Piano Solo - Level 3 - Digital Download

SKU: A0.1121730

By Johann Sebastian Bach and Víkingur Ólafsson. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Festival,Instructional,Sacred. Score. 4 pages. Flavio Regis Cunha #722917. Published by Flavio Regis Cunha (A0.1121730).

Do you want to learn the fascinating Prelude in E major of 'Das Orgelbüchlein, BWV 599-644: Christe, du Lamm Gottes, BWV 619' composed by the legendary Johann Sebastian Bach?   Well, now you can! With the sheet music of 'Das Orgelbüchlein, BWV 599-644: Christe, du Lamm Gottes, BWV 619', you can learn how to play this magnificent piece as performed by Víkingur Ólafsson.   This is the first time this version of the prelude has been available. Get your hands on it now and unlock the mysterious beauty of Bach's prelude! You don't want to miss out on this chance! Get the sheet music of 'Das Orgelbüchlein, BWV 599-644: Christe, du Lamm Gottes, BWV 619', as played by Víkingur Ólafsson, today!

J.S. Bach: Das Orgelbüchlein, BWV 599-644 - Christe, du Lamm Gottes, BWV 619 As played by Víkingur Ólafsson in his new album From afar

Intermediate level
Format: Concert 9 x 12 inches
3 pages

Program notes

The Orgelbüchlein, BWV 599-644 is a collection of chorale preludes composed for organ by Johann Sebastian Bach. Central to the collection is the chorale prelude Christe, du Lamm Gottes, BWV 619 composed by Bach in 1714.   Christe, du Lamm Gottes, BWV 619 is a unique and melodious composition that combines complex rhythmic elements with a beautiful harmonic progressions. The structure of the composition is highly advanced and Bach uses counterpoint masterfully.   Bach uses the chorale melody to provide a vocal line over rich harmonic progressions. The vocal line is layered over a series of organ chords, which serve as an accompaniment. The combination of both melodic and harmonic elements gives the piece great depth and complexity.   By providing a powerful vocal component to the composition Bach also creates an emotional connection with the listener. The beauty of Bach's composition lies in its ability to transport the listener to a spiritual realm that is only achieved through contemplation and devotion.   Bach also incorporates more traditional elements of musical composition such as tempo and dynamic contrast. This adds a great amount of variety and creates a variety that holds the listener's interest throughout the piece.   There is no doubt that Christe, du Lamm Gottes, BWV 619 is one of Bach's greatest masterpieces and it is a timeless musical tribute to God.

Flute,Piano - Level 1 - Digital Download

SKU: A0.548672

Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 10 pages. Jmsgu3 #3410429. Published by jmsgu3 (A0.548672).

Duration: 4:56. Score 5 pg. 44 ms. Solo part: 2 pg. Piano part: 3 pg.

Cantique de Noël

The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840’s he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël.  Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much the way that Silent Night was famous elsewhere. In the 1850’s John S. Dwight, a Unitarian minister and music teacher translated the song into English.  

Adolphe Adam

In his younger years, Adam studied organ and composition at the Paris Conservatoire. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until his death in 1856.

Placide Cappeau

The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire.  Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, in particular, the problem of original sin. To begin with, people recognized Cappeau’s theology as eccentric, probably even doubtful.

Theology

In the earlier form of Minuit, the Christ figure descends to intervene with His Father’s plan to punish mankind.  Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to expunge the original sin of Adam. Cappeau removed this part from his poem years later, because he just didn’t believe it.  He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine referred to the Minuit as the the Marseillaise of religion. Most French churchmen agreed with this idea but certainly did not consider it a tribute.  

 

French Horn,Piano - Level 1 - Digital Download

SKU: A0.548674

Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 10 pages. Jmsgu3 #3410435. Published by jmsgu3 (A0.548674).

Duration: 4:56. Score 5 pg. 44 ms. Solo part: 2 pg. Piano part: 3 pg.

Cantique de Noël

The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840’s he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël.  Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much the way that Silent Night was famous elsewhere. In the 1850’s John S. Dwight, a Unitarian minister and music teacher translated the song into English.  

Adolphe Adam

In his younger years, Adam studied organ and composition at the Paris Conservatoire. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until his death in 1856.

Placide Cappeau

The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire.  Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, in particular, the problem of original sin. To begin with, people recognized Cappeau’s theology as eccentric, probably even doubtful.

Theology

In the earlier form of Minuit, the Christ figure descends to intervene with His Father’s plan to punish mankind.  Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to expunge the original sin of Adam. Cappeau removed this part from his poem years later, because he just didn’t believe it.  He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine referred to the Minuit as the the Marseillaise of religion. Most French churchmen agreed with this idea but certainly did not consider it a tribute.  

 

String Orchestra - Digital Download

SKU: A0.933524

Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 24 pages. Upstream Music #6353319. Published by Upstream Music (A0.933524).

The Prelude and Fugue in C major were created during the period of study with Johann Georg Albrechtsberger, who lived from February 3, 1736 to March 7, 1809. Albrechtsberger was an Austrian theoretician and pedagogue of music, an organist, as well as a composer. He entered upon his career early as a choirboy in the choir of the monastery of Melk, Austria. There he was discovered by the crown prince, the later emperor Joseph II. The latter facilitated an appointment as the court organist.

Later Albrechtsberger became conductor of the chapel choir of the famous Stephansdom in Vienna. Albrechtsberger was a highly praised pedagogue; Beethoven, too, was among his pupils. It was this composer that studied with Albrechtsberger from January 1794 to March/May 1795. Together with Beethoven, Albrechtsberger researched all forms of the counterpoint, which is most manifest in the large number of exercises passed down; over 300 studies, fugues etc. have been preserved with corrections and alterations by Albrechtsberger.

During this period of study, greater works were also composed, such as the Dona Nobis Pacem (Hess A57), the Prelude and Fugue in E minor (Hess 29), the Prelude and Fugue in F major (Hess 30) and the present one in C major (Hess 31).

The piece was probably composed in 1794-95; this opus also shows numerous improvements and alterations by his master, although some alterations are by Beethoven himself. The manuscript of the work is to be found in Vienna, and did not appear in print until 1967 for the first time.
The present version sticks closely to Beethoven’s, but has been provided with a double bass part so as to adapt the work for being performed with a larger strength than for which it was originally written. The strength originally intended by Beethoven was two violins, a viola and a cello, so as a string quartet. With the supplementary bass part, the piece can also be played by a string orchestra, which will no doubt promote its dissemination and familiarity. In a sense, the work is already a preliminary study for the string quartets Opus 18 produced later.

Especially the rhythm, melodic forms, and the counterpoint applied, frequently return in these string quartets. Beethoven has hardly indicated any rests in the empty bars; Cees has as yet added them.

The phrasing, dynamics and time indications have also been added. Beethoven merely writes down the notes, while we have to accept the fact that various notes have been changed by Albrechtsberger but Beethoven’s notes might have been just as interesting. Of some notes it was not clear what Beethoven exactly meant; in such a case, Cees has adhered to the harmonious form, adapting the notes which, logically speaking, fit in with the harmonic unity.

C Instrument - Level 4 - Digital Download

SKU: A0.500265

By Captain & Tennille. By Toni Tennille. Arranged by John Fries. 20th Century,Jazz,Pop,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #113453. Published by John Fries (A0.500265).

Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Do That to Me One More Time is a song performed by the American pop duo Captain & Tennille. It was their 13th charting hit in the United States, and their second number 1 hit on the Billboard Hot 100 chart. It features a Lyricon solo by saxophonist Tom Scott, though Captain mimed to this part on a descant recorder in the promotional video. Do That to Me One More Time was a comeback for the duo, but they failed to achieve further success on Casablanca and their contract was not renewed. Vocalist and songwriter Toni Tennille played the song for Bogart at her house with husband Daryl Dragon in Pacific Palisades, California on an electric piano. Bogart reacted enthusiastically, saying: That's a smash! There's no doubt in my mind that's going to be your first single..