The german Johann Simon Mayr (1763-1845) is one of the wrongfully forgotten composers, except in Italy, where he stayed the better part of his lifetime and became very famous and successful. He wrote many operas, sinfonies and a lot of chamber music as well.
Even more productive in the field of sacred compositions (many of which include an obligato, a solo instrument), Mayr carried the dramatic, theatrical style shown in his stage works into the churches. His melodic music is extraordinary well set and orchestrated, making it hard to believe that his name is rarely mentioned in his home country.
Edition Maulwurf presents a series of Mayr’s works in order to
make his music available to a broader public.
So far pulished:
– Gloria Patri in F for soprano, corno obligato, oboe obligato and strings
– Nisi Dominus for bass, choir SATB, flute, oboe,
clarinet, 2 horns and strings
– Gloria Patri in Es for alto, choir SATB,
2 flutes, 2 oboes, 2 bassoons, 2 horns (1.= obligato)
– Sicut erat for choir and orchestra
– Goria Patri arranged for soprano, horn and organ
– Sextett Nr.1 for oboe, 2 clarinets, horn and 2 bassoons
– Sextett Nr.2 for clarinet, 2 horns, 2 violas and bassoon
– Sextett Nr.3 for oboe, 2 horns, 2 violas and bassoon
– Sextett Nr.4 for 2 clarinets, bassett horn, 2 horns and bassoon
– Sextett Nr.5 for 2 clarinets, 2 horns and 2 bassoons
Today, the german composer Johann Wilhelm Mangold is one of the less common names. Back in his time, he was a well established member of the musical landscape.
Native to the city Darmstadt, Mangold was born into a family of rich musicial
tradition in 1796.
He joined the Hofkapelle as a violinist and raised, like his father Georg, to the
rank of Hofkapellmeister. Brother Carl Ludwig Amadeus, also known as Carl Armand, gained certain fame as a composer as well.
Aside from some operas, festive- and incidental musics, Mangold composed lots of chamber music, some of wich feature the horn as a solistic instrument.
These horn parts, even with valve horns in existance, and no particular mentioning within the scores, are obviously written for natural horn.
This kind of music, probably ment to be performed in musical salons, provides us with interesting and valuable insides of the early 19th century music and the usage of the horn.
Mangold’s compositions lie in style beetween Schubert and Weber. Some references to Meyerbeer can also be recognised. His music can be described as melodic, with conventional, though interesting harmonics.
Bass line and musical structures are worked out very well.
Coming up: The International Hornweek “Cornopera” in Maastricht, April 24-29. Students from the Musikhochschule Karlsruhe and the Conservatorium Maastricht will participate in lectures, recitals, group rehearsals and lessons. Edition Maulwurf is providing the arrangements for the two final concerts with works from various operas for horn ensemble and solo voices.
One new item for nonet is availlable now: 5 Military Marches by Ludwig van Beethoven 1. “Marsch in B” (WoO29), ca. 1:10 min. 2. “Marsch für Militärmusik” in F (WoO18, 1809), ca. 1:30 min. 3. “Marsch für Militärmusik” in F (WoO19, 1810), ca. 2:00 min. 4. “Marsch (Zapfenstreich) für Militärmusik” in C (WoO20, 1809), ca. 3:20 min. 5. „Militair-Marsch“ in D (WoO24, 1816), ca. 4:30 min.
Our edition provides both a score with original clefs and a score with modern clefs. Furthermore, all single parts are availlable in many different keys and clefs, to make it possible to use the instrumentation of your choice.
The French horn is (although pretty tricky to handle) a highly impressive and admired solo instrument. The very charming combination with an organ on the other hand, is not as common as horn and piano or horn and orchestra, not to mention the solistic appearances from within the orchestra. That also means the choice of suitable pieces is not very great.
Therefore new at Edition Maulwurf:
16 solo pieces of medium difficulty, for horn with organ accompaniment,
from the baroque, classical and romantic era.
Matthias Pflaum and Wilhelm Junker have prepared a few demo recordings.
Follow the link below to listen, and have a look at some sample pages of the: Album for Horn and Organ
New sheet music at Edition Maulwurf: 4 Renaissance Songs, transcribed and arranged for solo voice and string quartet. 01 – Yo soy la locura (Henry du Bailly) 02 – Can she excuse my wrongs (John Dowland) 03 – Amarilli mia bella (Guilio Caccini) 04 – Qu’es de tì, desconsolado (Juan del Encina)
A compilation of not-so-difficult horn quartets,
suitable (not only) for younger students, amateurs and
for gigs without rehearsing.
The 4th horn is written completely in treble clef and
ranges only to the low c (C3).
Have a look at some sample pages and the contents,
or listen to a few demo recordings: 15 easy horn quartets
Famous in their time, but mostly forgotten today – this is the fate many a truly creditable composer happened to suffer throughout history.
Today plenty of ensembles, musicians and institutes make it their task to rediscover unknown or lost works of music, putting a lot of effort in editing, publishing and performing those. Digital and online resources of libraries and archives make it a lot easier to do so than just 20 years ago.
Still, however committed these efforts are, it does change surprisingly little for the reputation of the long gone authors and their presence in our concert halls, despite the more than occasional find of real masterpieces. … →
Using music notation software, almost everybody can easily make sheet music fast and readible. However easy, anybody who tried knows of the difficulties producing really good looking scores. In fact,
a good program does not at all guarantee a decent result.
here are 10 tips to improve your work with music notation software. … →
Question 1: ‘For some titles, purchase is not possible. Why ?’
There are two reasons. First: the sheet music is almost but not completely ready yet. Consider those posts as a preview and come back later. Second: for authentic works often a permission is required to publish them. Is the request not granted (yet), the music cannot be sold.… →