Echo for Recorder Octet

By: Samuel Scheidt
For: Large mixed ensemble
page one of Echo for Recorder Octet

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Composer
Samuel Scheidt
Arranger
Lyricist
Keith Terrett
Difficulty
Moderate (Grades 4-6)
Duration
1 minute
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 Octet, of Scheidt’s Echo; transcribed from a Keyboard work.

"Echo" for Clarinet Octet is scored for two choirs of various Recorders.

The music of Samuel Scheidt is a beautiful fit for modern instruments and Keith Terrett has done a magnificent job with this arrangement which can be performed by moderately advanced performers.

The work is about 2 minutes in length and shows off the antiphonal effects of having two separated choirs with contrasting dynamics and technical effects.

Samuel Scheidt (baptized 3 November 1587- 24 March 1654) was a German composer, organist and teacher of the early Baroque era.

He 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.

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 new stylistic ideas which were much different from the practice of their neighbours.

Samuel Scheidt (baptized November 3, 1587 - March 24, 1654) was a German composer, organist and teacher of the early Baroque era.

He was born in Halle, and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, which was clearly formative on his style. On his return to Halle he became court organist, and later Kapellmeister, to the Margrave of Brandenburg. Unlike many German musicians, for example Heinrich Sch�tz, 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.

Scheidt was the first internationally significant German Baroque 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 new stylistic ideas which were much different from the practice 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. His organ music was famous at the time, though since then it has been eclipsed by the music of J.S. Bach. 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 (consisting of the several phrases) is more elaborate than the previous, 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.

He also produced a large quantity of vocal music, both sacred and secular, much of which survives.

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Overture from Suite in D from the Water Music for two Treble Recorders & Keyboard, Havana Rhubarb Rumba for Recorder Septet, Three Welsh Chorales for Recorder Quartet, O Mio Babbino Caro for Treble Recorder & Piano, What Shall We Do With The Drunken Tenor Recorder Player ?, What Shall We Do With The Drunken Recorder Consort?, What Shall We Do With The Drunken Treble Recorder Player ?, Vesti La Giubba for Tenor Recorder & Piano, Chorale Partita with Seven Variations for Recorder Consort, What Shall We Do With The Drunken Descant Recorder Player ?, Arrival of the Queen of Sheba for Oboe Consort, Lustpiel Overture for Recorder Consort, Fanfare & Soliloquy for Descant Recorder & Piano, Franzosisches Lied: Est-ce Mars? for Recorder Consort, 8 Swinging Xmas Carols for Treble Recorder & Piano, Air from the Suite No. 3 in D for Recorder Quartet, Swing Low, Sweet Chariot for Recorder Consort, Czardas for Tenor Recorder & Piano, Jerusalem for Double Recorder Quintet (And Did Those Feet in Ancient Times), Aria for Recorder Consort (HWV410), Fugue on B-a-c-h for Recorder Consort, Swing Low, Sweet Chariot for Descant Recorder & Piano, Twenty Minute Tango for Treble Recorder & Piano, 8 Swinging Xmas Carols for Descant Recorder & Piano, The Saint’s Visit Havana with a Touch of W.A.Mozart for Descant Recorder & Piano, 8 Swinging Xmas Carols for Tenor Recorder & Piano, O Sole Mio for Treble Recorder & Piano, Hebrew Slaves Chorus from Nabucco ("Va, pensiero") for Recorder Quintet, Welsh National Anthem for Recorder Consort (Land of my Fathers), Eternal Father Strong to Save (Naval hymn) for Recorder Quintet , Stanley Trumpet Voluntary for two Descant Recorders & Organ (no pedals), Amazing Grace for Treble Recorder & Piano, Czardas for Treble Recorder & Piano, Czardas for Descant Recorder & Piano, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Treble Recorder & Keyboard, Badinerie from Suite No.2 for Descant Recorder & Piano, Badinerie from Suite No.2 for Treble Recorder & Piano, Gollidoll's Cakewalk for Recorder Sextet, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Descant Recorder & Harpsichord, That’s A Plenty for Recorder Quintet, Bollywood Tango for Treble,Tenor Recorders & Piano, Be Thou My Vision (Hymn Tune:Slane) for Recorder Consort, Bollywood Tango for Soprinino & Tenor Recorder with Piano, African Anthem for Recorder Quintet, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Tenor Recorder & Keyboard, Air on the G string for Flute Duo, 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), Moonlight Serenade for Oboe & Piano, Tico-Tico no fubá for Descant, Tenor Recorders & Piano and All Through the Night (Ar Hyd Y Nos) for Recorder Quartet & Snare Drum

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