Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534500 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Concert,Standards. 429 pages. Musik Fabrik Music Publishing #3573587. Published by Musik Fabrik Music Publishing (A0.534500). J. S. Bach completed the 24 preludes and fugues that make up the first book of the Well-Tempered Clavier in 1722 in Cöthen, where much of his other important instrumentalchamber music was written. The twenty-four segments go through all of the major and minor keys, with an prelude which explores a single texture or figuration and a contrasting fugue in either 2, 3, 4 or 5 voices. In this arrangement, the different voices are either shared by the four instruments or, in the case of the five voices of the Fugue in Bb minor, implied through arpeggios in the alto and tenor voices. Care must be taken to make these implied chordssound through discretely sustaining these voices through resonance.The preludes are generally in relatively free improvisatory forms which explore different types of baroque devises, including italianate keyboard figuration, “arioso� ornamented melodies with ostinato accompaniments, and more abstract forms. Two of the preludes are especially notable: the stately harmonic progression of the First prelude in C major, one of Bach’s most well-known works, and the gigantic prelude and double fugue of the Eb Major prelude.The fugues represent an exploration of all styles, ranging from the Ricacare in the Fugue no. 4 in c# minor and the use of augmentation, canon and inversion in no. 8 in Eb minor.

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Digital Download SKU: A0.947898 Composed by Friedrich Burgmueller. Arranged by Doniell Cushman. Instructional,Romantic Period,Standards. 8 pages. Doniell C Cushman #3142861. Published by Doniell C Cushman (A0.947898). Based off of Burgmueller's original piano piece Ave Maria, this arrangement is true to the original including articulations, dynamic shading, and general tempo. This piece is perfect for players at an beginning through intermediate level. Showcases harmony and short legato phrases. Sounds wonderful with the timbre different than the piano original. Slow tempo, chord structure, and articulation are all important mechanisms in this piece.Original arranged material, all rights reserved.

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532733 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532734 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 21 pages. Musik Fabrik Music Publishing #1917. Published by Musik Fabrik Music Publishing (A0.532734). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Saxophone Quartet,Woodwind Ensemble Baritone Saxophone - Level 2 - Digital Download SKU: A0.1137884 Composed by Christian Petzold, Johann Sebastian Bach, and Martin Luther. Arranged by Ander. Baroque,Easter,Renaissance,Sacred,Wedding. 44 pages. Woods Only, Arrangements #738138. Published by Woods Only, Arrangements (A0.1137884). This album contains 5 of Johann Sebastian Bach's most famous and versatile pieces for baritone quartet, all very well suited for the beginners who want to get to know the baroque repertoire. They are also suitable for performances at events such as: weddings, Christian and church ceremonies, Easter, and academic recitals or concerts. They can be used in music institutions and by teachers as repertoire material and study methods, either for performance or instrumental technique. This collection includes a totally free bonus for you to enjoy: Martin Luther's A Mighty Fortress is Our God, a Renaissance sacred song for choir, which has been adapted for this set. 1: Air on the G String - The original piece is part of Johann Sebastian Bach's Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called Air on the G String dates from one of these latter employments. In the service of the Prince of Cöthen, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the Air on the G String. This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument. 2: Arioso - The Cantata 156 (BWV 156) was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach's favorite librettists. Of the four cantatas written by Bach for the feast, it was the last and only one scored for solo voice. This is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different choral melodies and texts in the second and sixth movements. A cantata is a sung symphony consisting of several parts, one of which is the Arioso, which is the initial instrumental part. 3: Jesu, joy of man's desiring - This is one of Bach's most beautiful cantatas, made famous by the Jesus the Joy of Men chorus. It was originally composed for Advent 1716 in Weimar. Years later, already in Leipzig, Advent was tempus clausum, there was no music in the churches. Bach then reworked it for the Feast of Mary's Visitation. It is the final chorale of the cantata Herz und Mund und Tat und Leben. Although it is the 32nd cantata composed by Bach, of those that have survived, it was given BWV 147 in the complete catalog of his works. 4: O Jesulein süss, o Jesulein mild - The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering. 5: Minuet in G major - This famous piece has traditionally been attributed to Johann Sebastian Bach, as it appears in the Notebook for Anna Magdalena , a notebook that Bach gave to his wife Anna Magdalena in 1725 and which was to be filled with the favorite selections of Bach family members. However, recent research has concluded that this minuet, sometimes referred to as BWV Anhang 114. was probably composed by Christian Petzold, a German composer and organist contemporary with Bach. Bonus: A Mighty Fortress is Our God, by Martin Luther - Ein feste Burg ist unser Gott is a hymn written by Martin Luther probably before 1529. The melody was also considered his work for a long time, but it was created at least with the collaboration of Johann Walter. The song is of great symbolic power for Protestantism, where it is also known as Deus noster refugium et virtus. Considered one of the most important hymns in the history of Christianity, it was considered by the Christian poet Johann Heirich Heine (1797-1856) to be the Marseillaise of the Reformation, in an allusion to the French national anthem.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.946355 Composed by Jimmy Giuffre. Arranged by Benjamin Karaca. 20th Century,Contemporary,Instructional,Jazz,Standards. 17 pages. Benjamin Karaca #6409831. Published by Benjamin Karaca (A0.946355). Jimmy Giuffre composed Four Brothers for Woody Herman's Second Herd. This band was famous for its saxophone section, which featured the unusual lineup of three Tenor Saxophones and one Baritone Saxophone (TTTB). This saxophone quartet arrangement is often referred to as the Four Brothers� lineup. Four Brothers (the piece) is now a jazz standard and a showcase piece for any saxophone section.This version is a transcription (or leadsheet) of the main theme. The key matches the original. In addition to the original TTTB lineup, I've added as many additional parts as possible. This version can be played with any sensible combination of Soprano, Alto, Tenor, Baritone and even Bass Saxophones.The main theme of Four Brothers provides the quartet with a perfect opportunity to focus on various important aspects of ensemble playing, including phrasing, articulation, timing, volume (balance), and tone. Additionally, I've added an intonation exercise based on the chord progression of the [A] section.Saxophone Quartet in various lineups (SATB, AATB, TTTB etc.). Level 4/5.Part 1: Soprano Sax / Alto Sax / Tenor SaxPart 2: Alto Sax / Tenor Sax / Baritone SaxPart 3: Alto Sax / Tenor Sax / Baritone SaxPart 4: Tenor Sax / Baritone Sax / Bass SaxScore in CA high-quality arrangement by a professional musician. It also includes interesting information about the piece and helpful tips for interpretation. For more information, please visit my website: www.benjaminkaraca.com.

Saxophone Quartet,Woodwind Ensemble Tenor Saxophone - Level 2 - Digital Download SKU: A0.1137878 Composed by Christian Petzold, Johann Sebastian Bach, and Martin Luther. Arranged by Ander. Baroque,Easter,Renaissance,Sacred,Wedding. 44 pages. Woods Only, Arrangements #738132. Published by Woods Only, Arrangements (A0.1137878). This album contains 5 of Johann Sebastian Bach's most famous and versatile pieces for tenor sax quartet, all very well suited for the beginners who want to get to know the baroque repertoire. They are also suitable for performances at events such as: weddings, Christian and church ceremonies, Easter, and academic recitals or concerts. They can be used in music institutions and by teachers as repertoire material and study methods, either for performance or instrumental technique. This collection includes a totally free bonus for you to enjoy: Martin Luther's A Mighty Fortress is Our God, a Renaissance sacred song for choir, which has been adapted for this set. 1: Air on the G String - The original piece is part of Johann Sebastian Bach's Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called Air on the G String dates from one of these latter employments. In the service of the Prince of Cöthen, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the Air on the G String. This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument. 2: Arioso - The Cantata 156 (BWV 156) was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach's favorite librettists. Of the four cantatas written by Bach for the feast, it was the last and only one scored for solo voice. This is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different choral melodies and texts in the second and sixth movements. A cantata is a sung symphony consisting of several parts, one of which is the Arioso, which is the initial instrumental part. 3: Jesu, joy of man's desiring - This is one of Bach's most beautiful cantatas, made famous by the Jesus the Joy of Men chorus. It was originally composed for Advent 1716 in Weimar. Years later, already in Leipzig, Advent was tempus clausum, there was no music in the churches. Bach then reworked it for the Feast of Mary's Visitation. It is the final chorale of the cantata Herz und Mund und Tat und Leben. Although it is the 32nd cantata composed by Bach, of those that have survived, it was given BWV 147 in the complete catalog of his works. 4: O Jesulein süss, o Jesulein mild - The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering. 5: Minuet in G major - This famous piece has traditionally been attributed to Johann Sebastian Bach, as it appears in the Notebook for Anna Magdalena , a notebook that Bach gave to his wife Anna Magdalena in 1725 and which was to be filled with the favorite selections of Bach family members. However, recent research has concluded that this minuet, sometimes referred to as BWV Anhang 114. was probably composed by Christian Petzold, a German composer and organist contemporary with Bach. Bonus: A Mighty Fortress is Our God, by Martin Luther - Ein feste Burg ist unser Gott is a hymn written by Martin Luther probably before 1529. The melody was also considered his work for a long time, but it was created at least with the collaboration of Johann Walter. The song is of great symbolic power for Protestantism, where it is also known as Deus noster refugium et virtus. Considered one of the most important hymns in the history of Christianity, it was considered by the Christian poet Johann Heirich Heine (1797-1856) to be the Marseillaise of the Reformation, in an allusion to the French national anthem.

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532735 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 24 pages. Musik Fabrik Music Publishing #1921. Published by Musik Fabrik Music Publishing (A0.532735). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532736 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 21 pages. Musik Fabrik Music Publishing #1923. Published by Musik Fabrik Music Publishing (A0.532736). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Saxophone Quartet,Woodwind Ensemble Alto Saxophone - Level 2 - Digital Download SKU: A0.1137872 Composed by Christian Petzold, Johann Sebastian Bach, and Martin Luther. Arranged by Ander. Baroque,Easter,Renaissance,Sacred,Wedding. 44 pages. Woods Only, Arrangements #738125. Published by Woods Only, Arrangements (A0.1137872). This album contains 5 of Johann Sebastian Bach's most famous and versatile pieces for alto sax quartet, all very well suited for the beginners who want to get to know the baroque repertoire. They are also suitable for performances at events such as: weddings, Christian and church ceremonies, Easter, and academic recitals or concerts. They can be used in music institutions and by teachers as repertoire material and study methods, either for performance or instrumental technique. This collection includes a totally free bonus for you to enjoy: Martin Luther's A Mighty Fortress is Our God, a Renaissance sacred song for choir, which has been adapted for this set. 1: Air on the G String - The original piece is part of Johann Sebastian Bach's Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called Air on the G String dates from one of these latter employments. In the service of the Prince of Cöthen, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the Air on the G String. This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument. 2: Arioso - The Cantata 156 (BWV 156) was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach's favorite librettists. Of the four cantatas written by Bach for the feast, it was the last and only one scored for solo voice. This is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different choral melodies and texts in the second and sixth movements. A cantata is a sung symphony consisting of several parts, one of which is the Arioso, which is the initial instrumental part. 3: Jesu, joy of man's desiring - This is one of Bach's most beautiful cantatas, made famous by the Jesus the Joy of Men chorus. It was originally composed for Advent 1716 in Weimar. Years later, already in Leipzig, Advent was tempus clausum, there was no music in the churches. Bach then reworked it for the Feast of Mary's Visitation. It is the final chorale of the cantata Herz und Mund und Tat und Leben. Although it is the 32nd cantata composed by Bach, of those that have survived, it was given BWV 147 in the complete catalog of his works. 4: O Jesulein süss, o Jesulein mild - The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering. 5: Minuet in G major - This famous piece has traditionally been attributed to Johann Sebastian Bach, as it appears in the Notebook for Anna Magdalena , a notebook that Bach gave to his wife Anna Magdalena in 1725 and which was to be filled with the favorite selections of Bach family members. However, recent research has concluded that this minuet, sometimes referred to as BWV Anhang 114. was probably composed by Christian Petzold, a German composer and organist contemporary with Bach. Bonus: A Mighty Fortress is Our God, by Martin Luther - Ein feste Burg ist unser Gott is a hymn written by Martin Luther probably before 1529. The melody was also considered his work for a long time, but it was created at least with the collaboration of Johann Walter. The song is of great symbolic power for Protestantism, where it is also known as Deus noster refugium et virtus. Considered one of the most important hymns in the history of Christianity, it was considered by the Christian poet Johann Heirich Heine (1797-1856) to be the Marseillaise of the Reformation, in an allusion to the French national anthem.

Saxophone Quartet,Woodwind Ensemble - Level 2 - Digital Download SKU: A0.1137887 Composed by Christian Petzold, Johann Sebastian Bach, and Martin Luther. Arranged by Ander. Baroque,Easter,Renaissance,Sacred,Wedding. 44 pages. Woods Only, Arrangements #738143. Published by Woods Only, Arrangements (A0.1137887). This album contains 5 of Johann Sebastian Bach's most famous and versatile pieces for sax quartet, all very well suited for the beginners who want to get to know the baroque repertoire. They are also suitable for performances at events such as: weddings, Christian and church ceremonies, Easter, and academic recitals or concerts. They can be used in music institutions and by teachers as repertoire material and study methods, either for performance or instrumental technique. This collection includes a totally free bonus for you to enjoy: Martin Luther's A Mighty Fortress is Our God, a Renaissance sacred song for choir, which has been adapted for this set. 1: Air on the G String - The original piece is part of Johann Sebastian Bach's Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called Air on the G String dates from one of these latter employments. In the service of the Prince of Cöthen, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the Air on the G String. This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument. 2: Arioso - The Cantata 156 (BWV 156) was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach's favorite librettists. Of the four cantatas written by Bach for the feast, it was the last and only one scored for solo voice. This is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different choral melodies and texts in the second and sixth movements. A cantata is a sung symphony consisting of several parts, one of which is the Arioso, which is the initial instrumental part. 3: Jesu, joy of man's desiring - This is one of Bach's most beautiful cantatas, made famous by the Jesus the Joy of Men chorus. It was originally composed for Advent 1716 in Weimar. Years later, already in Leipzig, Advent was tempus clausum, there was no music in the churches. Bach then reworked it for the Feast of Mary's Visitation. It is the final chorale of the cantata Herz und Mund und Tat und Leben. Although it is the 32nd cantata composed by Bach, of those that have survived, it was given BWV 147 in the complete catalog of his works. 4: O Jesulein süss, o Jesulein mild - The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering. 5: Minuet in G major - This famous piece has traditionally been attributed to Johann Sebastian Bach, as it appears in the Notebook for Anna Magdalena , a notebook that Bach gave to his wife Anna Magdalena in 1725 and which was to be filled with the favorite selections of Bach family members. However, recent research has concluded that this minuet, sometimes referred to as BWV Anhang 114. was probably composed by Christian Petzold, a German composer and organist contemporary with Bach. Bonus: A Mighty Fortress is Our God, by Martin Luther - Ein feste Burg ist unser Gott is a hymn written by Martin Luther probably before 1529. The melody was also considered his work for a long time, but it was created at least with the collaboration of Johann Walter. The song is of great symbolic power for Protestantism, where it is also known as Deus noster refugium et virtus. Considered one of the most important hymns in the history of Christianity, it was considered by the Christian poet Johann Heirich Heine (1797-1856) to be the Marseillaise of the Reformation, in an allusion to the French national anthem.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1421819 Composed by Henry Purcell. Arranged by Robert Stevens. Baroque,Chamber,Classical,Early Music. 32 pages. SAXpress.com #1003167. Published by SAXpress.com (A0.1421819). Suite from Abdelazer Henry Purcell (1659-1695) SATB Saxophone Quartet Suite from Abdelazer by Henry Purcell, arranged for saxophone quartet SATB. Purcell wrote the incidental music for the play Abdelazer (sometimes spelled 'Abdelazar') in 1695, shortly before his death. It is a lively mix of songs and dances of the time. Typical of the day, several of the movements became well known as popular songs. The rondo was later made famous by Benjamin Britten, who used it as the theme for his set of variations, ‘The Young Person’s Guide to the Orchestra’. The rondo as well as another selection, the Hornpipe, was included in the 2005 film Pride and Prejudice.This transcription for saxophone quartet SATB of Suite from Abdelazar is comprised of five of the ten selections Purcell wrote for the play. The movements are as follows: I. Overture II. Minuet III. Hornpipe IV. Air V. Rondo About the Composer: Henry Purcell (born c. 1659, London, England—died November 21, 1695, London) was an English composer of Baroque music. Purcell's musical style was uniquely English, although it incorporated Italian and French elements. Generally considered among the greatest English opera composers, Purcell is included with John Dunstaple and William Byrd as England's most important early music composers. Later, Purcell's music also had a strong influence on the composers of the English musical renaissance of the early 20th century.The cause of Purcell's untimely death at the age of 36 is unclear. There are many theories, some preposterous (he died from chocolate poisoning), some more likely: he died of tuberculosis. Purcell was universally mourned as a very great master of music.  Following his death, the officials at Westminster honoured him by unanimously voting that he be buried with no expense spared in the north aisle of the Abbey.