These pieces are slightly modern in tone and rhythmically loosened up without losing any of their Christmas character; they sound distinctive and are suitable for teaching purposes as well as for home music and concert performances. Content: - Susani - Zu Bethlehem geboren - Joseph, lieber Joseph mein - O laufet, ihr Hirten - Es ist ein Ros entsprungen - Lasst und froh und munter sein

Organ music for German hymns III, Christmas festive season II The Cantantibus organis collection contains 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 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 festive season of Christmas,including an insert with hymn texts. Content: Let us sing with cheerfulness (GL 135) 1.Hans Leo Hassler (1564-1612), carol setting 2.Peter Piel (1835-1904), carol setting 3.Bernhard von Salem (around 1500), chorale arrangements 4.Fridolin Sicher (1490-1546), chorale trio 5.Elias Nikolaus Ammerbach (around 1530-1597), chorale arrangements Tag an Glanz und Freuden groß (GL 137)- Der Tag, der ist so freudenreich (EKG 18) 6.Sethus Calvisius (1556-1615), hymn setting 7.Joachim Decker (†1611), song movement 8.Johannes Zahn (1817-1895), song composition 9.Caspar Othmayr (1515-1553), chorale bicinium 10.Alessandro Poglietti (†1683), Choral ricercare 11.Johann Heinrich Buttstedt (1666-1727), chorale prelude 12.Georg Pasterwitz (1730-1803), chorale fugue 13.Franz Schneider (1737-1812), chorale fugue 14.Bernhard Mettenleiter (1822-1901), chorale intonation Es kam ein Engel hell und klar (GL 138 ö, EL 22), Vom Himmel hoch da komm ich her (EKG 16) 15.Jakob Praetorius (1586-1651), hymn setting 16.Johann Pachelbel (1653-1706), song movement 17.Johann Sebsatian Bach (1685-1750), song movement 18.Johann Singenberger (1848-1924), song movement 19.Caspar Othmayr (1515-1553), Choral Bizinium 20.Georg Friedrich Kauffmann (1679-1735), chorale trio 21.F.C. Scheidemantel (18th century), Chorale Trio 22.Christian Michael Wolff (1709-1789), chorale prelude 23.Moritz Brosig (1815-1887), Chorale Trio 24.Gustav Merkel (1827-1885), chorale prelude

Chaconne on ‘Three angels sang’ for piano.

Traditional Christmas carols revived in piano movements for experienced players With this edition, Johann E. Fink fulfilled the wish of an advanced student who wanted to play Christmas carols again - but not in the easy movements found in so many other editions. The result is appealing accompaniment movements for each of the selected carols, which invite you to sing along, as well as two challenging ‘playing versions’ in which players and listeners can enjoy the lively harmonies. Content: - Alle Jahre wieder - Am Weihnachtsbaum - Ihr Hirten, erwacht - Ihr Kinderlein kommet - Kommert, ihr Hirten - Lasst uns froh und munter sein - Leise rieselt der Schnee - O du fröhliche - O Tannenbaum - Still, still, still - Stille Nacht - Süßer die Glocken nie klingen - Was soll das bedeuten

Zielgruppe des Keyboard-Kurses sind Jugendliche und Junggebliebene, die ohne praktische und theoretische Vorkenntnisse den Umgang mit dem technisch wie musikalisch vielseitigen Instrument erlernen wollen. Bei der Auswahl der Stücke, mit Oldies und Hits bereichert, gelang es, methodische Vorgaben und musikalischen Anspruch geglückt zu verbinden. Der Keyboard-Kurs eignet sich sowohl für den Einzel- als auch für den Gruppenunterricht. Inhalt: - Kum ba yah, my Lord - Can Can (Offenbach) - Blues (Schmitt) - Little Brown Jug - Sur le pont d'Avignon - Das Geheimnis - Supercalifragilistic (R u. R. Sherman) - On My Way (Schmitt) - Coming 'Round The Mountain - Happy Weekend (Schmitt) - Zigeunertanz (Verdi) - Sascha - Au clair de la lune - Ocean Breeze (Lipport) - Tango Argentina (Schmitt) - Romance d'amou - La Cucaracha - Menuett (Bach) - Ich wollt', ich wär' ein Huhn (Kreuder, Beckmann) - Hot Dogs (Schmitt) - Alley Cat (Björn, Blecher) - Piano Girl (Lipport) - Auld Lang Syne - Künstlerleben (J. Strauß)

First edition This edition is based on a manuscript from the Staatsbibliothek Berlin, Preußischer Kulturbesitz, Musikabteilung. It comes from the estate of Telemann, who gave it to his grandson Georg Michael Telemann (1748-1831). G. Poelchau acquired the manuscript in 1834 with a pack of music stored in a church tower in Riga. From Poelchau's estate († 1836) the sonata work came to the Royal Library in Berlin. The sonatas are dedicated to the brothers Rudolf, Hieronymus and Johannes Wilhelm Burmester of a Hamburg patrician family dated 1 March 1734, with the note that they follow the ‘12 methodical sonatas’, which were also dedicated to the first two brothers. The close connection between the two large sonata works can be found in their valuable musical content, in the sequence of movements (slow, fast, slow, fast), and in the succession of keys (C-a-D-h-E-F-d-G-e-A-f sharp-g). The bass lines are often involved in the theme. Occasionally we are reminded of J.S. Bach's inventions. In the title, the violin is named as the solo instrument before the flute, as several sonatas are unmistakably written “violinistically” without this hindering their playability for flute. The present edition adheres strictly to the manuscript. Suggestions for dynamics are indicated as such by brackets, as are those for articulation (by dotted lines), which may differ for violinists from those intended for flute. Experienced players should use the original figured bass for their own interpretation. The 12 sonatas made available to the public here for the first time are among the best compositions of this kind by Telemann, who dedicated them to 'connoisseurs and lovers' with the wish '...faire une bonne partie de Vos amusements'. The sonatas will fulfill this purpose today just as they did at that time.

First edition This edition is based on a manuscript from the Staatsbibliothek Berlin, Preußischer Kulturbesitz, Musikabteilung. It comes from the estate of Telemann, who gave it to his grandson Georg Michael Telemann (1748-1831). G. Poelchau acquired the manuscript in 1834 with a pack of music stored in a church tower in Riga. From Poelchau's estate († 1836) the sonata work came to the Royal Library in Berlin. The sonatas are dedicated to the brothers Rudolf, Hieronymus and Johannes Wilhelm Burmester of a Hamburg patrician family dated 1 March 1734, with the note that they follow the ‘12 methodical sonatas’, which were also dedicated to the first two brothers. The close connection between the two large sonata works can be found in their valuable musical content, in the sequence of movements (slow, fast, slow, fast), and in the succession of keys (C-a-D-h-E-F-d-G-e-A-f sharp-g). The bass lines are often involved in the theme. Occasionally we are reminded of J.S. Bach's inventions. In the title, the violin is named as the solo instrument before the flute, as several sonatas are unmistakably written “violinistically” without this hindering their playability for flute. The present edition adheres strictly to the manuscript. Suggestions for dynamics are indicated as such by brackets, as are those for articulation (by dotted lines), which may differ for violinists from those intended for flute. Experienced players should use the original figured bass for their own interpretation. The 12 sonatas made available to the public here for the first time are among the best compositions of this kind by Telemann, who dedicated them to 'connoisseurs and lovers' with the wish '...faire une bonne partie de Vos amusements'. The sonatas will fulfill this purpose today just as they did at that time. Content: X. - Soave - Dolce - Spirituoso XI. - Dolente - Vivace - Piacevole XII. - Teneramente - Spirituoso - Gratioso

First edition This edition is based on a manuscript from the Staatsbibliothek Berlin, Preußischer Kulturbesitz, Musikabteilung. It comes from the estate of Telemann, who gave it to his grandson Georg Michael Telemann (1748-1831). G. Poelchau acquired the manuscript in 1834 with a pack of music stored in a church tower in Riga. From Poelchau's estate († 1836) the sonata work came to the Royal Library in Berlin. The sonatas are dedicated to the brothers Rudolf, Hieronymus and Johannes Wilhelm Burmester of a Hamburg patrician family dated 1 March 1734, with the note that they follow the ‘12 methodical sonatas’, which were also dedicated to the first two brothers. The close connection between the two large sonata works can be found in their valuable musical content, in the sequence of movements (slow, fast, slow, fast), and in the succession of keys (C-a-D-h-E-F-d-G-e-A-f sharp-g). The bass lines are often involved in the theme. Occasionally we are reminded of J.S. Bach's inventions. In the title, the violin is named as the solo instrument before the flute, as several sonatas are unmistakably written “violinistically” without this hindering their playability for flute. The present edition adheres strictly to the manuscript. Suggestions for dynamics are indicated as such by brackets, as are those for articulation (by dotted lines), which may differ for violinists from those intended for flute. Experienced players should use the original figured bass for their own interpretation. The 12 sonatas made available to the public here for the first time are among the best compositions of this kind by Telemann, who dedicated them to 'connoisseurs and lovers' with the wish '...faire une bonne partie de Vos amusements'. The sonatas will fulfill this purpose today just as they did at that time.

First edition This edition is based on a manuscript from the Staatsbibliothek Berlin, Preußischer Kulturbesitz, Musikabteilung. It comes from the estate of Telemann, who gave it to his grandson Georg Michael Telemann (1748-1831). G. Poelchau acquired the manuscript in 1834 with a pack of music stored in a church tower in Riga. From Poelchau's estate († 1836) the sonata work came to the Royal Library in Berlin. The sonatas are dedicated to the brothers Rudolf, Hieronymus and Johannes Wilhelm Burmester of a Hamburg patrician family dated 1 March 1734, with the note that they follow the ‘12 methodical sonatas’, which were also dedicated to the first two brothers. The close connection between the two large sonata works can be found in their valuable musical content, in the sequence of movements (slow, fast, slow, fast), and in the succession of keys (C-a-D-h-E-F-d-G-e-A-f sharp-g). The bass lines are often involved in the theme. Occasionally we are reminded of J.S. Bach's inventions. In the title, the violin is named as the solo instrument before the flute, as several sonatas are unmistakably written “violinistically” without this hindering their playability for flute. The present edition adheres strictly to the manuscript. Suggestions for dynamics are indicated as such by brackets, as are those for articulation (by dotted lines), which may differ for violinists from those intended for flute. Experienced players should use the original figured bass for their own interpretation. The 12 sonatas made available to the public here for the first time are among the best compositions of this kind by Telemann, who dedicated them to ' connoisseurs and lovers' with the wish '. ..faire une bonne partie de Vos amusements' . The sonatas will fulfill this purpose today just as they did at that time.

Christoph Schaffrath (1709-1763) was one of the important musicians and composers that the music-loving Frederick II of Prussia gathered around him. He can be described as one of the most interesting and imaginative composers of the Berlin circle. In addition to overtures, symphonies and quartets, he mainly wrote harpsichord works and chamber music in which the keyboard instrument plays a leading role. The editor's work extends to compiling the score, correcting some errors and setting out the continuo parts. Additions to the score are indicated as such by small notes, brackets or dotted slurs. Content: - Largo - Allegretto - Vivace