a 6 et a 8-The Serenade in E-flat K.375 exists in two versions one for two clarinets two horns and two bassoons and another for the same forces plus two oboes forming an octet.From Mozart himself we know a fair amount about the occasion that led to the first six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October the name-day of St. Theresa.The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextetwith the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics he also altered the work’s melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre thereby enabling him for example to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave.- Urtext of the New Mozart Edition- Parts sextet version (BA5333) octet version (BA5334) and study score both versions format 22.5 x 16.5cm (TP315) available for sale

Harmonie-Messe.-Missa B-flat Major Hob.XXII:14 'Harmony Mass'Urtext from: Joseph Haydn WerkeIt is well known that Joseph Haydn wrote his late masses to the commission of his last employer Prince Nicolaus II Esterhazy. The 'Harmoniemesse' is the last of these high masses all of which probably received their first performances in celebration of the name-day of Princess Maria Josepha Hermenegild the prince's wife. The present work was given for the first time on 8 September 1802 in the Bergkirche at Eisenstadt Haydn himself conducting.Haydn entitled his work simply 'Missa'. The work has acquired the name 'Harmoniemesse' by reason ofthe prominent parts given to the wind instruments ('Harmonie' being a contemporary name for a wind band); the nickname did not become established until the late nineteenth century.Full score and parts (BA4659) vocal score (BA4659-90) and study score format 22.5 x 16.5cm (TP97) available for sale.

Cantata for the Sunday Jubilate-Weinen Klagen Sorgen Zagen (Weeping crying sorrow sighing) BWV 12Cantata for the Sunday Jubilate These editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work or at least re-work an existing one for every Sunday and festival of the church year as well as for numerous secular occasions such as council inaugurations school and university celebrations androyal birthdays. Unfortunately not all cantatas have survived. However over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then. - Performance material vocal score & study score available for sale

Theresienmesse-Between 1796 and 1802 Haydn composed 6 great Masses to celebrate the name day of Princess Maria Hermenegild the wife of his patron Prince Nikolaus Esterhazy II.The Theresa Mass was the fourth of these composed in 1799 and although the title page of the score simply has the word 'Missa' the nickname Theresienmesse remains a matter for speculation but is usually attributed to the work’s supposed association with Marie Therese the wife of the Emperor Franz II.- Urtext from Joseph Haydn Werke- Full score (with Nelson Mass) (BA4660) available for sale- Parts (BA4661) vocal score (BA4661-90) and study scoreformat 22.5 x 16.5cm (TP99) available for sale

Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale

L'oeuvre musicale qui a pour support une Partition a pour titre Ouverture De Fete. C'est une partition musicale composée par Ibert Jacques et qui est destinée aux joueurs de Conducteur et Poche. Le détail de l'instrumentation Partition D'Orchestre vous permettra de savoir si cette partition correspond bien à ce que vous cherchez. Son style Classique vous permettra de découvrir ô combien la musique Classique est belle et enrichissante. / Partition D'Orchestre / Partition

Cantata for Sunday Sexagesimae-Gleichwie der Regen und Schnee vom Himmel fällt (Like as the Raindrops and Snow from Heaven fall) BWV 18Cantata for Sunday Sexagesimae Leipzig Version. These editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work or at least re-work an existing one for every Sunday and festival of the church year as well as for numerous secular occasionssuch as council inaugurations school and university celebrations and royal birthdays. Unfortunately not all cantatas have survived. However over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then. - Performance material vocal score & study score available for sale

Par BACH JOHANN SEBASTIAN. J. S. Bach ’s Four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach ’s extremely productive time in Cöthen which ended in 1721. Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the “New Bach Edition”. At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter’s new edition of Bach’s great four suites nowpresents the Urtext as found in the “New Bach Edition” i. e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a “Violino concertato” part. - Urtext editions of these important works. - Newly engraved parts and fully realized continuo. - For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with “ Violino concertato ” is included. - Full scores, study scores and performance material available for sale./ Répertoire / Partition de Poche

Wachet auf ruft uns die Stimme (Wake ye maids! hark strikes the hour) (BWV 140)Cantata for the 27th sunday after TrinityThe Cantata BWV 140 was written in 1731 and first performed in Leipzig on November 25 of that year - the performance was directed by Bach himself. In addition to three vocal soloists and chorus the work is scored for two Oboes English Horn Bassoon Horn Violino Piccolo Strings and Continuo. The Cantata Wachet auf 'Sleepers Awake' is based on a hymn by Philipp Nicolai also written in 1731 for the 27th Sunday after Trinity. Urtext of the New Bach EditionStudy scoreformat 22.5 x 16.5cm (TP1140) performance material (BA10140) and vocal score (BA10140-90) available for sale

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

Symphonie dramatique-Roméo et Juliette Op.17 Hol.73: Symphonie dramatique For his third symphony “Roméo et Juliette” (1839) Berlioz turned to his greatest literary passion Shakespeare drawing once again on his own most fervent experiences.Berlioz’s discovery of Shakespeare in 1827 had been overwhelming not only for the dramatic force of the poetry and drama but also because the leading actress of the company Harriet Smithson immediately won his heart. She later became his wife. He began to think seriously about composing some kind of musical “Romeo and Juliet” but it was not realised until 1839. The symphony is scored for doublechorus (to represent the two warring families) solo voices as secondary characters with the lovers themselves represented by the orchestra. Urtext of the New Berlioz Edition Full score (BA5458) vocal score (BA5458-90) and study score format 22.5 x 16.5cm (TP334) available for sale T65Performance material (BA5458-72) available for hire

Cantata for the 14th Sunday after Trinity-Jesu der du meine Seele BWV 78 (Jesu by Thy Cross and Passion)Cantata for the 14th Sunday after TrinityThe cantata Jesu der du meine Seele is one of the famous cycle of chorale cantatas which Bach wrote during the second year of his Leipzig appointment. It was probably performed for the first time on 10 September 1724 the fourteenth Sunday after Trinity in one of the principal Leipzig churches. The text is based on Johann Rist’s at that time widely known hymn of 1641. As in most of the cantatas of this cycle the corner-stones are provided by the first and last verses which appear in an unaltered form; whereas the middle verses were freelyremodelled as arias and recitatives.Urtext of the New Bach EditionPerformance material (BA10078) vocal score (BA10078-90) & study score format 22.5 x 16.5cm (TP1078) available for sale