Franzosisches Lied: Est-ce Mars? for Recorder Consort

Composer
Samuel Scheidt arr. Keith Terrett
Arranger
Parts
Full details...
page one of Franzosisches Lied: Est-ce Mars? for Recorder Consort

Which method of viewing music should I use?

Score Exchange has two methods to display previews of music: seView which uses regular html and javascipt and the Scorch plug-in from Avid which needs to be downloaded and installed onto your computer. Both have advantages and disadvantages:

seView

seView, is the most compatible option. You should be able to view music on all modern web browsers including most mobile devices. Even if your device does not support javascript you should still be able to preview at least page one of the music.

You do not need to install any additional software to use seView.

Scorch

Scorch is a free plug-in from Avid for displaying and printing music. It can also play the music that you're seeing. As modern web browsers are updated, Scorch is no longer compatible with many browsers. Scorch has never been compatible with mobile devices and some web browsers on Mac computers.

If your web browser does not install Scorch automatically, you can click here to download and install scorch manually.

Static preview

The static preview shows a basic image of the first page.

Interactive preview

The interactive preview also shows a preview of the first page, but it's a bit slower to load. The preview is displayed using the Sibelius Cloud Publishing technology from Avid. With most scores, this technology will provide a higher quality preview, as well as being able to switch to full screen mode and also play the displayed music to you.

Printing after purchase

After you have purchased this item the Cloud Publishing technology is utilised to provide the printing mechanism for the music. As such, we recommend checking that the Interactive Preview displays correctly on your device before committing to a purchase.

Full details

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.


Score ID
75364
Composer
Samuel Scheidt arr. Keith Terrett
Arranger
Difficulty
Moderate (Grades 4-6)
Duration
6 minutes
Instrumentation
Quintet of Soprano Recorders
Genre
Classical music
Related scores
Gollidoll's Cakewalk for Recorder Sextet, Cwm Rhondda for Recorder Quartet, 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, Bollywood Tango for Bb Soprano/Soprillo & Eb Baritone Saxophone with Piano, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Treble Recorder & Harpsichord, Chorale Partita with Seven Variations for Wind Quintet (Alle Menshen), A Serenade for Treble Recorder & Keyboard, Quo Me’n Vo for Treble Recorder & Piano, Bollywood Tango for Treble,Tenor Recorders & 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, Air from the Suite No. 3 in D for Recorder Quartet, Havana Rhubarb Rumba for Recorder Septet, African National Anthem for Recorder Quartet, 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, Aria for Recorder Consort (HWV410), 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, Norwegian National Anthem for Recorder Consort, SUO-GAN for Descant Recorder & Piano, Slaves Chorus from Nabucco ("Va, pensiero") for Recorder Quintet, Three Popular Hymns for Recorder Consort, Amazing Grace for Treble Recorder & Piano, Twenty Minute Tango for Treble Recorder, Marimba & Double Bass, A Serenade for Recorder Consort, Una Furtiva Lagrima for Bb Clarinet & Piano, Für Elise Boogie Woogie for Treble Recorder & Piano (Keith Terrett Jazz for Wind Series), Una Furtiva Lagrima for Bb Tenor Saxophone & Piano, That’s A Plenty for Recorder Quintet, Moonlight Serenade (Glen Miller) for Recorder Quintet (Jazz for 5 Wind Series), Keep the Fire Alive for solo Flute & Concert Band, In Dulci Jubilo "In sweet rejoicing" for Wind Quintet, Japanese National Anthem (Kimiyago - “君が代”) for Recorder Consort (MFAO World National Anthem Series) and British National Anthem (God Save The Queen) for Recorder Consort (MFAO World National Anthem Series)
Licensing

For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

Cover art for Franzosisches Lied: Est-ce Mars? for Recorder Consort

Reviews of Franzosisches Lied: Est-ce Mars? for Recorder Consort

Sorry, there's no reviews of this score yet. Please .

You might also like...