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BIBLIOTHÈQUE
Scheidt, Samuel Samuel Scheidt
Allemagne Allemagne
(1587 - 1654)

13 Partitions
6 MP3





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Partitions Hautbois Double-Reed Quartet Samuel Scheidt
Scheidt, Samuel: "Da Jesus an dem Kreuze stundt" for Double Reed Quartet

"Da Jesus an dem Kreuze stundt" for Double Reed Quartet
SSWV 113
Samuel Scheidt




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EcouterTélécharger MP3 : "Da Jesus an dem Kreuze stundt" (SSWV 113) for Double Reed Quartet 6x 44x VoirTélécharger PDF : "Da Jesus an dem Kreuze stundt" (SSWV 113) for Double Reed Quartet (6 pages - 110.42 Ko)6x
VoirTélécharger PDF : Bassoon 2 (56.88 Ko)
VoirTélécharger PDF : Bassoon 1 (57.69 Ko)
VoirTélécharger PDF : English Horn (57.34 Ko)
VoirTélécharger PDF : Oboe (54.92 Ko)
 

 
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Compositeur :Samuel ScheidtScheidt, Samuel (1587 - 1654)
Instrumentation :

Double-Reed Quartet

Genre :

Baroque

Arrangeur :
Editeur :
Samuel ScheidtMagatagan, Mike (1960 - )
Date :1624
Droit d'auteur :Public Domain
Samuel Scheidt (ca. 1587 – 1654) was a German composer, organist and teacher of the early Baroque era. Scheidt was born in Halle (Germany), and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt's style. On his return to Halle, Scheidt became court organist, and later Kapellmeister, to the Margrave of Brandenburg. Unlike many German musicians, for example Heinrich Schütz, he remained in Germany during the Thirty Years' War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director of three churches in Halle, including the Market Church.

Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbours.

Scheidt's music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias.

Source: Wikipedia (https://en.wikipedia.org/wiki/Samuel_Scheidt).

Although originally composed for Organ, I created this Arrangement of the "Da Jesus an dem Kreuze stundt" ("When Jesus was on the Cross" -- SSWV 113) for Double-Reed Quartet (Oboe, English Horn & 2 Bassoons).
Ajoutée par magataganm le 2019-10-25
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Cette partition est associée à la collection de magataganm :
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arrangements à vent
Liste des partitions :
› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Haubois et basson
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Hautbois, Cor anglais, Basson
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings
› "Amen Chorus" for Oboes & Strings






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