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 denigratedMendelssohn 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 research Includes all numbers from the original version for the first time Vocal texts in German and English Straightforward Piano reduction

Acis and Galatea HWV 49a1st versionHandel set the myth about the love of the shepherd Acis for the sea nymph Galatea from Ovid’s Metamorphoses a total of three times: in the cantata Aci Galatea e Polifemo HWV 72 (1708) (BA4068) the masque Acis and Galatea HWV 49a (1718) (BA4039) and finally the pasticcio-like serenata Acis and Galatea HWV 49b (1732) (BA10700).This species of stage work was related to the early eighteenth-century English masque by virtue of its choral numbers and straightforward formal design and to the Italian serenata due to its use of one voice to a part in the choruses. In the England of Handel’s dayit was given a multitude of generic names: besides “masques” such works were often called “little operas” “English operas” or “pastoral operas” (the term “serenata” had not yet entered English parlance). Handel himself did not specify the genre of Acis and Galatea in his autograph score and probably as a result uncertainty arose among copyists printers and performers as to the work’s proper designation for it has come down to us with a confusing array of generic titles. Handel wrote the piece for James Brydges (1674–1744) Earl of Carnarvon and later Duke of Chandos at whose country estate in Cannons the composer spent the years 1717 and 1718.- Urtext of the Halle handel Edition- Full score (BA4039) and vocal score (BA4039-90) available for sale- performance material (BA4039-72) available for sale

Parts to be prepared from the score - any number of players, any sound producing means / Divers

This four-language dictionary of music contains more than 4000 terms and is intended for musicians, teachers, students and amateurs who wish to understand and use specialist foreign terms. The book is not academic in scope- it is based on practical experience, derived from the examination of directions given on a large number of orchestral scores, piano pieces and transcriptions, and instrumental parts. In order to complement and clarify this vocabulary, specialist dictionaries and reference books have been consulted. Contemporary musical terms taken, for example, from the fields of jazz, pop and electronic music, have also been included. / Divers

Durchgeführt An Den Motetten Mit Dem Tenor In Seculum. Contributions to Musicology, Tübingen, Number 2/ Répertoire / Divers

Von JS Bach. Contributions to Musicology, Tübingen, Number 11/ Répertoire / Divers

For any number of players, any sounds or combinations of sounds produced by any means, with ot without other activities / Divers

The Backstage Story of How the Beatles Rocked America-The Beatles North American tours turned the entertainment business on its ear and forever changed the landscape of the concert touring industry. In February 1964 after finally achieving a number-one hit in America the Fab Four came to the country with high hopes performing on the wildly popular Ed Sullivan Show in both New York City and Miami and playing concerts at Carnegie Hall and the Washington Coliseum. In just fifteen short days the Beatles conquered America.The Beatles made music-entertainment history with their North American tours from 1964 to 1966. Some Fun Tonight! The Backstage Story of How the Beatles Rocked America: The Historic Tours of1964-1966 is a comprehensive two-volume set which gives you a city-by-city synopsis of the group's activities as they traveled the United States and Canada for their groundbreaking series of concerts. From San Franciscos Cow Palace show on August 19 1964 through their last-ever live performances at that city's famed Candlestick Park on August 29 1966 these books cover the music and the madness that characterized the Beatles three North American tours. With hundreds of photographs and images of rare memorabilia it is truly the definitive reference for what is arguably the most important period in the Beatles long and winding career. Youll read about the behind-the-scenes negotiations the mayhem at the airports and hotels and the cheeky quotes delivered at the press conferences. Youll also read about the opening acts the concerts and the stories behind the shows through the eyes of the Beatles their entourage the promoters the emcees and the fans.Never before have the Beatles North American concerts been covered in such depth. If you witnessed the mania firsthand youll relive the excitement in the pages of these books. If you were born too late to be a part of those halcyon days youll learn what it was like to be swept up and carried away by the phenomenon of the greatest musical act of all time. When all is said and done Some

Lo sposo di tre (1783), représentée pour la première fois à Venise en 1783, fut un grand succès de la jeune Luigi Cherubini - sa première dans le domaine de l'opéra-bouffe. L'histoire burlesque de déguisements et erronées des identités basée sur un texte de Goldoni, reprend les traditions de l'italien commedia dell ' Arte, avec Messieurs aînés dévasté par amour, scène d'un avocat, etc.. Cherubini a écrit un tableau pétillant de morceaux de musique efficacement instrumentés : divertir, pourtant la musique ensemble parfois même très grave, toucher arias, morceaux virtuose, ballets et, bien entendu, une scène ombra. Les points saillants sont les finales de la grande chaîne, notamment celle de la première loi qui a finalement conduit tous les participants à la folie avec une parodie délicieuse sur l'orgue tonitruant sonne. / Divers