Franzosisches Lied: Est-ce Mars? for Recorder Consort

By: Samuel Scheidt arr. Keith Terrett
For: Quintet of Soprano Recorders
page one of Franzosisches Lied: Est-ce Mars? for Recorder Consort

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Composer
Samuel Scheidt arr. Keith Terrett
Arranger
Difficulty
Moderate (Grades 4-6)
Duration
6 minutes
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

An arrangement for Recorder Consort of Samuel Scheidt’s Franzosisches Lied. A great transcription to challenge your consort with.

The Great Bass part has been replaced as suggested by Kevin Holland. Thanks for your in-put Kevin.

Scheidt was born in Halle, and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt’s style. On his return to Halle, Scheidt became court organist, and later Kapellmeister, to the Margrave of Brandenburg. Unlike many German musicians, for example Heinrich Schütz, he remained in Germany during the Thirty Years’ War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director over three churches in Halle, including the Market Church.

Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbors.

Scheidt’s music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias.

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Gollidoll's Cakewalk for Recorder Sextet, Cwm Rhondda for Recorder Quartet, A Soprano/Descant Recorderist Goes Ballroom Dancing, English National Anthem (And Did Those Feet in Ancient Times) for Recorder Orchestra, The Saint’s Visit Havana with a Touch of W.A.Mozart for Descant Recorder & Piano, Chorale Partita with Seven Variations for Wind Quintet (Alle Menshen), Quo Me’n Vo for Treble Recorder & Piano, Jerusalem for Recorder Quintet (And Did Those Feet In Ancient Times), O Mio Babbino Caro for Treble Recorder & Piano, What Shall We Do With The Drunken Tenor Recorder Player ?, Overture from Suite in D from the Water Music for two Treble Recorders & Keyboard, Havana Rhubarb Rumba for Recorder Septet, Arrival of the Queen of Sheba for Recorder Orchestra, Echo for Recorder Octet, March from 'Judas Maccabaeus' for Recorder Consort (School Junior Recorder Series), Chorale Partita with Seven Variations for Recorder Consort, Swing Low, Sweet Chariot for Treble Recorder & Piano, Lily the Pink for School Recorder Quartet with KB & Drums, Twenty Minute Tango for Treble Recorder & Piano, Swing Low, Sweet Chariot for Descant Recorder & Piano, What Shall We Do With The Drunken Recorder Consort?, 8 Swinging Xmas Carols for Treble Recorder & Piano, Swing Low, Sweet Chariot for Recorder Consort, Overture from Suite in D for Two Descant Recorders & Harpsichord, Träumerei for Recorder Consort, O Sole Mio for Treble Recorder & Piano, Fugue on B-a-c-h for Recorder Consort, 8 Swinging Xmas Carols for Tenor Recorder & Piano, Frankie & Johnny for Recorder Consort, 8 Swinging Xmas Carols for Descant Recorder & Piano, Air from the Suite No. 3 in D for Recorder Quartet, Norwegian National Anthem for Recorder Consort, SUO-GAN for Descant Recorder & Piano, Aria for Recorder Consort (HWV410), Three Popular Hymns for Recorder Consort, Hebrew Slaves Chorus from Nabucco ("Va, pensiero") for Recorder Quintet, Twenty Minute Tango for Treble Recorder, Marimba & Double Bass, Bollywood Tango for Bb Soprano/Soprillo & Eb Baritone Saxophone with Piano, A Serenade for Recorder Consort, Una Furtiva Lagrima for Bb Clarinet & Piano, Amazing Grace for Treble Recorder & Piano, Für Elise Boogie Woogie for Treble Recorder & Piano (Keith Terrett Jazz for Wind Series), Una Furtiva Lagrima for Bb Tenor Saxophone & Piano, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Treble Recorder & Keyboard, That’s A Plenty for Recorder Quintet, Bollywood Tango for Treble,Tenor Recorders & Piano, Moonlight Serenade (Glen Miller) for Recorder Quintet (Jazz for 5 Wind Series), A Serenade for Treble Recorder & Keyboard, Keep the Fire Alive for solo Flute & Concert Band, African Anthem for Recorder Quintet, In Dulci Jubilo "In sweet rejoicing" for Wind Quintet, Japanese National Anthem (Kimiyago - “君が代”) for Recorder Consort (MFAO World National Anthem Series), British National Anthem (God Save The Queen) for Recorder Consort (MFAO World National Anthem Series) and All Through the Night (Ar Hyd Y Nos) for Recorder Quartet & Snare Drum

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