Ein Oratorium Nach Worten Des Alten Testaments. Par MENDELSSOHN-BARTHOLDY FELIX. Nur ein Jahr vor seinem Tod erzielte Felix Mendelssohn Bartholdy mit seinem Oratorium 'Elias' einen Erfolg, der ihn bis heute zu einem der beliebtesten Oratorienkomponisten gemacht hat. Von packender Dramatik und gleichzeitig von einer Innigkeit des Gottvertrauens, wie sie zu Mendelssohns Lebzeiten durchaus nicht mehr selbstverständlich war, bietet dieses Oratorium den Aufführenden eine Vielzahl an musikalischen Ausdrucksmöglichkeiten. Der alttestamentliche Bibeltext ist in den Rezitativen, Arien und Chorsätzen recht genau aufgenommen; um die Dramatik zu steigern, legt Mendelssohn ihn zum Teil dialogisch an und kommentiert ihn aus den Prophetenbüchern und demPsalter. Dadurch entsteht ein biblisches Drama, dessen 22 Abschnitte zu ausgedehnten, dramatischen Szenen zusammengefaßt sind. Allerdings können ohne weiteres auch einzelne Chorsätze aus dem 'Elias' herausgelöst und zu passenden liturgischen Gelegenheiten im Gottesdienst oder in geistlichen Konzerten aufgeführt werden. 'Bei einem solchen Gegenstand wie Elias . . . muß das Dramatische vorwalten. . . die Leute lebendig redend und handelnd eingeführt werden, . . . eine recht anschauliche Welt, wie sie im alten Testamente in jedem Kapitel steht, ' schrieb Mendelssohn an seinen Librettisten. Die 'anschauliche Welt' setzte er in packenden Baalschören, dramatisch durchkomponierten Szenen und schlichter Engelsmusik um. Die Carus-Neuausgabe von R. Larry Todd, Duke University/USA, gibt ausführliche Informationen über Entstehungsgeschichte und Quellenlage. / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Psalm with a large Orchestral scoring in an Urtext edition.Bilingual foreword (Ger/Eng).Original German as well as English text.Includes a Piano reduction by the composer.The setting of Psalm No.42 Op.42 Wie der Hirsch schreit nach frischem Wasser (As the hart pants after the waterbrooks) for Soloists mixed Choir and full Orchestra dates back to 1837. The well-known Mendelssohn specialist John Michael Cooper has evaluated the first printed edition of the score prepared by the composer himself as well as taking all other important sources into account. This Urtext edition is rounded off by a detailed criticalcommentary (Ger/Eng). The Piano reduction is by Mendelssohn and is an authentic part of this edition.

Par MENDELSSOHN-BARTHOLDY FELIX. Felix Mendelssohn’s oratorio Elijah caused a sensation at its world première performance, sung in English, in Birmingham UK in August 1846. The huge forces marshalled for the occasion delighted the audience, who demanded no fewer than eight encores and loudly acclaimed the composer despite an injunction to observe the solemnity of the occasion by refraining from applause. Elijah has been an essential repertoire work for choral societies ever since. Published on the 175th anniversary of that famous premiere, Edition Peters is proud to present a new English-language Urtext edition of the vocal score containing the original libretto by William Bartholomew. Edited and with a preface by the highly respected musicologist Klaus Burmeister, the edition also includes a foreword ‘Mendelssohn and Birmingham’ by Simon Halsey, one of the world’s foremost choral directors (Chorus Director City of Birmingham Symphony Orchestra Choruses; Artistic Director, Orfeó Català Choirs and Artistic Adviser, Palau de la Música, Barcelona; Choral Director, London Symphony Orchestra and Chorus; Artistic Director, Berliner Philharmoniker ‘Vokalhelden’ Programme). The edition complements and is designed to be used in conjunction with the existing German/English full score (EP11345) and orchestral parts. An associated German language vocal score is also available (EP11347). Edition Peters Vocal Scores are the choice of the world’s leading choirs and chorus masters. They are practical, reliable, high-quality editions containing expert piano reductions. / Date parution : 2022-07-20/ Répertoire / Solistes, Choeur et Orchestre

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,

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,

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,

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,

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,

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,