Telemann's Sonata (solo) for traverse flute and basso continuo comes from his 'Tafelmusik' published in 1733, one of the most important instrumental cycles of the late Baroque period. The prominent themes of the Sonata, especially of the first and last movements, seem to have impressed G. Fr. Handel so much that he took them up in his Organ Concerto #15 in D minor. The edition strictly follows the…

A setting by Kaija Saariaho of texts by Amin Maalouf for solo Soprano with Piano. A joint commission between the Théâtre De Châtelet Paris and the Barbican Centre London, the piece was first performed in Paris, April 2003. The text features four short writings Attente, Douleur, Parfum De L'Instant and Résonances , with a complex Piano part that bubbles with effervescent textures and glissandi. / S…

Par BRUCH MAX. Aside from his popular Violin Concerto no. 1, “ Kol Nidrei ” numbers among Max Bruch ’s most famous compositions. The melancholy “Adagio after Hebrew melodies” was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor Cello sound is the ideal medium for …

Nach Texten Von Franz Schubert. Par HOLLIGER HEINZ. I was in the middle of a recording project featuring Franz Schubert’s complete symphonies and other orchestral works, when I received a request from Anna Lucia Richter asking if I could compose a companion piece for Schubert’s The Shepherd on the Rock. I was inspired by the movingly simple yet profoundly mysterious musical text Schubert had publi…

for Piano and Orchestra. Par MOZART WOLFGANG AMADEUS. Concerto For Piano And Orchestra No. 17 G major K. 453. Piano Solo, Flute, Oboe (2), Bassoon (2), Horn (2), Strings. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart 's autograph manuscripts). At the same time, it also serves as an aid to authentic perfo…

Kommt, Eilet Und Laufet. Par BACH JOHANN SEBASTIAN. Critical new edition 2004, edited by Ulrich Leisinger: Carus 31. 249; old edition, edited by Dieter Hellmann: Carus 31. 249/50. Parody of the secula cantata 'Entfliehet, verschwindet, entweichet, ihr Sorgen' BWV 249a. Like the Ascension Oratorio BWV 11, Johann Sebastian Bach’s Easter Oratorio BWV 249 is entirely and unjustly overshadowed by his t…

Kommt, Eilet Und Laufet. Par BACH JOHANN SEBASTIAN. Critical new edition 2004, edited by Ulrich Leisinger: Carus 31. 249; old edition, edited by Dieter Hellmann: Carus 31. 249/50. Parody of the secula cantata 'Entfliehet, verschwindet, entweichet, ihr Sorgen' BWV 249a. Like the Ascension Oratorio BWV 11, Johann Sebastian Bach’s Easter Oratorio BWV 249 is entirely and unjustly overshadowed by his t…

Kommt, Eilet Und Laufet. Par BACH JOHANN SEBASTIAN. Critical new edition 2004, edited by Ulrich Leisinger: Carus 31. 249; old edition, edited by Dieter Hellmann: Carus 31. 249/50. Parody of the secula cantata 'Entfliehet, verschwindet, entweichet, ihr Sorgen' BWV 249a. Like the Ascension Oratorio BWV 11, Johann Sebastian Bach’s Easter Oratorio BWV 249 is entirely and unjustly overshadowed by his t…

Kommt, Eilet Und Laufet. Par BACH JOHANN SEBASTIAN. Critical new edition 2004, edited by Ulrich Leisinger: Carus 31. 249; old edition, edited by Dieter Hellmann: Carus 31. 249/50. Parody of the secula cantata 'Entfliehet, verschwindet, entweichet, ihr Sorgen' BWV 249a. Like the Ascension Oratorio BWV 11, Johann Sebastian Bach’s Easter Oratorio BWV 249 is entirely and unjustly overshadowed by his t…

Kommt, Eilet Und Laufet. Par BACH JOHANN SEBASTIAN. Critical new edition 2004, edited by Ulrich Leisinger: Carus 31. 249; old edition, edited by Dieter Hellmann: Carus 31. 249/50. Parody of the secula cantata 'Entfliehet, verschwindet, entweichet, ihr Sorgen' BWV 249a. Like the Ascension Oratorio BWV 11, Johann Sebastian Bach’s Easter Oratorio BWV 249 is entirely and unjustly overshadowed by his t…

Par BUXTEHUDE DIETRICH. This six-verse hymn is based on the melody “Herzlich tut mich verlangen, ” which Buxtehude used both for the solo cantata Herzlich tut mich verlangen BuxWV 42 and for a chorale prelude entitled Ach Herr, mich armen Sünder BuxWV 178. Apart from the “Amen, ” with coloratura decoration, the text is set in a simple four-part texture. The accompanying violins are used in the pre…

Par BUXTEHUDE DIETRICH. This six-verse hymn is based on the melody “Herzlich tut mich verlangen, ” which Buxtehude used both for the solo cantata Herzlich tut mich verlangen BuxWV 42 and for a chorale prelude entitled Ach Herr, mich armen Sünder BuxWV 178. Apart from the “Amen, ” with coloratura decoration, the text is set in a simple four-part texture. The accompanying violins are used in the pre…

Par BUXTEHUDE DIETRICH. This six-verse hymn is based on the melody “Herzlich tut mich verlangen, ” which Buxtehude used both for the solo cantata Herzlich tut mich verlangen BuxWV 42 and for a chorale prelude entitled Ach Herr, mich armen Sünder BuxWV 178. Apart from the “Amen, ” with coloratura decoration, the text is set in a simple four-part texture. The accompanying violins are used in the pre…

Archduke. Par BEETHOVEN LUDWIG VAN. By the time Beethoven completed the ?Archduke? Trio in 1811 he had been working on it for several years. In April 1814 he could finally give the work its première together with Ignaz Schuppanzigh and Joseph Linke, this being Beethoven?s last public appearance as a pianist. He dedicated the piece to his friend, pupil and patron, Archduke Rudolph of Austria. Today…