Antonio Vivaldi probably composed his famous Gloria in 1725. Although the exact circumstances of its origin remain a riddle it was definitely conceived as a self-contained concert piece rather than as part of a complete setting of the Mass.The compositional fabric the festive character of the outside movements and the predominance of the strings in the middle movements make this masterpiece of Venetian sacred music a natural choice for an arrangement for solo voices choir and organ. Rather than imitating the orchestral writing Martin Focke?s arrangement offers a self-contained version tailor-made for this combination of instruments thereby making a pinnacleof European church music accessible to the often more modest resources of today?s churches.Standard work of the oratorio repertoireSelf-contained version for solo voices (SSA) choir (SATB) and organHighly supportive easy-to-play organ partIdeal for use in church servicesDuration: c. 30 mins.The Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed.The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.

This piece is a joyous and exuberant chorus from Antonio Vivaldi's Domine ad adjuvandum me festina a polychoral motet based on Psalm 69. Originally scored for two choirs this edition by Patrick Liebergen is a shortenedversion of the first of three movements with a keyboard reduction of the full orchestral score and an optional trumpet part provided as the accompaniment. Outstanding choral masterwork.

Par CALDARA ANTONIO. Langue : Latin / Date parution : 1990-03-01/ Répertoire / Choeur SATB/SATB

Laetatus Sum. Par VIVALDI ANTONIO. The 121st Psalm of the Vulgata forms part of the Roman Catholic liturgy for Vespers on the feast da of a virgin [namely, the Virgin Mary]. Vivaldi's setting, given its first edition, is one of his simplest psalm statements that have come down to us. / Psaumes / Date parution : 1984-08-01/ Répertoire / Choeur SATB, Violon, Alto et Basse Continue

Tonalité : G-Moll - Weithoff, Godehard (Arr.) -. Par CALDARA ANTONIO. Verwendung / Anlässe: Marienfeste, Marianische Gesänge - Langue : Latin / Hymnes et chorals / Répertoire / Choeur SATB et Orgue

Laetatus Sum. Par VIVALDI ANTONIO. The 121st Psalm of the Vulgata forms part of the Roman Catholic liturgy for Vespers on the feast da of a virgin [namely, the Virgin Mary]. Vivaldi's setting, given its first edition, is one of his simplest psalm statements that have come down to us. / Psaumes / Date parution : 1984-08-01/ Répertoire / Choeur SATB, Violon, Alto et Basse Continue

Ed. critica di Alessandro Borin - ril. brochure-La Gloria E Imeneo RV 687 belongs to a group of so-called ‘French serenatas’ by Antonio Vivaldi namely a series of works composed and performed between the mid-1710s and mid-1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy.This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice Jacques-Vincent Languet Count of Gergy on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska and was performed during a festa that took place inthe ambassador’s garden on the evening of 12 September 1725.This critical edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata the state of the sources and its musical content. The critical edition includes an apparatus that records all the variants between the autograph score and the secondary collate sources and a diplomatic- interpretative edition of the poetic text inferred – since no libretto has come down to us – by the words underlaid to the notes in the manuscript of the serenata.

ED. G.F. Malipiero. Par VIVALDI ANTONIO. Testo Latino (Malipiero)/ Répertoire / Matériel D'Orchestre

Ed. critica di Alessandro Borin - Riduzione per canto e pianoforte di A. Frigé-The present reduction derives from the critical edition of the score of La Gloria E Imeneo published in this catalogue. The opera belongs to a group of the so-called ‘French serenatas’ by Antonio Vivaldi namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy.This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice Jacques-Vincent Languet Count of Gergy on theoccasion of the wedding of Louis XV to the Polish princess Maria Leszczyska and was performed during a festa that took place in the ambassador’s garden on the evening of 12 September 1725.This edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It includes a brief Introduction and a critical apparatus that records all the variants between the autograph score and the secondary collate sources.

Tonalité : Mixolydisch -. Par CABEZON ANTONIO DE. Gattungen: Messen-Sätze, Motetten - Verwendung / Kirchenjahr: Fastenzeit und Passion, Karwoche - Langue : Allemand / Messe / Répertoire / Choeur SATB