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Intrada in C

Intrada in C

Johann Christoph Graupner (1683 - 1760) was a German harpsichordist and composer of high Baroque music who was a contemporary of Bach, Telemann and Handel. His short Intrada in C, written originally for harpsichord, is carefullyadapted in this easy string orchestra transcription by Bingiee Shiu. Despite being hardworking and prolific, with about 2000 surviving works in his catalog, Graupner's music fell into obscurity after his death, due in part to alegal dispute over the ownership of his manuscripts, as well as the change of taste in musical styles that would usher in the Classical period. Interestingly, just prior to Bach, Graupner was offered the Cantorate position inLeipzig, which he had accepted until his current patron, in a sudden change of heart, paid the back wages Graupner had been owed, along with a significant increase in salary to retain him, opening the way for Bach's appointment.Today, Graupner's music is enjoying a revival due to the efforts of musicologists, performers and educators.

SEK 583.00
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Missa In Tempore Belli : Mass in Time of War

Missa In Tempore Belli : Mass in Time of War

Haydn was in England, in 1795, when he received word from his new Prince, Nicolaus II Esterházy, that the Esterházy orchestra was to be reformed, and Haydn was to serve again as active Capellmeister.Prince Nicolaus IIdemanded little from his Capellmeister, except the usual routine of administration; but Haydn was to compose, every year, a new Mass for the name day of the Princess Josepha Maria, which was celebrated the Sunday afterwards in theBergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen’s Day (26 December) 1796. The writer of these notes examined whenpreparingthis edition the music archives of the church, and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion,and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score, parts (BA4652), vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94)available for sale

SEK 653.00
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Variazioni in Blue

Variazioni in Blue

Variazioni in Blue is a series of variations in which elements from the Blues, such as the specific ‘blue notes’, run throughout the piece. Following a stately introduction, which includes part of the theme, is an ornamental variation in ‘classical style’. We then hear a variation in ‘Blues style”, followed by a fast variation with an Eastern European folklore feel. The ‘Andante con espressivo’ is particularly fine with its attractive harmonic changes. This variation develops into a repeat of the previous folklore variations with its ‘major’ variation forming a climax towards the end.

SEK 1029.00
1

Variazioni in Blue

Variazioni in Blue

Variazioni in Blue is a series of variations in which elements from the Blues, such as the specific ‘blue notes’, run throughout the piece. Following a stately introduction, which includes part of the theme, is an ornamental variation in ‘classical style’. We then hear a variation in ‘Blues style”, followed by a fast variation with an Eastern European folklore feel. The ‘Andante con espressivo’ is particularly fine with its attractive harmonic changes. This variation develops into a repeat of the previous folklore variations with its ‘major’ variation forming a climax towards the end.

SEK 751.00
1

Israel in Egypt HWV 54 : Oratorio in three parts

Israel in Egypt HWV 54 : Oratorio in three parts

Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756–7 performancesThe distinguishing feature of our new edition is that it reproduces Israel in Egypt in itscomplete three-part form: The Lamentation of the Israelites for the Death of Joseph, Exodus and Moses’ Song. It was in this form that the work was given at its London premiere on 4 April 1739.Handel madeextensive changes for the second performance. The reason is often said to have been the audience’s dissatisfaction with the work’s unusual design. However, he may possibly only have wanted to satisfy the whims ofasoprano who felt under-represented with solo material.Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to thechorus, Part 2 largely so, and Part 3, while containing most of the solo numbers, still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening ofExodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s, and two of them had been sung a short while previously in AnOratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition.The next performance of the piecedid not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon, the Occasional Oratorio and the Peace Anthem. The two otherparts retained their original form, apart from a few cuts in the choruses and the addition in Part 3 of the aria ’Hope, hope a pure and lasting treasure’ from the second version of Esther (for both 1756 and 1757) andthe aria ’Toss’d from thought to thought’ from Alexander Balus (for 1757).Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere,

SEK 653.00
1

Artistry in Rhythm

Artistry in Rhythm

Composed and recorded by Stan Kenton in the 1940s, Artistry in Rhythm became his signature and a true classic from the big band era. Paul Murtha has skillfully adapted and truncated this chart for younger players whilemaintaining the flavorand energy of the original. Solo piano starts things off, followed by the iconic trombone solo in the medium Latin section. The exciting double-time swing section features the entire ensemble, then the“maestoso” theme returns to closethings out. Impressive!

SEK 652.00
1

In the Machine

In the Machine

In the Machine represents a musical journey inside a machine. Each time the piece is performed, this journey is different according to the performer's choices. Set in 3/4 time, the work begins using only percussion and vocal techniques. Instruments are added and material changed throughout to create several musical layers and textures. Midway through the piece, the machine shifts into high gear. The machine runs smoothly until a musical “ratchet” is thrown in and the machine falls apart.

SEK 801.00
1

Cyclist in Moscow

Cyclist in Moscow

Cyclist in Moscow was written to introduce beginner players to ensemble playing as early as possible. Thanks to the low grade of difficulty of this piece this it is possible to play in a ‘real band’ after only a few lessons. Because of the four-part instrumentation, Cyclist in Moscow is suitable for smaller strengths, taking into account that it is important to divide parts evenly among the players. Also includes an ad-lib keyboard/piano part to support the ensemble.

SEK 831.00
1