SKU: CA.5505694
Text language: English. Text: Jennens, Charles.
George Frideric Handel is considered England's first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759. In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions. Score available separately - see item CA.5505600.
SKU: TM.05189SC
Transposed: cl1&2, tpt1&2, tbn1&2, hns orig in F; VS1= chs in Eng, VS2= edited by John Rutter, chs in English and phonetic Russian. See #13203 for vocal score in Russian (Cerullic)/French/German.
SKU: TM.05189SET
SKU: CA.5032805
ISBN 9790007223847. Key: D major. Language: Latin.
Score available separately - see item CA.5032800.
SKU: CA.5032849
ISBN 9790007223915. Key: D major. Language: Latin.
SKU: CA.5032815
ISBN 9790007223908. Key: D major. Language: Latin.
SKU: CA.5032811
ISBN 9790007223861. Key: D major. Language: Latin.
SKU: CA.5032819
ISBN 9790007133580. Key: D major. Language: Latin.
SKU: CA.5032813
ISBN 9790007223885. Key: D major. Language: Latin.
SKU: CA.5032803
ISBN 9790007089344. Key: D major. Language: Latin.
SKU: CA.5032809
ISBN 9790007223854. Key: D major. Language: Latin.
SKU: TM.03591SET
Act I No. 10 Terzetto. Sc pg 74-78. Sung by Fiordiligi, Dorabella, Don Alfonso.
SKU: TM.03307SET
Act II No. 5 Duet. Sc pg. 158-180. See #11865 for the beginning of Act II No. 5, Scene.
SKU: TM.03307SC
SKU: TM.03591SC
SKU: CA.5165203
ISBN 9790007294243. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to SüÃ?mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
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