SKU: CA.5525813
ISBN 9790007311018. English.
Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Zadok the priest was performed for the anointing of the new King and more recently for the coronation of Charles III in 2023.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.
SKU: CA.5525900
ISBN 9790007252014. English.
Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Let thy hand be strengthened was probably performed at the beginning of the coronation ceremony in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.
SKU: BR.DV-32027
ISBN 9790200425192. 9 x 12 inches.
Bicinia - unaccompanied duos - have been known to us from the fifteenth century onwards. So quite early on it was customary tu practise this type of musical exercise, which later, especially during the Romantic period, achieved great popularity as the duo or duett. Equal numbers of this sort of instrumental duo were composed for nearly all wind and string instruments. On the other hand, only a small amount of compositions for two trumpets have come down to us. In order to play any music which progresses beyond pure fanfare on a natural (valueless) trumpet, it is necessary to make use of the clarion register (the top third of the natural harmonic). And if such a melody is to be accompanied by a second part, only the few natural notes lying below it are left, or else this high register itself, which calls for great virtuosity on the part of the trumpeter. As well as this, we must remember the fact that trumpet-playing was only allowed for the trumpeters of a royal court, army, staff, or for the field-trumpeter of a prince, plus a few council, city, and church musicians, who were bound by strict guild and corporation rules. Thus in spite of the preference for its festive sound, the spread and handing down of trumpet music was almost reduced to nothing under these circumstances. As well as this, pride of place and profession rivalry and envy amongst musicians contributed in large part. In England the situation was somewhat freer. Here pretty little trumpet duos originated, including, amongst others, those written by Handel for his master-trumpeter Valentin Snow and the Royal Sergeant-trumpeters of the Shore family. An especially happy exception was the diocese of Olmiitz. Here there was a capable group of musicians of the chapel royal with the brilliantly talented group of trumpeters and the field-trumpeter Pavel Vajvanovsky, who also composed himself. These trumpeters in the service of his prince-bishop played many sacred and secular pieces, all for several instruments. It was for them also that Heinrich Ignaz Franz Biber wrote the 12 double trumpet sonatas we present here. On the other hand, the representatives of the authorities in Germany ensured strict observation of all edicts and regulations. Even the celebrated Bach-trumpeter and towm-piper Gottfried Reiche was never allowed to be portrayed with a proper trumpet due to the priveleges of court and field trumpeters. In order to represent him as one of the greatest masters of his time and art, however, the painter placed an instrument similar to a corno-di-caccia in his hand, together with a sheet with a small piece for virtuoso clarion. When we try in spite of these difficulties and adverse circumstances to gather a collection of musically valuable and characteristic examples of popular pieces for two trumpets from the seventeenth and eighteenth centuries, it is in the first, place in order to acquaint modern trumpeters with something of the wealth of music, which can also be well played on a modern trumpet with valves. The originally used trumpets correspond to modern ones in the keys of C and D, but this does not mean that many of the pieces cannot be transposed to a more comfortable register. On top of this, we have tried to give a picture of the baroque court and field trumpeter, as well as of the mysterious clarion trumpeter, with the help of musically popular material. The origin of most of the pieces used is no longer clearly discernable. In most cases we possess second- or third-hand copies which have been handed down, and show signs of frequent use. A few cases where modernization of the second part obviously did not take place until the invention of stops, have been re-shaped into their supposed original form. A series of further dynamic details were left, and marked as optional suggestions in brackets. Kurt Janetzkyz.T. mit Pauken und B.c.
SKU: CA.5526011
ISBN 9790007310936. English.
Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. The King shall rejoice was probably played during the crowning of the king in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.
SKU: CA.5526119
ISBN 9790007311124. English.
Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. My heart is inditing was probably played at the end of the coronation ceremony in London's Westminster Abbey. For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.
SKU: CA.5526019
ISBN 9790007310974. English.
SKU: CA.5525912
ISBN 9790007311087. English.
SKU: CA.5525811
ISBN 9790007310998. English.
SKU: CA.5526112
ISBN 9790007311148. English.
SKU: CA.5525805
ISBN 9790007251994. English.
SKU: CA.5526000
ISBN 9790007252052. English.
SKU: CA.5526003
ISBN 9790007252069. English.
SKU: CA.5525819
ISBN 9790007311056. English.
SKU: CA.5525903
ISBN 9790007252021. English.
SKU: CA.5525919
ISBN 9790007311063. English.
SKU: CA.5526113
ISBN 9790007311155. English.
SKU: CA.5525949
ISBN 9790007252045. English.
SKU: CA.5525913
ISBN 9790007311094. English.
SKU: BA.BVK01677
ISBN 9783761816776. 27.5 x 19.8 cm inches. Translation: John Warrack.
The volume contains 122 portraits of Hector Berlioz, including paintings, medals, busts, woodcuts, drawings, lithographs, photographs and caricatures. It also presents several doubtful or spurious portraits. Each reproduction is accompanied by information on its date, artist and present location. This collection of all known Berlioz portraits sheds entirely new light on the life and surroundings of the great French composer. The Portraits of Hector Berliozis the first collection of all the portraits made of Berlioz during his lifetime. It ranges from photographs, formal paintings and drawings by way of woodcuts and lithographs to the many caricatures which his striking appearance attracted. Each picture is accompanied by a full description and thorough documentation of its location and history, details of the artist's career and relationship with Berlioz, an explanation of the circumstances of the picture's creation, and much else in the way of relevant comment. This documentation also sheds light on the development of photography and its position in the society of the Second Empire , as well as on the emphasis on caricature in the often satirical journalism of the day. Where they contribute to the appreciation of the picture, the articles which the caricatures illustrate, or extracts from them, are also included in an Appendix. Some of the pictures are published for the first time and many for the first time in colour. As well as being fascinating and often entertaining, the collection adds to our understanding of Berlioz's life, times and the circumstances in which his music was composed and performed.
SKU: CA.5526111
ISBN 9790007311131. English.
SKU: CA.5526149
ISBN 9790007311179. English.
SKU: CA.5526013
ISBN 9790007310950. English.
SKU: CA.5526012
ISBN 9790007310943. English.
SKU: CA.5525815
ISBN 9790007311032. English.
SKU: BR.DV-6081
ISBN 9790200460032. 9.5 x 12 inches.
Duration: full eveningTranslation: German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines) Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th CenturyCharacters: Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance. Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend. Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.Neben der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.Tchaikovsky's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'.
SKU: CA.5525849
ISBN 9790007252007. English.
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