Per Soli, Coro E Orchestra. Par GELMETTI G.. Italian / Cantate / Date parution : 1905-07-01/ Répertoire / Voix et Orchestre

Par ZIMMERMANN BERND ALOIS. Cantata/ Répertoire / Violoncelle et Petit Orchestre

Par RODRIGO JOAQUIN. Aus 'Villancicos Y Canciones De Navidad'/ Répertoire / Soprano, Choeur Mixte (SATB) et Orchestre

Par VAUGHAN WILLIAMS RALPH. Vocal Score Cantata for Baritone Solo, SSAA chorus and orchestra Following the revelatory release of A London Symphony in its original version, the publication of Willow-wood is another landmark in our deepening understanding of the music of Ralph Vaughan Williams. Last performed in 1909, the year of The Wasps and On Wenlock Edge, this setting of four sonnets by the Victorian poet Dante Gabriel Rossetti has recently been reconstructed from the autograph score, and orchestral material made available on hire from the publisher. Reflecting the veiled eroticism and sombre atmosphere of the texts, the music is dark-hued andsensuous, its wordless female choir looking forward to the Five Mystical Songs, A Sea Symphony and Flos Campi. In this heightened atmosphere of Pre-Raphaelite passion, the composer's richly chromatic harmonies sound an unfamiliar note, and the piece, which lasts about 14 minutes, will not only fascinate specialists, but also have a broad appeal to many lovers of English music, for whom it will be a significant discovery. A recording of Willow-wood on the Naxos label is scheduled for release early in 2006.

Par CANAT DE CHIZY EDITH. / contemporain / Répertoire / Soprano, Choeur et Orchestre

8 Canzoni Per Voce E Orchestra - Partitura. Par PILATI MARIO. Italian / Classique / Date parution : 1905-06-28/ Répertoire / Voix et Orchestre

Cantata Per S., 2 Vl., Vla E B. - Parti. Par VIVALDI ANTONIO. Italian/ Répertoire / Matériel D'Orchestre

[Incantation - Klavierkonzert Nr. 4 (1955/56)] / Classique / Partition de poche / Agrafé /

Cantata for Mezzosoprano and Orchestra. Par THEODORAKIS MIKIS. Sung texts are in Greek; English, German and French translations are included. A good friend of mine, the poet lacovos Kambanellis, was a prisoner in Mauthausen during World War II. At the beginning of the sixties, he wrote his memories of this time under the title of 'Mauthausen'. In 1965, he also wrote four poems on the subject and gave me the opportunity to set them to music. I did this with much pleasure, firstly, because I liked the poetry of the texts, and secondly, because I myself was detained in Italian and German prisons during the Nazi occupation, but mainly because this composition gives us the chance to remind the younger generation of history, of events that must never be forgotten. First and foremost, of course, the Mauthausen Cantata is addressed to all those who suffered under Fascism and fought against it. We must keep the Nazi crimes continually in our minds, because that is the only guarantee and the only way to assure that they are not repeated. And we can see every day that the ghost of Fascism is far from being laid. It seldom shows its real face, but Fascist cultures and mentalities exist all over the world. For us, who had to live through this time of horror, the most important task is to protect our children against this peril. (Mikis Theodorakis, 1999)/ Répertoire / Mezzo-Soprano et Orchestre

Funeral Cantata. Par TELEMANN GEORG PHILIPP. Telemann's Funeral Cantata “Du aber, Daniel, gehe hin” appears here for the first time in print. A score of the work, until Second World War, was held in the Berliner Sing-Akademie. It was written by J. Dirmar, the former cantor at St Nikolai in Berlin and consisted of a four-page printed text. Full score, parts (BA3583) and choral score (BA3583-91) available for sale Scored for Soprano solo, Bass solo, Mixed choir (SATB), Flute, Oboe, Strings, Organ/ Répertoire / SB, 4 Parties Mixtes et Orchestre

Funeral Cantata. Par TELEMANN GEORG PHILIPP. Telemann's Funeral Cantata “Du aber, Daniel, gehe hin” appears here for the first time in print. A score of the work, until Second World War, was held in the Berliner Sing-Akademie. It was written by J. Dirmar, the former cantor at St Nikolai in Berlin and consisted of a four-page printed text. Full score, parts (BA3583) and choral score (BA3583-91) available for sale Scored for Soprano solo, Bass solo, Mixed choir (SATB), Flute, Oboe, Strings, Organ/ Répertoire / SB, 4 Parties Mixtes et Orchestre

Funeral Cantata. Par TELEMANN GEORG PHILIPP. Telemann's Funeral Cantata “Du aber, Daniel, gehe hin” appears here for the first time in print. A score of the work, until Second World War, was held in the Berliner Sing-Akademie. It was written by J. Dirmar, the former cantor at St Nikolai in Berlin and consisted of a four-page printed text. Full score, parts (BA3583) and choral score (BA3583-91) available for sale Scored for Soprano solo, Bass solo, Mixed choir (SATB), Flute, Oboe, Strings, Organ/ Répertoire / SB, 4 Parties Mixtes et Orchestre

Par DONIZETTI GAETANO. Through works such as Verdi’s Requiem or Puccini’s Messa di Gloria, we know that the great composers of Italian bel canto opera also wrote marvelous sacred music. Yet most of these pieces are rarely performed. This is also true of Gaetano Donizetti’s Messa di Requiem, which he composed as an expression of grief at the early death of Vincenzo Bellini in 1835. Neither performed nor printed during Donizetti’s lifetime, the Requiem is ripe for rediscovery. A rich and highly intense work, it features dramatic choruses with full orchestra, fugues, and a cappella passages that alternate with lengthy cantilenas for the soloists. The solo numbers are often scored for three male voices accompanied by low winds to create a dark timbre. The soprano and alto soloists do not themselves sing any solo arias, instead remaining part of the solo ensemble. Carus is offering a critical edition of this editorially challenging work complete with vocal score, choral score, and all orchestral parts. / Date parution : 2023-07-31/ Répertoire / Solistes, SATB et Orchestre

Parti Orchestra. Par VIVALDI ANTONIO. The orchestral set contains: 3 copies of Vl I and 3 copies Vl II 2 copies of vla, 2 copies of cello 1 copy of organ, contrabass, trumpet and oboe. Today the Gloria RV 589 (BA 7674) is one of Vivaldi's best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period. Vivaldi wrote the ; Gloria as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period at the Ospedale della Pietà, around 1716. In the twelve movements of the ; Gloria, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scored solo passages. Thesame mastery has also been applied to the ; Kyrie RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral work without solo passages. Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works. - Attractive choral pieces which can be combined to form a short mass./ Répertoire / Matériel D'Orchestre