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You've Selected:
Ward
HARPSICHORD
Soli, Mixted choir and accompaniment
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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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Georg Friedrich Händel: Athalia HWV 52: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Oratorio in three parts The oratorio “Athalia” tells the Old Testame...
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Oratorio in three parts The oratorio “Athalia” tells the Old Testament story of the Queen Athalia. Handel composed it in 1733 for Oxford University where it was first performed later that year during the celebrations for the awarding of honorary degrees. The great success of this performance is generally regarded as a reason for Handel’s renewed interest in the oratorio form. As was frequently the case Handel also carried on composing this work after the first performance. Thus for the version which was performed in London in 1735 he introduced numbers in Italian for the Italian singer Carestini in the roleof Joad. He also ended the work with an organ concerto. For the performance in 1756 he drew on other works for the third act. Conversely large parts of the music to Athalia form the basis for other works by Handel such as “Parnasso in festa” (HWV 73) and the Wedding Anthem (HWV 262). The Piano reduction by Andreas Köhs (BA4082-90) based on the Urtext of the “Halle Handel” Edition includes the main version of 1733 together with an appendix containing the versions of 1735 and 1756 as well as the outline of a planned version of 1743 which was not performed. - Based on the Urtext of the “Halle Handel” Edition - Includes all versions - Detailed foreword (Ger/Eng) - Full score (BA4082) and Vocal score (BA4082-90) available for sale - Performance material (BA4082-72) available for hire
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Georg Friedrich Händel: Athalia HWV 52: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Oratorio in three parts-Oratorio in three parts The oratorio “Athalia&rdqu...
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Oratorio in three parts-Oratorio in three parts The oratorio “Athalia” tells the Old Testament story of the Queen Athalia. Handel composed it in 1733 for Oxford University where it was first performed later that year during the celebrations for the awarding of honorary degrees. The great success of this performance is generally regarded as a reason for Handel’s renewed interest in the oratorio form. As was frequently the case Handel also carried on composing this work after the first performance. Thus for the version which was performed in London in 1735 he introduced numbers in Italian for the Italian singer Carestini in the roleof Joad. He also ended the work with an organ concerto. For the performance in 1756 he drew on other works for the third act. Conversely large parts of the music to Athalia form the basis for other works by Handel such as “Parnasso in festa” (HWV 73) and the Wedding Anthem (HWV 262). The Piano reduction by Andreas Köhs (BA4082-90) based on the Urtext of the “Halle Handel” Edition includes the main version of 1733 together with an appendix containing the versions of 1735 and 1756 as well as the outline of a planned version of 1743 which was not performed. - Based on the Urtext of the “Halle Handel” Edition - Includes all versions - Detailed foreword (Ger/Eng) - Full score (BA4082) and Vocal score (BA4082-90) available for sale - Performance material (BA4082-72) available for hire
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Ludwig van Beethoven: Mass In C Op.86: Mixed Choir: Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score ...
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Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score with realisation of the Organ partBilingual Foreword (Eng/Ger) and Critical Commentary (Eng)Straight-forward Piano reductionFull score and performance material (BA9039) and Vocal score (BA9039-90) available for saleAmongst Beethoven’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and for its time distinctly modernpiece of sacred music.Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score just as Beethoven envisioned it for the first printed edition. As stated in the original sources the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages.This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary.
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Ludwig van Beethoven: Mass In C Op.86: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (chorus), Keyboard
Barenreiter
Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score ...
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Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score with realisation of the Organ partBilingual Foreword (Eng/Ger) and Critical Commentary (Eng)Straight-forward Piano reductionFull score and performance material (BA9039) and Vocal score (BA9039-90) available for saleAmongst Beethoven’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and for its time distinctly modernpiece of sacred music.Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score just as Beethoven envisioned it for the first printed edition. As stated in the original sources the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages.This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary.
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Ludwig van Beethoven: Mass In C Op.86: Mixed Choir: Parts
Soli, Mixted choir and accompaniment
Barenreiter
Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score ...
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Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score with realisation of the Organ partBilingual Foreword (Eng/Ger) and Critical Commentary (Eng)Straight-forward Piano reductionFull score and performance material (BA9039) and Vocal score (BA9039-90) available for saleAmongst Beethoven???s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and for its time distinctly modernpiece of sacred music.Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work???s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score just as Beethoven envisioned it for the first printed edition. As stated in the original sources the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages.This Barenreiter Urtext edition is rounded off with a foreword on the work???s genesis and a detailed critical commentary.
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Ludwig van Beethoven: Mass In C Op.86: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Barenreiter
Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score ...
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Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score with realisation of the Organ partBilingual Foreword (Eng/Ger) and Critical Commentary (Eng)Straight-forward Piano reductionFull score and performance material (BA9039) and Vocal score (BA9039-90) available for saleAmongst Beethoven???s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and for its time distinctly modernpiece of sacred music.Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work???s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score just as Beethoven envisioned it for the first printed edition. As stated in the original sources the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages.This Barenreiter Urtext edition is rounded off with a foreword on the work???s genesis and a detailed critical commentary.
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Claudio Monteverdi: Vespro Della Beata Vergine 'Marienvesper': Vocal Ensemble:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
2 Solo Sopranos 2 Solo Altos 3 Solo Tenors 2 Solo Basses Mixed Choir and Orc...
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2 Solo Sopranos 2 Solo Altos 3 Solo Tenors 2 Solo Basses Mixed Choir and Orchestra-Scholarly-critical Urtext edition orientated towards performance practice.Detailed critical commentary (Eng) in the full score.Movements 10 13 and 14 are included in their original high clef in the appendix of the full score.These movements are also available with Piano reduction as print-on-demand.Claudio Monteverdi?s ?Vespro della Beata Vergine? is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings it is frequently performed in its entirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas under thedirection of the Monteverdi specialist Hendrik Schulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led for instance to a divergent evaluation of the ?Lauda Jerusalem? oriented towards performance practice with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights make a modern interpretation of this 400-year-old work possible.Full score & performance material available for sale.
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Claudio Monteverdi: Vespro Della Beata Vergine 'Marienvesper': Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Basso Continuo-Claudio Monteverdi?s Vespro Della Beata Vergine is without doubt ...
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Basso Continuo-Claudio Monteverdi?s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings it is frequently performed in its entirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas under the direction of the Monteverdi specialist Hendrik Schulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led for instance to a divergent evaluation of the ?Lauda Jerusalem?oriented towards performance practice with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights make a modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements 10 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.
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Claudio Monteverdi: Vespro Della Beata Vergine 'Marienvesper': Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Claudio Monteverdi?s Vespro Della Beata Vergine is without doubt one of the most...
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Claudio Monteverdi?s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings it is frequently performed in its entirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas under the direction of the Monteverdi specialist Hendrik Schulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led for instance to a divergent evaluation of the ?Lauda Jerusalem?oriented towards performance practice with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights make a modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements 10 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.
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Johann Sebastian Bach: Cantata BWV 61 Nun Komm: Voice: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 61Cantat...
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 61Cantata for the First Sunday of AdventBach began two of his cantatas with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. One of the most gripping solo parts (following the pattern recitative – aria – recitative – aria) is the bass recitative on the words of the Revelation with its highly expressive declamation of the vocal line and the naive graphicness of the pounding string accompaniment.Equally captivating is the following soprano aria which 'opens its heart' upon the Saviour's 'knocking' in a melody full of thecheerful tidings of Advent. The cantata ends brilliantly with a lovely figurative chorale movement enhanced by the interplay of a lively bustling violin part which ultimately soars upward to breathtaking heights.- Urtext of the New Bach Edition
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Wolfgang Amadeus Mozart: Missa in C minor K.139: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Waisenhaus Mass-Mozart had barely turned twelve when he composed and conducted h...
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Waisenhaus Mass-Mozart had barely turned twelve when he composed and conducted his Missa solemnis in C minor K.139 to inaugurate a new orphanage on Vienna?s Rennweg in 1768.This astonishing early work adheres to the form of a Neapolitan cantata mass in which the separate movements (?Gloria? ?Credo? etc.) are themselves made up of self-contained choruses ariosos and ensembles.This frequently heard Mass is characterized by a sharp contrast between its cheerful underlying C major mood and gloomy dramatic passages in the minor mode.Urtext of the New Mozart EditionStraightforward piano part in the vocal scoreIdeal for church services andconcert performances Full score & performance material (BA4858) and vocal score (BA4858-90) available for saleArrangement for soloists choir & organ (BA7521) for sale
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
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HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
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HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
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Antonín Dvo?ák: Rusalka Op.114 (Vocal Score): Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Performance material available for hire.With ?Rusalka? one of the best-loved an...
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Performance material available for hire.With ?Rusalka? one of the best-loved and most frequently performed works in the Czech operatic repertoire Dvorak reached an exceptional level of lyrical depth and dramatic effectiveness. The opera portrays the fairy tale-like drama around the unhappy love of the nymph Rusalka for a human.So that she can love and be loved she has to renounce her watery kingdom. Through the magical powers of a witch she is transformed into a human at the price of losing her speech.The Prince soon grows tired of her silent cold beauty and his heart turns towards a foreign princess. The despairing Rusalkawants to return to her watery kingdom. The disappointed Prince once more feels attracted to Rusalka?s magic. He returns to her by the forest lake. Rusalka?s deathly kiss brings him the release he longs for.The vocal score by Karel Solc based on the Complete Edition is published for the first time with a German singing translation of the text by Eberhard Schmidt. One of the best-known Czech operas Vocal score by Karel Solc Newly underlaid with German singing translation by Eberhard Schmidt
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Requiem: Mixed Choir and Accomp.: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Score]
Carus Verlag
Joseph Martin Kraus [1756–1792] composed his Requiem in 1775at the age of 19 f...
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Joseph Martin Kraus [1756–1792] composed his Requiem in 1775at the age of 19 for the parish church in his hometown of Buchen Odenwald. This followed the Miserere of 1773 and is the second of his surviving sacred compositions. Already in this early work Kraus shows that he was a representative of the musical “Sturm und Drang.” With all its youthful unconcern towards compositional technique this music displays his seriousness and strength of expression together with a dark instrumental timbre as well as an abruptness or at times brusqueness. The publication of the Requiem in the Complete Edition is the first historical and critical edition of the work
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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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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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Hector Berlioz: Les Troyens: Voice: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Les Troyens - The Trojans: Opera in 5 ActsBerlioz composed Les Troyens towards t...
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Les Troyens - The Trojans: Opera in 5 ActsBerlioz composed Les Troyens towards the end of his life drawing on Virgil?s epic poem The Aeneid which he had admired since his childhood. In his Memoirs he recounts how his father a country doctor read Virgil to him and how the story of Dido?s tragic fate reduced him to tears which he tried hard to conceal.The score was finished in April 1858 but he was unable to persuade the Paris Opera to mount it (his earlier opera Benvenuto Cellini had been a failure there in 1838) and eventually he agreed to allow the last three acts to be performed under the title Les Troyens Carthage. This took place at theThé tre-lyrique an enterprising but ill-equipped theatre in November 1863 and although it was much admired there were no more performances before Berlioz?s death in 1869.In the history of French music Les Troyens stand out as a grand opera that avoided the shallow glamour of Meyerbeer and Halévy but therefore paid the price of long neglect. In our own time the opera has finally come to be seen as one of the greatest operas of the 19th century.The vocal score to ?Les Troyens? presents the text Berlioz conceived as a great five act opera. During the composition of this work between 1856 and 1858 and up until June 1863 Berlioz perceived ?Les Troyens ? as one opera. Because of performance difficulties the composition had to be divided into two operas ?La Prise de Troie? and ?Les Toyens Carthage?.The vocal score is based on the three-volume New Berlioz Edition and also on the one-volume vocal score edition that under Berlioz?s supervision was privately printed in 1861-62 and then distributed. The appendix contains two complete scenes: The Sinon scene from the first act and the original finale from the fifth act.Urtext of the New Berlioz EditionFull score (BA5442) and vocal score (BA5442-90) available for salePerformance material (BA5442-72) available for hire
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Jean-Philippe Rameau: Zaïs: Orchestra: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Ballet héroïque en un prologue et quatre actes-?Za s? was Rameau?s first opera...
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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.
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Felix Mendelssohn Bartholdy: St. Paul Op.36: SATB: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in ...
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Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction
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Felix Mendelssohn Bartholdy: St. Paul Op.36: SATB: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Part]
Barenreiter
Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in ...
(+)
Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction
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Felix Mendelssohn Bartholdy: St. Paul Op.36: SATB: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Part]
Barenreiter
Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in ...
(+)
Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction
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Felix Mendelssohn Bartholdy: St. Paul Op.36: SATB: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Part]
Barenreiter
Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in ...
(+)
Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction
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Georg Friedrich Händel: Anthem For The Funeral Of Queen Caroline HWV 264: Mixed
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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When Queen Caroline the wife of King George II of England died on 20 November ...
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When Queen Caroline the wife of King George II of England died on 20 November 1737 Handel was commissioned to write an anthem for her funeral service. She was buried in King Henry VII?s Chapel Westminster Abbey on the evening of 17 December 1737 with Handel?s work performed after the funeral service.To emphasize the solemnity of the occasion he used a roughly 100-piece Orchestra and 80 Choristers. The piece is a so-called ?full anthem? consisting of an instrumental Introduction (?Symphony?) and thirteen interlinked choruses. The words were written by Edward Willes the Sub-Dean of Westminster at that time using passages from the King James Bible and theBook of Common Prayer albeit sometimes departing from the original wording.The absence of sections for solo voice has made this anthem a favourite among ambitious choruses and a highlight of any concert programme. Our edition contains the original unabridged version with English text. Martin Focke?s Piano reduction follows the Urtext of the Halle Handel Edition.Original unabridged version.Urtext from the Halle Handel Edition.Straightforward easy-to-play Piano reduction.Full score performance material (BA4267) and Vocal score (BA4267-90) based on the Urtext Halle Handel Edition available for sale.
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