La Passion selon St. Matthieu BWV 244) Wir setzen uns mit Tränen nieder (Matthäus-Passion / St. Matthew Passion / La Passion selon St. Matthieu BWV 244) Schlummert ein, ihr matten Augen (Kantate / Cantata / Cantate BWV 82) Jesus bleibet meine Freude (Kantate / Cantata / Cantate BWV 147) Schafe können sich weiden (Kantate / Cantata / Cantate BWV 208) Allegro (Violinkonzert / Concerto for violin / Concerto pour violon BWV 1042) Wachet auf, ruft uns die Stimme (Kantate / Cantata / Cantate BWV 140) Siciliano (Flötensonate / Sonata for flute / Sonate pour flûte BWV 1031) Largo (Cembalokonzert / Concerto fo harpsichord / Concerto pour le clavecin BWV 1056) Prélude (Suite für Violoncello / Suite for violoncello / Suite pour le violoncelle BWV 1007) Allegro (Brandenburgisches Konzert / Brandenburg Concerto / Concerto brandenbourgeois BWV 1048) Adagio (Violinkonzert / Concerto for violin / Concerto pour violon BWV 1042) Toccata in d (Toccata in d minor BWV 565) Bourrée (Suite für Violoncello / Suite for violoncello / Suite pour le violoncelle BWV 1009) Allegro (Konzert für Oboe d'amore / Concerto for oboe d'amore / Concerto pour hautbois d'amour BWV 1055R) Badinerie (Orchestersuite / Orchestral suite / Suite pour orchestre BWV 1067) Air (Orchestersuite / Orchestral suite / Suite pour orchestre BWV 1068) Georg Friedrich Händel: Andante allegro (Harfenkonzert / Harp Concerto / Concerto pour harpe HWV 294) Hallelujah (Der Messias / Messiah / Le Messie HWV 56) The people that walked in darkness (Der Messias / Messiah / Le Messie HWV 56) Overture (Feuerwerksmusik / Music for the Royal Fireworks / Musique pour les feux d'artifices HWV 351) Alla Hornpipe (Wassermusik / Water Music HWV 349) Minuet (Wassermusik / Water Music HWV 349) Lentement (Wassermusik / Water Music HWV 349) Ombra mai fu / Largo (Xerxes / Serse HWV 40) Giovanni Battista Pergolesi: Inflammatus et accensus (Stabat mater) Christoph Willibald Gluck: Ach, ich habe sie verloren (Orpheus und Eurydike / Orpheus and Eurydike / Orphée et Eurydice) Reigen seliger Geister (Orpheus und Eurydike / Orpheus and Eurydike / Orphée et Eurydice)
SKU: HL.50510696
ISBN 9790080136331. UPC: 073999264388. Bach (23 x 30,2 cm) inches. Cadet) (le Jean-Marie Leclair; T. Nachez; Arpad Pejtsik.
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.
SKU: BR.ED-10296
ISBN 9790220101977. 7.5 x 11 inches.
The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause. (The Gentlemen's Journal, 1692)The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.(Christopher Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.Nach der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.(Martin Smolka).
SKU: BR.ED-12658
ISBN 9790220121760. 7.5 x 11 inches.
Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729. The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected. (Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.Nach der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.(Martin Smolka).