Description: The second movement from Bach's Cantata No. 4, Christ Lag in Todesbanden, is a wonderful example of Baroque call-and-response and will provide both a learning experience and a musical highlight for treble singers of all ages.
Description: J.S. Bach (1685-1750) is one of the most famous composers ever to have lived. As a German composer of the baroque era, Bach's music is revered for its technical command, artistic beauty and intellectual depth. Henriette Renié's arrangement of Ten Preludes for Harp makes the composer's much loved music even more accessible. The Well-Tempered Clavier by J.S. Bach is a collection of 24 preludes and fugues in all 24 major and minor keys, composed and intended as studies. Generally, the collection is regarded as being among the most influential works in the history of Western classical music. Therefore, Renié's arrangement of ten of the preludes is unmissable to all aspiring, advanced harpists.
Description: Being one of Bach's four small (“Lutheran”) masses, it is suggested by some scholars that the Mass in G Major was among Bach's preliminary studies for the B minor Mass. Optional Violin parts available (48001521).
Description: Bach's Cantata No. 93 presents an opportunity for young treble choirs to learn a distinctly beautiful melody, master it vocally, then trace its development in a contrapuntal duet setting. May be performed with keyboard and optional strings. A set of string parts sold separately for Violin I, II and Viola.
Performed by Anima-Young Singers of Greater Chicago. Emily Ellsworth, conductor.
Description: Bach's Cantata No. 93 presents an opportunity for young treble choirs to learn a distinctly beautiful melody, master it vocally, then trace its development in a contrapuntal duet setting. May be performed with keyboard and optional strings. Instrumentation: Violin I, II and Viola.
Description: “Part of the Organ collection by J. S. Bach, this Volume IX Eighteen Chorals of Leipzig (BWV 651-668) was composed between 1740 and 1750, in Leipzig. This volume is now translated in English and French and features the annotation of Marcel Dupré, a French organist, to help the performer getting the most of the music sheet. This ninth book contains a set of eighteen religious preludes: 1. Come, Holy Ghost 2. Come, Holy Ghost 3. By the rivers of Babylon 4. Deck thyself, o my soul 5. Lord Jesus Christ, unto us turn 6. O stainless Lamb of God 7. Now thank we all our God 8. From God I will not turn 9. Come now, Saviour of the Heathen 10. Come now, Saviour of the Heathen 11. Come now, Saviour of the Heathen 12. Glory to God on high 13. Glory to God on high 14. Glory to God on high 15. Jesus Christ, our Saviour 16. Jesus Christ, our Saviour 17. Come, God, Creator, Holy Ghost 18. Before thy Throne, I now appear Some of this prelude contains toccatas, sarabandes, fugues, ritornellos and many ornaments. Quite varied, they can also be either joyful or full of lamentations. The preface of these Eighteen Chorals of Leipzig is well written, with explanations of the comments and descriptions of the techniques to use for a good interpretation of this work. ”
Description: Some teachers and pianists prefer a clean musical source. Henle has released these new versions of Urtext Editions without fingering to accommodate that. The normal Urtext Editions with fingering also remain available.
Although people might like to think that the “English Suites” were composed after the “French Suites,” “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach,” (from our preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this, in different formats: the complete paperbound volume (HN 100), clothbound (HN 101), divided into Nos. 1-3 (HN 102) and Nos. 4-6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN 9100).
Description: Although people might like to think that the “English Suites” were composed after the “French Suites” (HN 71), “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach” (from our preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this, in different formats: the complete paperbound volume (HN 100), clothbound (HN 101), divided into Nos. 1-3 (HN 102) and Nos. 4-6 (HN 103) and last but not least in a very good value study edition with the indentical musical text (HN 9100).
Description: Some teachers and pianists prefer a clean musical source. Henle has released these new versions of Urtext Editions without fingering to accommodate that. The normal Urtext Editions with fingering also remain available.
Although people might like to think that the “English Suites” were composed after the “French Suites,” “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach,” (from our preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this, in different formats: the complete paperbound volume (HN 100), clothbound (HN 101), divided into Nos. 1-3 (HN 102) and Nos. 4-6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN 9100).
Description: The epithet “English Suites” – as with the “French Suites” – did not originate with Bach himself. In contrast to the six intimate French Suites, Bach's English Suites adopt a grander tone, each one opening with a prelude in concertante style. Two of the sarabandes survive in additional versions that feature ornamentation by Bach himself; an impressive testimony to his intended virtuosic and opulent harpsichord style in these pieces.
Despite the lack of autograph sources, the musical text of these works has survived extraordinarily well and reliably thanks to several contemporary manuscript copies. For this revised Urtext edition Ullrich Scheideler has undertaken an exemplary investigation of authentic variants, especially in the ornamentation. All are documented here, and made directly accessible to the player in the musical text itself. This new edition also has another Bach specialist on board: Ekaterina Derzhavina, whose carefully-devised fingerings will guide players securely through the cosmos of Bach's English Suites.
Description: The epithet “English Suites” – as with the “French Suites” – did not originate with Bach himself. In contrast to the six intimate French Suites, Bach's English Suites adopt a grander tone, each one opening with a prelude in concertante style. Two of the sarabandes survive in additional versions that feature ornamentation by Bach himself; an impressive testimony to his intended virtuosic and opulent harpsichord style in these pieces. Despite the lack of autograph sources, the musical text of these works has survived extraordinarily well and reliably thanks to several contemporary manuscript copies. For this revised Urtext edition Ullrich Scheideler has undertaken an exemplary investigationof authentic variants, especially in the ornamentation. All are documented here, and made directly accessible to the player in the musical text itself.
Description: Although people might like to think that the “English Suites” were composed after the “French Suites” (HN71), “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach” (from the preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this, in different formats: the complete paperbound volume (HN 100), clothbound (HN 101), divided into Nos. 1-3 (HN102) and Nos. 4-6 (HN103).
Description: The epithet “English Suites” – as with the “French Suites” – did not originate with Bach himself. In contrast to the six intimate French Suites, Bach's English Suites adopt a grander tone, each one opening with a prelude in concertante style. Two of the sarabandes survive in additional versions that feature ornamentation by Bach himself; an impressive testimony to his intended virtuosic and opulent harpsichord style in these pieces.
Despite the lack of autograph sources, the musical text of these works has survived extraordinarily well and reliably thanks to several contemporary manuscript copies. For this revised Urtext edition Ullrich Scheideler has undertaken an exemplary investigationof authentic variants, especially in the ornamentation. All are documented here, and made directly accessible to the player in the musical text itself. This new edition also has another Bach specialist on board: Ekaterina Derzhavina, whose carefully-devised fingerings will guide players securely through the cosmos of Bach's English Suites.
Description: Here is the second movement from JS Bach's beautiful “Magnificat.” This music soars and lies beautifully in the voice. With only eight Latin words making up the text, rehearsal time can be dedicated to vowel uniformity, breath, phrasing and discovering Baroque style.
