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BUGLE
Soli, Mixted choir and accompaniment
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Franz Joseph Haydn: Missa In Tempore Belli: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Mass in Time of War-Haydn was in England in 1795 when he received word from hi...
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Mass in Time of War-Haydn was in England in 1795 when he received word from his new Prince Nicolaus II Esterházy that the Esterházy orchestra was to be reformed and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister except the usual routine of administration; but Haydn was to compose every year a new Mass for the name day of the Princess Josepha Maria which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen?s Day (26 December) 1796. The writer of these notes examined when preparingthis edition the music archives of the church and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score parts (BA4652) vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94) available for sale
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Claudio Monteverdi: LOrfeo: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Favola in musica in un prologo e cinque atti-Monteverdi’s opera “L&r...
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Favola in musica in un prologo e cinque atti-Monteverdi’s opera “L’Orfeo” based on the legend of Thracian singer Orpheus and his love of Eurydice is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources this certainly does not mean that it is not also practical to use as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants not only between the two editions but also amongst the eight surviving copies are listed in the critical commentary.This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should however feel free to follow his own judgment. The notation has been when necessary adapted to suit modern practice for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower.Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practiceComprehensive critical commentary (Eng) in the scoreIdiomatic piano reduction
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Georg Friedrich Händel: Samson: Opera: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Novello & Co Ltd.
Samson an oratorio for soloists mixed chorus and orchestra by George Frideric ...
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Samson an oratorio for soloists mixed chorus and orchestra by George Frideric Handel libretto by Newburgh Hamilton after Milton’s Samson Agonistes. Edited by Donald Burrows. This latest addition to the Novello Handel Edition is the first complete modern edition of the composer’s longest oratorio prepared after examination of all known contemporary sources both music and word-books. The publication embodies the complete text known to have been performed at the Covent Garden premiere in 1743 as well as identifying the later shorter versions and additions performed regularly by Handel and an Appendix of allfurther variants created by him and performed during his lifetime. It is thus a comprehensive and flexible edition for between four and eight soloists with an abundance of choral writing and some of Handel’s most sublime writing for voices.Includes an historical preface extensive notes on the performance of the different versions and useful practical notes on the interpretation of Handel.
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Franz Schubert: Rosamunde Fürstin von Cypern D 797: Orchestra: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
Romantisches Schauspiel in vier Akten mit Musikbegleitung Chören und Tänzen-R...
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Romantisches Schauspiel in vier Akten mit Musikbegleitung Chören und Tänzen-Rosamunde Fürstin Von Cypern D 797Incidental music to the four-act play by Helmina von Chézy.On 20 December 1823 Helmina von Chézy?s ?great romantic drama? ?Rosamunde? received its premiere performance at Vienna?s Theater an der Wien. Unfortunately this version of the drama with ghosts shipwreck pirates attempted poisoning and other horrifying ingredients has not survived unlike Schubert?s popular incidental music which was already praised by contemporary critics. Special acknowledgment was given to ?the genius of this much-loved master? and as evidence of its popularity the overture and the ?Hunters? Chorus? had to beplayed again.Now Bärenreiter is issuing one of Schubert?s best-known compositions in a complete vocal score.The appendix includes Chézy?s draft to the play ?Rosamunde? and a reconstruction of the first version of this drama.Urtext edition based on the ?New Schubert Edition?Bilingual Foreword (Ger/Eng)Idiomatic uncluttered Piano reduction (Ger)Full score (BA5570) and vocal score (BA5570-90) available for sale performance material (BA5570-72) available for hire
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Ighigénie en Aulide (GLUCK CHRISTOPH WILLIBALD)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigénie en Aulide (Vocal Score) Tragedy ...
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Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigénie en Aulide (Vocal Score) Tragedy - Opera in three acts Iphigénie en Aulide is the first of six operas that Gluck composed for the Académie Royale de Musique. In keeping with his plans for operatic reform, he sought to create noble, expressive and natural melodies that did justice to every language and every national spirit while eliminating the “ridiculous distinction” between national styles of music. Although the première was coolly received at first by the contemporary press, “Iphigénie” developed into a tremendous success. The onrush of listeners was said to have been so great that the management of the Paris Opéra considered placing guards in front of the theatre. Now Bärenreiter is issuing the carefully revised and corrected vocal score in a new engraving adapted to meet their current standards. - Revised and newly engraved - Detailed foreword (Ger/Fr/Eng) on the work’s genesis and reception history, together with a summary of the plot - Practical, straight-forward piano reduction - Performance material available for hire (BA5849-72) / Date parution : 2022-07-20/ Répertoire / Solistes, Choeur et Orchestre
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Franz Joseph Haydn: Mass In B-flat: Voice: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Missa B-flat Major Hob.XXII:14 'Harmony Mass'Urtext from: Joseph Haydn WerkeIt i...
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Missa B-flat Major Hob.XXII:14 'Harmony Mass'Urtext from: Joseph Haydn WerkeIt is well known that Joseph Haydn wrote his late masses to the commission of his last employer Prince Nicolaus II Esterhazy. The 'Harmoniemesse' is the last of these high masses all of which probably received their first performances in celebration of the name-day of Princess Maria Josepha Hermenegild the prince's wife. The present work was given for the first time on 8 September 1802 in the Bergkirche at Eisenstadt Haydn himself conducting.Haydn entitled his work simply 'Missa'. The work has acquired the name 'Harmoniemesse' by reason ofthe prominent parts given to the wind instruments ('Harmonie' being a contemporary name for a wind band); the nickname did not become established until the late nineteenth century.Full score and parts (BA4659) vocal score (BA4659-90) and study score format 22.5 x 16.5cm (TP97) available for sale.
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Franz Joseph Haydn: The Creation: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
The oratorio The Creation represents not only a crucial point in Joseph Haydn's ...
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The oratorio The Creation represents not only a crucial point in Joseph Haydn's compositional output but at the same time marks the beginning of a new chapter in the history of the oratorio.At the turn of the 19th century Haydn broke with the traditional dominance of the arias giving the chorus a distinctly greater significance. This opened the way for a new kind of choral oratorio which became one of the standard features of developing bourgeois concert life.The text translated from the English original by Baron van Swieten Prefect of the imperial court library in Vienna combines prose texts of the creation story inLuther's translation of the Bible with complementary excerpts from John Milton's Paradise Lost.- New edition based on the Urtext from the Complete Edition of “Joseph Haydn’s Works” published by G. Henle Verlag.- Vocal score with a contemporary Piano reduction by A. E. Müller revised by A. Köhs.- Excellent presentation on the page.
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Charles Gounod: Requiem in C: Piano: Vocal Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (chorus), Keyboard
Carus Verlag
Charles Gounod's Requiem Op. Posth in C for SATB and Piano.Charles Gounod compos...
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Charles Gounod's Requiem Op. Posth in C for SATB and Piano.Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson Maurice. According to information handed down while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil Henri Busser but the only complete version from the pen of Gounod is the version for large orchestra which is published here for the first time in a critical edition.Gounod?s Requiem unlike many contemporary settings of the Mass of the Dead is not characterized by darkness and terror. Rather with all of itstrepidation expressed through a marked chromaticism an atmosphere of hopeful expectation of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod?s death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press.
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L'Orfeo: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (chorus), Keyboard
Barenreiter
Monteverdi’s opera “L’Orfeo” based on the legend of Thr...
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Monteverdi’s opera “L’Orfeo” based on the legend of Thracian singer Orpheus and his love of Eurydice is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua.When an edition remains true to its sources this certainly does not mean that it is not also practical to use as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”.Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants not only between the two editions but also amongst the eight surviving copies are listed in the critical commentary.This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should however feel free to follow his own judgment. The notation has been when necessary adapted to suit modern practice for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower. Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice Comprehensive critical commentary (Eng) in the score Idiomatic piano reduction
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Marc-Antoine Charpentier: In Nativitatem Domini Canticum: Mixed Choir: Vocal
Soli, Mixted choir and accompaniment
satb (soli), SATB (chorus), Keyboard
[Sheet music]
Barenreiter
Charpentier composed ?In Nativitatem Domini Canticum? during his period as maît...
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Charpentier composed ?In Nativitatem Domini Canticum? during his period as maître de musique at the church of St Louis in Paris (around 1690). It is in the tradition of the oratorios of Carissimi and his contemporaries but is more easily described as a ?Grand Motet? or ?Histoire sacrée? a genre in which Charpentier excelled. The work was probably intended for performance during mass on Christmas Day and thus had a liturgical function as was customary during the period of Louis XIV in Paris.The text presents the Christmas story in three sections: the chorus of the faithful the actual story of the birth of Jesus and the adoration ofthe shepherds in the fields. The music reveals a subtle mixture of French and Italian styles with dramatic elements.For the first time this work prepared by the acknowledged Charpentier expert Joel Schwindt is presented in a scholarly-critical edition where all sources have been consulted.A detailed foreword and critical commentary provide detailed information which fulfil all the criteria of an Urtext edition.- First Urtext edition of this work.- An important addition to the repertoire for Christmas.- Straightforward clear Piano reduction.- Foreword (Ger/Eng) and critical commentary (Eng).- Full score performance material (BA7673) & Vocal score (BA7673-90) available for sale.
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
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Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
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Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
(+)
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
(+)
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
(+)
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
(+)
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
(+)
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
22.70 EUR - Sold by LMI-partitions
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
(+)
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
(+)
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
166.41 EUR - Sold by LMI-partitions
(Seller in french langage)
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Paulus (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Carus Verlag
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first orato...
(+)
Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,
22.70 EUR - Sold by LMI-partitions
(Seller in french langage)
Pre-shipment lead time:
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