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BANJO
Soli, Mixted choir and accompaniment
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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
17.00 GBP - Sold by Musicroom UK
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Georg Friedrich Händel: Israel in Egypt HWV 54: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
[Vocal Score]
Barenreiter
Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe version...
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Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756?7 performancesThe distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses? Song. It was in this form that the work was given at its London premiere on 4 April 1739.Handel made extensive changes for the second performance. The reason is often said to have been the audience?s dissatisfaction with the work?s unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material.Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition.The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria ?Hope hope a pure and lasting treasure? from the second version of Esther (for both 1756 and 1757) and the aria ?Toss?d from thought to thought? from Alexander Balus (for 1757).Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere
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The Rake's Progress HPS 739
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Boosey and Hawkes
Opera in three acts. Par STRAWINSKY IGOR. New edition of Stravinsky?s largest wo...
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Opera in three acts. Par STRAWINSKY IGOR. New edition of Stravinsky?s largest work, his only full-length work for the theatre, and his first major work in English. It also represents the culmination of his neoclassical years, after which he started to rethink his musical language. Inspired by an exhibition in Chicago in 1947 of a series of Hogarth prints, the depiction of the ironic progress of the spendthrift heir of a miser from wealth via debt to madness and death is, in essence, retained in the opera. Auden and Kallman's 'fable' wittily grafts onto Hogarth?s quest narrative aspects of, among other sources, Classical pastoral, the Faust legend, fairy tale, circus, the Bible and opera in many different manifestations. This is brilliantly matched by Stravinsky?s music, which takes as its source the whole of operatic history from Monteverdi to Verdi via Rossini and Donizetti and large doses of Mozart, yet it is neither parody nor pastiche. The Rake?s Progress can be appreciated on many levels, which might explain why it is still one of only a handful of 20th-century operas never to have been out of the repertoire. / Date parution : 2023-10-31/ Répertoire / Solistes, Choeur et Orchestre
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Wolfgang Amadeus Mozart: Missa In C Major K.257: SATB: Vocal Score
Soli, Mixted choir and accompaniment
[Sheet music]
Barenreiter
Credomesse (C)-This Mozart Mass (together with BA 7521 - BA 7522) have been arra...
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Credomesse (C)-This Mozart Mass (together with BA 7521 - BA 7522) have been arranged for solo voices chorus and organ from the Urtext of the ?New Mozart Edition? thereby making them accessible in all their beauty to choruses and church choirs with limited financial means at their disposal.Martin Focke has based the ?concertante? organ parts on the orchestral writing doing full justice to the timbre of the original. The solo parts and choruses of course leave the Urtext of the ?New Mozart Edition? entirely untouched.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt the like-named movement. Dating from the end of 1776 this Mass isremarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Our arrangement successfully patterns the idiosyncrasies of the orchestral writing.The solo and choral writing leaves the Urtext of the ?New Mozart Edition? entirely untouched.Self-contained version with organ instead of orchestra.Straightforward and easy-to-play organ part.Ideal for church services and concert performances.
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The Dream Of Gerontius (ELGAR EDWARD)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Score]
Carus Verlag
Op. 38. Par ELGAR EDWARD. This is the best of me, wrote Edward Elgar after the f...
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Op. 38. Par ELGAR EDWARD. This is the best of me, wrote Edward Elgar after the final measure of his Dream of Gerontius. Premiered in 1900, in Great Britain the work has long been a standard work in the repertoire of large oratorio choirs. Elgar?s moving, poetic setting of the eponymous poem by Cardinal John Henry Newman is about a dying man and his journey beyond death to God. Before the eyes of the listeners, a musical image of the soul is created which flies past mocking demons to God with its protecting angel at its side, is allowed to look at him briefly, then faces the purgatorial fire of salvation confident and comforted. The work is a real rarity in the history of oratorio, and for large choirs it is a thrilling alternative to the established repertoire of Requiem settings. Its popularity is thanks to the suggestive, often sensuous power of the music, the great choral scenes of the demons and the Angel, and the three impressive solo parts. All previous editions were reprints based on the historic first printed materials, which are inconsistent. By contrast, Carus has produced a modern, newly-engraved edition, compatible in all sections, which takes all the sources into consideration and evaluates the autograph manuscript in detail. For this edition the complete orchestral material is available on sale, and the vocal score and full score contain both English and German singing texts. The full score is also available digitally. / Date parution : 2022-05-31/ Répertoire / Solistes, Ch?ur SATB et Orchestre
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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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Wolfgang Amadeus Mozart: Missa in C major K.257: Mixed Choir: Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
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Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
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Wolfgang Amadeus Mozart: Missa in C major K.257: Mixed Choir: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
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Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
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Wolfgang Amadeus Mozart: Missa in C major K.257: Mixed Choir: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
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Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
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Wolfgang Amadeus Mozart: Missa in C major K.257: Mixed Choir: Parts
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
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Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
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Wolfgang Amadeus Mozart: Missa in C major K.257: Continuo: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
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Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
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Camille Saint-Saëns: Christmas Oratorio: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Schirmer
Saint-Saëns's Christmas Oratorio (or Oratorio de Noël) was written in 1858 whe...
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Saint-Saëns's Christmas Oratorio (or Oratorio de Noël) was written in 1858 when he was just 23. This piece was originally scored for five Vocal Soloists Chorus Harp String Quartet and Organ; this the vocal score contains a piano reduction.The Christmas Oratorio opens with a Prelude subtitled 'In the style of Sebastian Bach' harkening back to Bach's Christmas Oratorio. This opening prelude sets the scene for the Christmas story: its lilting pastoral quality creates images of the shepherds tending their flocks in the fields. In the remaining movements the vocal soloists take turns representing different characters such as the narrator ofthe story or as the angel who announces the birth of the baby Jesus while the chorus represents a multitude of angels singing to the glory of the Lord. The final movement of the piece which follows the model of old French Christmas songs is a virtual hymn of praise of all creation in the presence of God.The English version of the text is by N.H. Dole.
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Giovanni Battista Pergolesi: Il prigionier superbo: Mixed Choir
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Ricordi
Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIO...
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Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIOVANNI BATTISTA PERGOLESI (Casa Ricordi in collaborazione con la Fondazione Pergolesi Spontini di Jesi) Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705) Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeo in Naples. With this opera ? his second dramma serio for San Bartolomeo in less than two years ? the young composer (who had already acquired considerable professional stature in the city?s theatres churches and aristocratic circles) reprised a perennially popular subject centered aroundthe dramatic conflict between filial piety and devotion to one?s betrothed. Inserted between the opera?s three acts were the intermezzi of La serva padrona which would soon go on to take all of Europe by storm. The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica ?San Pietro a Majella? in Naples and prepared by Giuseppe Sigismondo who was quite probably working from the now-lost autograph. Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted along with a number of manuscript copies of individual arias. The edition is furnished with a historical introduction which traces the libretto?s complicated literary lineage and illustrates the circumstances of the opera?s commission genesis premiere and subsequent history: and a critical apparatus containing detailed source descriptions and critical notes for both the text and the music. An earlier version of the last movement of the Sinfonia and an aria for the third act whose text does not appear in the original printed libretto are provided as appendices.
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Felix Mendelssohn Bartholdy: Psalm Non Nobis Domine - Nicht Unserm Namen Herr:
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Op. 31 Mwv A 9-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' Op.31 MWV A...
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Op. 31 Mwv A 9-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete from the initial sketches and the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms Mendelssohn took the Latin words from the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation he made use of Psalm 115 from the Luther Bible.This edition by the leading Mendelssohn authorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis the vocal parts are underlaid with the Latin text and the German text appears underneath.Rounding off this Urtext edition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages (Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale
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Johann Sebastian Bach: Messe in h-Moll BWV 232: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
In the international music world ?Bärenreiter Urtext? is synonymous with perfor...
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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 that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as thesurviving 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. This is the Organ part for J. S. Bach's Mass In B Minor.
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Felix Mendelssohn Bartholdy: Elijah Op.70: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Oratorio-Immediately after completing ?St. Paul? in 1836 Mendelssohn mulled ove...
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Oratorio-Immediately after completing ?St. Paul? in 1836 Mendelssohn mulled over the idea of composing a further oratorio. However a whole decade elapsed before the composition of ?Elijah? which takes as its theme the story of the Biblical prophet from the 1st Book of Kings. When he received the invitation to write a major work for the Birmingham Music Festival Mendelssohn finally embarked on work on the oratorio. ?Elijah? was premiered in 1846 in Birmingham with great success and has enjoyed great popularity ever since.Following the first performance Mendelssohn undertook a revision of the oratorio inwhich whole numbers were removed and new ones substituted. This is the version which was first heard in 1847 in London and which is still performed today.To mark the Mendelssohn anniversary year 2009 the Mendelssohn specialist Douglass Seaton Professor at Florida State University prepared a critical new edition of the oratorio. The edition reflects the latest research findings and includes both English and German singing texts.A critical commentary completes the new edition.- One of Mendelssohn?s most popular works in an edition reflecting the latest editorial knowledge.- Bärenreiter-Urtext including numbers from the original version for the first time.- English and German singing texts.- Critical Commentary (Eng).- Full score performance material (BA9070) and vocal score (BA9070-90) available for sale.
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Felix Mendelssohn Bartholdy: Psalm Non nobis Domine op. 31: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Barenreiter
Nicht unserm Namen Herr-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' O...
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Nicht unserm Namen Herr-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete from the initial sketches and the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms Mendelssohn took the Latin words from the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation he made use of Psalm 115 from the Luther Bible.This edition by the leading Mendelssohn authorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis the vocal parts are underlaid with the Latin text and the German text appears underneath.Rounding off this Urtext edition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages (Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale
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Felix Mendelssohn Bartholdy: Psalm Non nobis Domine op. 31: Mixed Choir: Vocal
Soli, Mixted choir and accompaniment
Barenreiter
Nicht unserm Namen Herr-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' O...
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Nicht unserm Namen Herr-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete from the initial sketches and the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms Mendelssohn took the Latin words from the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation he made use of Psalm 115 from the Luther Bible.This edition by the leading Mendelssohn authorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis the vocal parts are underlaid with the Latin text and the German text appears underneath.Rounding off this Urtext edition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages (Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble 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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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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Wolfgang Amadeus Mozart: Betulia Liberata K.118: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
The material for Mozart’s azione sacra is taken from the Old Testament bo...
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The material for Mozart’s azione sacra is taken from the Old Testament book of Judith the story of the beautiful Israelite who steals into the enemy camp of the Assyrians and decapitates their sleeping commander Holofernes.Often called a stroke of genius by the fifteen-year-old Mozart Betulia Liberata brooks comparison with his early operas in every respect. But Mozart was evidently concerned to distinguish between an azione sacra and an azione teatrale in the music itself e.g. in the accompanied recitatives and the sacred aura of the final chorus. Performance material available for hire.First vocal scoreof Mozart’s Betulia Liberata.Easy to play Piano reduction.Clear and uncluttered appearance on the page.Original Italian words underlaid with a new German translation.Bilingual preface in German and English.
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Johann Sebastian Bach: Mass in G minor BWV 235 Lutheran Mass 3: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Lutheran Mass 3-Mass G minor BWV 235 'Lutheran Mass No.3'for Alto solo Tenor so...
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Lutheran Mass 3-Mass G minor BWV 235 'Lutheran Mass No.3'for Alto solo Tenor solo Bass solo mixed choir (SATB) and orchestraOften overshadowed by the more famous Mass in B minor the four Lutheran Masses feature glorious choruses and sincerely moving arias. They are largely taken from various cantata movements and adapted to the Mass texts. Urtext of the New Bach EditionFull score performance material and vocal score for all 4 Masses (BA5182-BA5185) available for sale
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