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Antonio Vivaldi: Gloria RV 589 (Vocal Score): Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Today the Gloria RV 589 (BA 7674) is one of Vivaldi?s best-known compositions an...
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Today the Gloria RV 589 (BA 7674) is one of Vivaldi?s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the ?Gloria? as a self-contained work in the style of a concertante mass. However it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period at the Ospedale della Piet around 1716. In the twelve movements of the ?Gloria? Vivaldi displays the whole range of his mastery from festive sublime outer movements to tender transparently scored solopassages.The same mastery has also been applied to the ? Kyrie? RV 587 (BA 8950) scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral work without solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward clearly presented and preserve the character of the works.- Attractive choral pieces which can be combined to form a short mass.- Vocal score as well as choral score available for the ?Gloria?.- Informative foreword (Ger/Eng).
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Johann Sebastian Bach: Hohe Messe h-Moll BWV232: Voice: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Mass in B minor (BWV 232) (Urtext) (L).2 3 0 2 - 1 3 0 0 timp org str ...
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Mass in B minor (BWV 232) (Urtext) (L).2 3 0 2 - 1 3 0 0 timp org str solo SSATB mx chorVocal Score Paperback
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
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HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
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Johann Sebastian Bach: Johannes-Passion (St. John Passion) BWV 245: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
The St. John Passion was first performed in Leipzig on Good Friday of 1724. Writ...
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The St. John Passion was first performed in Leipzig on Good Friday of 1724. Written three years before the St. Matthew Passion it was a work Bach revised during the rest of his life in fact he did not leave us a definitive version either in print or fair copy. The sources give evidence of four different versions used at four performances - 1724 1725 around 1730 and during the last years of Bach's life. They often contain two or more readings for the same passage or even different movements that on different occasions occupied the same place in the work.Barenreiter's edition uses the final version IV as its basis with alternativemovements and readings contained in the appendices. A comprehensive preface in the study score (German/English) TP197 gives full information.- Full score performance material (BA5037) vocal score (BA5037-90) and study score (TP197) available for sale.
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Johann Sebastian Bach: Magnificat In D BWV243: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
The 2nd version with the 4 inserts from the E-flat major version (transposed int...
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The 2nd version with the 4 inserts from the E-flat major version (transposed into D major).Barenreiter Urtext:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions thatpresent the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Ludwig van Beethoven: Mass In C Op.86: Mixed Choir: Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score ...
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Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score with realisation of the Organ partBilingual Foreword (Eng/Ger) and Critical Commentary (Eng)Straight-forward Piano reductionFull score and performance material (BA9039) and Vocal score (BA9039-90) available for saleAmongst Beethoven’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and for its time distinctly modernpiece of sacred music.Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score just as Beethoven envisioned it for the first printed edition. As stated in the original sources the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages.This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary.
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Johann Sebastian Bach: Cantata BWV 12 Weinen Klagen Sorgen Zagen: Voice &
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Cantata for the Sunday Jubilate-Weinen Klagen Sorgen Zagen (Weeping Crying ...
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Cantata for the Sunday Jubilate-Weinen Klagen Sorgen Zagen (Weeping Crying Sorrow Sighing) BWV 12Cantata for the Sunday Jubilate - Performance material (BA10012) vocal score (BA10012-90) & study score (TP1012) available for sale Barenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work or at least re-work an existing one for every Sunday and festival of thechurch year as well as for numerous secular occasions such as council inaugurations school and university celebrations and royal birthdays. Unfortunately not all cantatas have survived. However over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.
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Johann Sebastian Bach: Cantata BWV 147 Herz Und Mund Und Tat Und Leben: Mixed
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
As one of the most popular and best-known cantatas this work has become an indis...
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As one of the most popular and best-known cantatas this work has become an indispensable part of the repertoire. The last movement is most commonly known as Jesu Joy of Man's Desiring. Study score and performance material available for sale. Barenreiter Urtext: In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest inmusicological research. For Bärenreiter “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Ludwig van Beethoven: Mass In C Op.86: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (chorus), Keyboard
Barenreiter
Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score ...
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Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score with realisation of the Organ partBilingual Foreword (Eng/Ger) and Critical Commentary (Eng)Straight-forward Piano reductionFull score and performance material (BA9039) and Vocal score (BA9039-90) available for saleAmongst Beethoven’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and for its time distinctly modernpiece of sacred music.Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score just as Beethoven envisioned it for the first printed edition. As stated in the original sources the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages.This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary.
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Leos Janacek: Msa glagolskaja: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
?The Glagolitic Mass? one of the 20th century masterpieces of sacred music has...
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?The Glagolitic Mass? one of the 20th century masterpieces of sacred music has a very complex genesis and constitutes an intricate editorial challenge. This new critical edition presents two different versions of the work in two separate volumes (B/5-I BA 6862 und B/5-II BA 6863): the ?September 1927? version which the composer completed before the first rehearsals and subsequent premiere in Brno and the version he partly reworked for the first Prague performance in April 1928. This second version was then revised further and published after Janacek?s death by Universal Edition Wien in 1930. Known as the ?final authorised version? it has been newly edited for thispublication which is based on the engraver?s copy of the score prepared by Janacek?s regular copyist Václav Sedlacek. The new Barenreiter edition also contains an informative preface (Cz/Eng/Ger/Fr/Ru) as well as detailed critical commentary. The ?September 1927? version can be seen more as a supplement and appears without text commentary.
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Georg Friedrich Händel: O come let us sing HWV 253 - Chandos Anthem No.8: Voice:
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
O come let us sing HWV 253 Chandos Anthem No.8Handel’s three anthems (My s...
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O come let us sing HWV 253 Chandos Anthem No.8Handel’s three anthems (My song shall be alway HWV 252 O come let us sing HWV 253 O praise the Lord HWV 254) were composed in 1717 and 1718 for Cannons a country estate near to London. They take their nickname the “Chandos Anthems” from the owner of the estate the First Duke of Chandos.The three pieces are noteworthy for their festive character and their varied orchestral accompaniment. Handel borrows older material from his Italian period and his earlier works for the Chapel Royal in London – a standard procedure for this composer who reusedparticularly successful pieces as starting points for his later works. The scoring for solo voices chorus oboe strings and continuo was tailored to the musical resources of the small country estate. Two additional recorders are needed for “O come let us sing unto the Lord”.The anthems present the Urtext from the “Halle Handel Edition” and include uncomplicated and easy-to-play Piano reductions. In addition to the original English words the full scores and vocal scores also include a singing translation in German.- Full score & parts (BA4293) and vocal score (BA4293-90) available for sale
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Antonio Vivaldi: Kyrie RV 587 - SSAA: SSAA: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one ...
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The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was in all probability composed around 1716 during Vivaldi?s time at the Ospedale della Piet an orphanage for girls in Venice.Although Vivaldi?s ?Gloria? (BA 8953) was written for solo voices and mixed choir it is likely that it was performed at the girls? orphanage with female voices only. Taking this into account Malcolm Bruno?s careful arrangement for choir SSAA is of some relevance. The work when set for female voices or children?s choir remains a true masterpiece.The?Kyrie? RV 587 (BA 8954)for two choirs and two string ensembles as arranged here for female choir displays its own charm. It can be performed together with the Gloria as a type of short mass.Both arrangements are based on the recently published Urtext editions of these works. The piano reductions by editor Malcolm Bruno are easy to play and preserve the character of the works.- Effective arrangements for female choir- Forewords in English and German- Straightforward idiomatic piano reductions- Kyrie and Gloria can be combined for performanceThe orchestral parts for the original SATB version can be used for the performance of these arrangements.
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Georg Friedrich Händel: I Will Magnify Thee: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Handel?s four anthems were all composed during his London period in the Chapel R...
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Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text was written in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket. Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the Organ.These four works (O sing unto the Lord HWV 249a I will magnify thee HWV 250b As pants the hart HWV 251e Let God arise HWV 256b) with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems arepresented in clearly laid out Vocal scores with easy-to-play Piano reductions based on the Urtext from the ?Halle Handel Edition?. Their winningly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and the equally festive solo numbers. Today they sound as splendid as ever before. The full scores and Vocal scores also contain a German translation along with the original English.Scoring:- HWV 249a: soloists (AB) chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo.- HWV 250b: soloists (SATB) chorus (SATB) Oboe Strings Continuo.- HWV 251e: soloists (SAATBB) chorus (SAATBB) 2 Oboes Strings Continuo.- HWV 256b: soloists (AB) chorus (SATB) Oboe Strings Continuo.- Urtext from the ?Halle Handel Edition? at the forefront of musical scholarship.- First separate editions for performance purposes.- Clear and easy-to-play Piano reductions.- Original English text with underlaid German translation.- Full scores vocal scores and performance material available for sale.
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Wolfgang Amadeus Mozart: Missa in C major KV 317 Coronation Mass : Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
Arranged for female choir (SMA)-The choral scene is in a state of change! On the...
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Arranged for female choir (SMA)-The choral scene is in a state of change! On the one hand more and more choirs are lacking in male voices yet at the same time more and more female choirs are looking for high-quality literature beyond folksong arrangements. Bärenreiter is responding to these general trends with the publication of arrangements for three-part female choir (SMA) of well-known frequently-performed works.The first editions to be published are Wolfgang Amadeus Mozart?s ?Coronation Mass? K. 317 (BA 5691) a much-performed work within the standard repertoire and the ?Missa brevis in D major? K. 194 (BA 5690-90) a charming alternative for use in church services. With great skill andsensitivity to the music Heribert Breuer has carefully retained the substance of the original works at the same time giving them a completely new sound quality.- Arrangements for female choir (SMA) based on the Urtext of the ?New Mozart Edition?- Idiomatic piano reductionsThe arrangerHeribert Breuer was professor of choral conducting and music theory at the Berlin University of the Arts until 2010. He is founder and director of the Berlin Bach Akademie and has made a name for himself with his numerous arrangements of works from Bach to Schubert.
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Georg Friedrich Händel: Let God Arise HWV 256b Chapel Royal Anthem: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloist...
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Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.
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Georg Friedrich Händel: Let God Arise HWV 256b Chapel Royal Anthem: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloist...
(+)
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.
10.50 GBP - Sold by Musicroom UK
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Georg Friedrich Händel: Let God Arise HWV 256b Chapel Royal Anthem: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloist...
(+)
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.
6.00 GBP - Sold by Musicroom UK
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3 sellers
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Georg Friedrich Händel: Let God Arise HWV 256b Chapel Royal Anthem: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloist...
(+)
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.
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Johann Sebastian Bach: Cantata BWV 61 Nun Komm: Voice: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 61Cantat...
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 61Cantata for the First Sunday of AdventBach began two of his cantatas with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. One of the most gripping solo parts (following the pattern recitative – aria – recitative – aria) is the bass recitative on the words of the Revelation with its highly expressive declamation of the vocal line and the naive graphicness of the pounding string accompaniment.Equally captivating is the following soprano aria which 'opens its heart' upon the Saviour's 'knocking' in a melody full of thecheerful tidings of Advent. The cantata ends brilliantly with a lovely figurative chorale movement enhanced by the interplay of a lively bustling violin part which ultimately soars upward to breathtaking heights.- Urtext of the New Bach Edition
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Wolfgang Amadeus Mozart: Missa brevis in D major: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
The choral scene is in a state of change! On the one hand more and more choirs ...
(+)
The choral scene is in a state of change! On the one hand more and more choirs are lacking in male voices yet at the same time more and more female choirs are looking for high-quality literature beyond folksong arrangements. Bärenreiter is responding to these general trends with the publication of arrangements for three-part female choir (SMA) of well-known frequently-performed works.The first editions to be published are Wolfgang Amadeus Mozart’s “Coronation Mass” K.317 (BA 5691) a much-performed work within the standard repertoire and the “Missa brevis in D major” K. 194 (BA 5690-90) a charmingalternative for use in church services. With great skill and sensitivity to the music Heribert Breuer has carefully retained the substance of the original works at the same time giving them a completely new sound quality.- Arrangements for female choir (SMA) based on the Urtext of the “New Mozart Edition”- Idiomatic Piano reductionsThe arranger Heribert Breuer was professor of choral conducting and music theory at the Berlin University of the Arts until 2010. He is founder and director of the Berlin Bach Akademie and has made a name for himself with his numerous arrangements of works from Bach to Schubert.
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Giovanni Battista Pergolesi: Stabat Mater: Upper Voices: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
Pergolesi’s famous Stabat mater a work for two soloists strings and cont...
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Pergolesi’s famous Stabat mater a work for two soloists strings and continuo quickly became a success throughout Europe. However there are numerous indications that it was also performed by choirs from very early on. Particular movements were very probably sung by a two-part choir whilst the arias were kept for the soloists. In this edition the outer movements and no. 8 are now scored for three-part choir (Sop MezSop Alto) in contrast to the solo aria movements. Three further movements are set as trios for three solo voices. The added parts are derived from the existing musical material. These lend this well-known work a completely new charmand provide a welcome addition to the repertoire for choral concerts. For performance material use original edition BA7679. Arrangement for female choir (Sop MezSop Alto) based on the Bärenreiter Urtext edition of the original work Clear straightforward piano reduction The arranger Malcolm Bruno is the editor of the Urtext edition of the Stabat Mater (BA 7679) and a renowned expert in 18th century Italian music.
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Johann Pachelbel: Christ lay in grim deaths prison: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Easter Cantata-Christ lag in Todesbanden (Christ lay in grim death's prison)East...
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Easter Cantata-Christ lag in Todesbanden (Christ lay in grim death's prison)Easter CantataIn recent years the demand for making available a larger number of choral works by Johann Pachelbel (1653-1706) has made itself felt more strongly than ever before. Within the past few years the search for unpublished manuscripts of choral compositions written by Johann Pachelbel has been taken up again and not in vain. Approximately twenty instrumentally accompanied arias and thirty elaborate choral works intended for services of worship have recently been found. These date from the days when Pachelbel was an active church musician in Erfurt and Nuremberg and include compositionsof various categories e.g. motets cantatas magnificats and masses.The excellency of Pachelbel's choral works may be attributed in large part to the magnificence and splendour of their tonal character. They are unusually vocal choral and singable. In the very best sense of the term they are what the Germans call 'Gebrauchsmusik' that is to say they are functional music written for specific use in the church service. They are not music written for its own sake.Full score performance material (BA2875) choral score (BA2875-91) available for sale
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