Angeregt durch den vom antiken Sophisten Longos verfassten Liebesroman "Daphnis und Cloë" komponierte Christian Ernst 2008 die sieben Stücke "Aus Daphnis Hirtenweisen" op. 58. In der von Goethe hoch gelobten Erzählung aus dem 3. Jahrhundert, in der das von Nymphen, Pan und Eros göttlich begleitete Liebeserwachen der jungen Hirten Daphnis und Cloë geschildert wird, überwiegt ein weltenferner, pastoral-idyllischer Naturton, der seine Entsprechung findet in der zeitgenössischen, etwa mittelschweren Komposition für Sopranblockflöte solo. Ohne die Geschichten und Abenteuer des die Syriny blasenden Hirten Daphnis getreu nachzeichnen zu wollen, spannt doch jeder der sieben, meist metrisch ungebundenen Tonbilder einen weiten Bogen zurück in eine ferne, utopisch-paradiesische Welt, die freilich nur in der Kunst von Dauer sein kann.

It is already a centuries-old tradition that popular masterpieces for choir or orchestra have been transferred to the organ, the queen of instruments. Günter Kaluza has adapted nine popular compositions for the organ for this edition. Content: - Adagio and Allegro in F minor K. 594 (Wolfgang A. Mozart | 1756 - 1791) Fantasy for an organ work in one o'clock, transcription - Air from the orchestral suite (Johann Sebastian Bach | 1685 - 1750) in Dc.f. in the left hand, transcription - Rondo from “Abdelazer” (Henry Purcell | 1659 - 1695) solemn, transcription - “Jesu bleibet meine Freude” from Cantata 147 (Johann Sebastian Bach | 1685 - 1750) chorale, transcription - Prelude from “Te Deum laudamus” (Marc-Antoine Charpentier | 1643 - 1704) known through the Eurovision TV broadcasts, transcription - Psalm 19 “The heavens are telling” (Benedetto Marcello | 1686 - 1739) known to many, festive, transcription by F. Cl. Theodore Dubois (1837 - 1924) - Hallelujah from the oratorio “The Messiah” (George Frideric Handel | 1685 - 1759) Transcription by F. Cl. Theodore Dubois | 1837 - 1924 - The Glory of God from Nature (Ludwig van Beethoven | 1770 - 1827) “Praise the heavens” transcription - Purcell's Trumpet Voluntary (Prince of Denmark March) (Jeremiah Clarke | 1674 - 1707) Transcription

Der zweite Band des Flötenclubs stellt wieder eine Fülle von Spielstücken für die Triobesetzung (Altblockflöten oder Querflöten) zur Verfügung. Stilistisch geht es von der Renaissance bis zur Romantik, von Folksongs über Blues bis zu Spirituals und Kompositionen in verschiedenen populären Stilarten. Wie man schnell aus den Notenwerten, den Vorzeichen und auch aus dem Umfang der Stücke ersehen kann, wird hier ein höheres Maß an das instrumentale Können der Spielerinnen und Spieler vorausgesetzt. Über das frühe Unterrichtsstadium sollten sie also schon hinaus sein. Die Titel sind dabei nicht strikt nach Schwierigkeitsgrad geordnet, so dass man zwischendurch auch Spielstücke vorfindet, die sich entspannt und ohne große Anstrengung realisieren lassen. Band 1: N 2690 Inhalt: - Es klapperten die Klapperschlangen - Die Flaschenpost - Mowing the Barley - Shady Grove - Allemande - Going Down the Road Feeling Bad - Der tropfende Wasserhahn - Michael Row the Boat Ashore - Little Brown Jug - Tikioto Boulevard - Malaguenita - La digue digue don - Der Dreher - The Gospel Train - Die Wolken ziehn herbei - Villanelle - Der alte Schaukelstuhl - Por la noche - Bunt sind schon die Wälder - A Happy Journey - Anglica - Winnsboro Cotton Mill Blues - Menuett - Skateboard-Meeting - Ecossaise - Ostertalsmarsch - Fat Cats

Organ music of the Augustinians The Cantantibus Organis series presents organ pieces in several booklets, one group of which is selected according to the festive cycles and special themes of the church year; other groups with free preludes, interludes and postludes are organised according to musical aspects. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are historically based and can be played entirely without pedalling. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to the organ music of the Augustinians and is supplied in ring binding. Content: 1.P. Felix Gass (18. Jh.): Aria Es-Dur 2.P. Felix Gass (18. Jh.): Aria c-Moll 3.P. Felix Gass (18. Jh.): Aria Es-Dur 4.P. Felix Gass (18. Jh.): Aria A-Dur 5.P. Felix Gass (18. Jh.): Aria a-Moll 6.P. Bruno Holzapfel (18. Jh.): Fantasia B-Dur 7.P. Bruno Holzapfel (18. Jh.): Cantabile B-Dur 8.P. Bruno Holzapfel (18. Jh.): Siciliano B-Dur 9.P. Bruno Holzapfel (18. Jh.): Vivace B-Dur 10.P. Theodor Grünberger (1756-1820): Praeludium zum Kyrie 11.P. Theodor Grünberger (1756-1820): Fuga nach der Epistel 12.P. Theodor Grünberger (1756-1820): Rondo unter dem Offertorium 13.P. Theodor Grünberger (1756-1820): Alla Capella zum Sanctus 14.P. Theodor Grünberger (1756-1820): Echostück unter der Wandlung 15.P. Theodor Grünberger (1756-1820): Postludium nach dem Ite Missa est

Organ music in Benedictine monasteries - Augsburg | Garsten | St. Lambrecht | Mariazell The Cantantibus Organis series presents organ pieces in several booklets, one group of which is selected according to the festive cycles and special themes of the church year; other groups with free preludes, interludes and postludes are organised according to musical aspects. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are historically based and can be played entirely without pedalling. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to organ music in Benedictine monasteries - Augsburg | Garsten | St. Lambrecht | Mariazell and is supplied in ring binding. Content: 1.Gregor Aichinger (1564-1628): Ricercar (I) - Primi toni / A4 2.Gregor Aichinger (1564-1628): Ricercar (II) - Per sonare et cantare 3.Gregor Aichinger (1564-1628): Ricercar (III) - Per sonare et cantare / A4 4.Gregor Aichinger (1564-1628): Ricercar (IV) - Quarti toni 5.Gregor Aichinger (1564-1628): Ricercar (V) - Secundi toni 6.Gregor Aichinger (1564-1628): Ricercar (VI) - Primi toni 7.Gregor Aichinger (1564-1628) / Bernhard Schmid the Younger (* 1584): Gaudeamus et exultemus - Motet for five voices 8.Gregor Aichinger (1564-1628): Adoro te supplex, latens deitas - motet for four voices 9.Gregor Aichinger (1564-1628): Duo Seraphim clamabant - motet for eight voices 10.Gregor Aichinger (1564-1628) / Johann Woltz (around 1600): Suscepimus Deus - motet for six voices 11.P. Sebastian Ertel (†1618): Cadenzas in the eight church tones 12.P. Sebastian Ertel († 1618): Tota pulchra es amica mea - Motet for eight voices

Organ music of the Carmelite Order The Cantantibus Organis series presents organ pieces in several booklets, one group of which is selected according to the festive cycles and special themes of the church year; other groups with free preludes, interludes and postludes are arranged according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to the organ music of the Carmelite Order and is supplied in ring binding. Content: 1.P. Justinus a Desponsatione B. M. V. (1675-1747): Toccata (G major) 2nd P. Justinus a Desponsatione B. M. V. (1675-1747): Fuga (F major) 3.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria septima 4.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria undecima 5.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria sexta 6.P. Justinus a Desponsatione B. M. V. (1675-1747): Toccata (D major) 7.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria Pastorella (A major) 8.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria Pastorella (B flat major) 9.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria Pastorella (C major) 10.P. Justinus a Desponsatione B. M. V. (1675-1747): Toccata (G minor) 11.P. Justinus a Desponsatione B. M. V. (1675-1747): Fugue (E minor) 12.P. Justinus a Desponsatione B. M. V. (1675-1747): Toccata (D minor) 13.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria secunda con Varizioni (D major) 14.P. Fr. Pedro Carrera y Lanchares (around 1790): Versos de 5 tono (Clasícos) 15.P. Fr. Pedro Carrera y Lanchares (around 1790): Versos de 5 tono 16.P. Pedro Carrera y Lanchares (c. 1790): Versos de 4 tono (Clasícos) 17.P. Fr. Pedro Carrera y Lanchares (c. 1790): Versos de 1 tono 18.P. Pedro Carrera y Lanchares (c. 1790): Versos de 8 tono (Clasícos)

Mit dem Concerto G-Dur wird den Freunden des Blockflötenspiels ein Werk erschlossen, das zwar ursprünglich für Violinen geschrieben war, das seiner Anlage nach jedoch für vielseitige Besetzungs- und Aufführungsmöglichkeiten gedacht sein dürfte. Bekanntlich ließ die zu Telemanns Lebzeiten übliche Musizierpraxis in den meisten Fällen einen Austausch zwischen Violinen und Flöten zu. So konnte auch hier die ursprüngliche Fassung - ang der vorgesehenenLBlockflöten und der Eliminierung der Doppelgriffe - beibehalten werden. Das Konzert bewegt sich in kleinstem formalen Rahmen. Gerade deshalb stellt es ein eindrucksvolles Beispiel für die kompositorische Sorgfalt Telemanns dar.

In two consecutive volumes, Willibald Lutz presents alto recorder duets based on folklore / folk music (series B), which can be used very well in lessons. The first volume explores the practice ranges from f‘ to b’’. Volume 2 deals with the exercise range from f‘ to d’‘’. The level of difficulty develops from very easy to moderately difficult and thus expands the technical skills. Volume 1: The exercise ranges from f‘ to b’’ Volume 2: The exercise ranges from f‘ to d’‘’

This volume is intended to provide beginners with a rich collection of easy dances by our old masters for two-part playing on the soprano and alto recorder. As the first part is limited to the practice range from c‘ to d’', this volume can also be used for early ensemble playing in soprano recorder lessons, with the teacher taking over the second part on the alto recorder or on the flute. This adds a lot of fun and variety to the mostly monophonic recorder lessons. The second volume in this series (N 3767) covers the practice ranges c‘ to g’‘’ for the soprano recorder and f‘ to d’‘’' for the alto recorder. Further playing literature for soprano and alto recorders can be found in the tab ‘’Similar articles‘’: From series A ‘’The Music of the Old Masters‘’ and series B ‘’Folklore / Folk Music‘’ 2 booklets each available. (series A: booklet 1 - N 3766, booklet 2 - N 3767; series B: booklet 1 - N 3802, booklet 2 - N 3803) The following series are available for soprano recorders : There are also 4 consecutive volumes available from series A ‘The Music of the Old Masters’. (volume 1 - N 3657, volume 2 - N 3661, volume 3 - N 3664, volume 4 - N 3665) There are 2 volumes available from the series ‘The Great Christmas Carol Collection’. The duets can be extended with a harmony instrument and vocals. (volume 1 - N 3715, volume 2 - N 3716) From series A ‘The Music of the Old Masters’ and series B ‘Folklore / Folk Music’ 2 volumes each are available. (series A: volume 1 - N 3766, volume 2 - N 3767; series B: volume 1 - N 3802, volume 2 - N 3803) The following series are available for alto recorders : From series A ‘The Music of the Old Masters’ and series B ‘Folklore / Folk Music’ 4 and 2 volumes respectively are available. (series A: volume 1 - N 3717, volume 2 - N 3718, volume 3 - N 3719, volume 4 - N 3720; series B: volume 1 - N 3773, volume 2 - N 3774)

The series ‘Music of Old Masters’ for alto recorders (flutes) , consisting of 4 consecutive volumes, continues with volume 4. The level of difficulty ranges from very easy to moderately difficult. As the students' technical skills gradually improve, they will enjoy learning to play together in a variety of ways. Volume 1: The practice range from f‘ to g’‘ (with b’, b‘ and e flat’’) Volume 2: The practice ranges f‘-a’‘| f’-b‘’ (with b‘, e flat’‘, c sharp’‘, d flat’‘, f sharp’‘ and a flat’’) Volume 3: The practice range from f‘-c’‘’ (with all semitones from b‘-c’‘’) Volume 4: The practice range from f‘-d’‘’ (with all semitones from b‘-d’‘’) Further playing literature for alto recorders can be found in the tab ‘’ Similar products ‘’: 4 volumes are available from Series A ‘The Music of the Old Masters’. (series A: volume 1 - N 3717, volume 2 - N 3718, volume 3 - N 3719, volume 4 - N 3720) Series B ‘Folklore/folk music’ 2 consecutive booklets are available. (series B: volume 1 - N 3773, volume 2 - N 3774) The following series are available for soprano and alto recorders : From series A ‘The Music of the Old Masters’ and series B ‘Folklore/Folk Music’ 2 booklets each are available. (series A: volume 1 - N 3766, volume 2 - N 3767; series B: volume 1 - N 3802, volume 2 - N 3803)

Traumlieder ist eine Sammlung von mittelschweren Gitarrenstücken, die den Spieler zum entspannenden Musizieren einladen. Die sechs Kompositionen von Jürgen Saalmann zeichnen sich durch melancholische Stimmungen, romantische Melodien und harmonische Klänge aus. Ein Abschalten vom Alltag ist damit vorprogrammiert. Die Stücke sind auch einzeln als pdf-Datei erhältlich. Klicken Sie auf das Drop-down-Menü unter "Ausgabe (bitte auswählen)" Inhalt: - Song for Hanna - Snow - Melody to Dream - Schlaflied - Calm Sea - Fade Away Die Stücke dieser Notenausgabe sind auf der CD "Schlaflieder" von Jürgen Saalmann erschienen. "...Zu hören sind ruhige, einfach gehaltene und beschauliche Songs, eingespielt solistisch mit Klassikgitarre. Einfach, ja, aber nicht naiv und auch nicht kitschig. Das lässt sich als Musik für ruhige Momente prima hören, sei es im Hintergrund oder mit voller Aufmerksamkeit. Es geht um kontemplative und entspannte Sounds - und die hat Saalmann punktgenau getroffen, ohne ins Platte abzugleiten." (Andreas Schulz, AKUSTIK GITARRE, www.akustik-gitarre.com) www.juergensaalmann.de

"Abire" comes from Latin and means "to go away." "Abitur" is derived from it. This also explains the occasion of the work: it is a commissioned composition by Raphael B. Meyer for a school. The meaning of the word is reflected in the music. The four players begin pattern-like in unison with alto recorders. Successively the voices move away and go their own ways, so that the work sounds in four voices, only to meet again - and now with different recorders - and move away again. Abire is a lively and entertaining recorder quartet in which there is much for players and listeners to discover.