Par PURCELL HENRY. Purcell Dido and Aeneas (Full Score, paperback) The opera ?Dido and Aeneas?, a recount of the well-known story from Book IV of Virgil's Aeneid, has established itself as a favourite with the public. This is due to the skill of composer Henry Purcell and his librettist Nahum Tate, who combined an overriding tragic theme with masterfully inserted comic episodes. Long believed to have been conceived in 1689 for a performance at a ?School for Young Gentlewomen?, scholars have debated the origins of ?Dido? in recent decades, a process hampered by the lack of early musical sources. This edition addresses these challenges and evaluates the earliest sources that reproduce the opera in its surviving form. Surprisingly, these date from the 1770s and 80s, some ninety years after the work was written. Three key manuscripts ? now held at the Bodleian Library in Oxford (UK), at Tatton Park Library which is a National Trust property near Manchester (UK), and at the Wakayama Prefectural Library (Japan) - were all copied from the same original, most likely a handwritten score from 1704 which reappeared in the early 1770s, only to disappear again. This is the first 'Dido' edition based on the Tatton Park manuscript as the main source. It was produced during the second half of the 18th century by Philip Hayes, one of England's most prominent musicians. He was known in musicology for his meticulous copies of Purcell's music, often from the autograph manuscripts. The Bodleian and Wakayama manuscripts are presented in a new light and their role in this edition has been reassessed accordingly. - Urtext edition based for the first time on the Tatton Park manuscript as the main source - Informative Foreword (Eng/Ger) on the genesis, transmission, reception and performance practice - Complete facsimile reproduction of the Chelsea libretto / Date parution : 2023-06-01/ Répertoire / Solistes, Choeur Mixte et Orchestre

Kantate Zum Sonntag Estomihi. Par TELEMANN GEORG PHILIPP. Kubik, Reinhold (Arr.) - Pringsheim, Anthony (Trad.) - TVWV 1:1320/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,

Kantate Zum Sonntag Estomihi. Par TELEMANN GEORG PHILIPP. Kubik, Reinhold (Arr.) - Pringsheim, Anthony (Trad.) - TVWV 1:1320/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,

Kantate Zum Sonntag Estomihi. Par TELEMANN GEORG PHILIPP. Kubik, Reinhold (Arr.) - Pringsheim, Anthony (Trad.) - TVWV 1:1320/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,

Kantate Zum Sonntag Estomihi. Par TELEMANN GEORG PHILIPP. Kubik, Reinhold (Arr.) - Pringsheim, Anthony (Trad.) - TVWV 1:1320/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,

Cantata for the Second Day of Christmas-Telemann composed ?Gelobet Seist Du Jesu Christ? (TvWV 1:612) for his cantata cycle of 1710 11. Although scored without Brass Instruments or Timpani the brilliant festive mood of the second day of Christmas prevails.The opening chorale and the final chorus form a frame for the four solo arias of the main section (ATB). Here too the choral numbers may be and usually are taken one to a part. The vocal score appears with a singing translation in English and suggested alternatives for the German text.- Urtext based on the latest findings of scholarship.- Straightforward and easy-to-play Piano reduction.- Duration:approx. 15 minutes.- Singing translation in English.- Full score (BA7676) and performance material (BA7676) available for sale.

Ballet héroïque en un prologue et quatre actes-?Za s? was Rameau?s first opera which was entirely devoted to ?la féerie? the enchanted world of myth from the Middle East with its spirits and fantastic creatures. It was first performed on 29 February 1748 at the Paris Opera and was much praised for its expressive power elegance and variety of its music as well as for the charm of its ballet. Although the libretto by Louis de Cahusac was criticised the delightful work proved very popular: it was revived in 1761 and 1769 and for more than two decades received over 100 performances. Like most of Rameau?s operas ?Za s? was extensively revised during the composer?s lifetime and afterwards. Revisions already beganduring the first rehearsals and continued until the first performance. The composer and the librettist Cahusac finally used the Easter period in 1748 to work on those revisions; as well as structural changes and musical substitutions these included some substantial additions to vocal and instrumental movements. The version which was performed after Easter is more convincing both musically and dramatically. In contrast the revivals of 1761 and 1769 the first after Cahusac?s death the second after Rameau?s contained drastic cuts including the entire prologue. For the new volume in the ?Opera Omnia Rameau? the version from Easter 1748 has been chosen as the primary source. For performances a choice can be made between this and the original version; a series of insertions links all the passages with another.