Chorale Settings of the North-German Baroque
In stock and typically ships within 1 business day.
- Composers: Anonymous, Johann Steffans (1560-1616), Andreas Neunhaber (1603-1663), Ewald Hintz (1614-1668), Jakob Kortkamp (1615-1665), Christian Flor (1626-1697), Christian Geist (1640-1711), Daniel Erich (1649-1712), Johann Christian Schieferdecker (1679-1732), Martin Radeck (1623-1684)
- Editor: Klaus Beckmann
- Instrumentation: Organ
- ISMN:
- Size: 12.0 x 9.1 inches
- Pages: 84
- Urtext / Critical Edition
Description
Klaus Beckmann's "North-German Chorale Settings of the Baroque Era" is a truly impressive document of organ music. Far from dynamic musical centers like Hamburg and Luebeck, which Beckmann has already presented in numerous editions, organ music also flourished in other Northern cities such as Lueneburg, Kiel, Copenhagen and Danzig in the 17th century. These 17 chorale settings convey a vivid picture of the forcefulness and originality of Baroque organ music in the Hanseatic cities.
Some of the chorale settings are published for the first time in this edition.
Works:
- Steffans: Ach Gott, vom Himmel sieh darein
- Steffans: Jesus Christus, unser Heiland
- Steffans: Veni redemptor gentium (Nun komm, der Heiden Heiland)
- Neunhaber: Ich ruf zu dir, Herr Jesu Christ
- Hintz: Allein zu dir, Herr Jesu Christ
- Kortkamp: Herr Gott, dich loben wir (Te Deum laudamus)
- Flor: Ein feste Burg ist unser Gott
- Anonymous: Herr Jesu Christ, du höchstes Gut (1660)
- Radeck: Jesus Christus, unser Heiland
- Radeck: Jesus Christus, unser Heiland (Contrapunctus, 4 Evolutiones)
- Geist: Allein Gott in der Höh sei Ehr
- Geist: Aus tiefer Not schrei ich zu dir
- Geist: Gelobet seist du, Jesu Christ
- Erich: Allein zu dir, Herr Jesu Christ
- Erich: Christum wir sollen loben schon
- Erich: Es ist das Heil uns kommen her
- Schieferdecker: Meine Seele erhebet den Herren (Magnificat)
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.