SKU: BA.BA04270
ISBN 9790006446605. 27.5 x 19.6 cm inches.
18 meist mehrteilige Kompositionen (Passionen, Antiphonen u. a.) von anonymen und 11 bekannten Meistern des 15. und 16. Jahrhunderts.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA02933
ISBN 9790006427727. 27.6 x 19.6 cm inches.
16 Kompositionen. Urtext der Lechner-Gesamtausgabe.
SKU: ST.EM21
ISBN 9790220200854.
CONTENTS Adieu, sweet love (SSA(or T)B) Alas, where is my love? (SSA(or T)TB) And must I needs depart? (SSATB) Ay me, my mistress scorns (SST) Beauty is a lovely sweet (SAT) Come, follow me, fair nymphs (SAT) Dame Venus hence to Paphos go (SSAT) Dear if you wish my dying (SSATTB) Down from above falls Jove (SATB) Fair Hebe, when dame Flora (SST(or A)T(or A)TB) Hark, hear you not? - Oriana's farewell (SSATB) If love be blind (SATB) Love would discharge (SST) Merrily my love and I (SST(or A)T(or A)B(or T)B) Music some think no music is (SSATTB) O fly not, love (SSA(or T)A(or T)T) Phyllis, farewell (SATB) Phyllis, farewell (SSA(or T)A(or T)TB) Sister, awake (SSATB) Strange were the life (SAATB) Sweet Gemma (SSATB) The nightingale so soon as April (SST(orA)) Those sweet delightful lilies (SSATB) Thyrsis on his fair Phyllis' breast (SSAA(or T)TB) When Oriana walked (SSATTB) Who prostrate lies (SSAT(or A)B) Wither so fast? (SATB) Yet stay alway (SSA(or T)TB) Your shining eyes (SAB).
SKU: WD.080689673023
UPC: 080689673023.
Song of the Lamb extends an invitation to join a journey; it's a journey from despair to hope and from death to life, and it all begins with a Lamb. Veteran arranger Marty Parks has woven classic hymns, modern worship songs and inspirational favorites into a 39-minute work of timeless beauty. Featuring accessible vocal and piano parts and two solos, this offering from Simply Word is ideal for groups with limited rehearsal time. Churches may choose between a poignant, Scripture-based narration or an optional dramatic script, making Song of the Lamb flexible enough to meet a wide variety of performance and worship needs for the Easter season and beyond. The invitation still stands: Come join the journey, and help deliver eternity's message to your church and congregation this Easter. Accessible vocal and piano parts for churches with limited rehearsal time. Conceived for the small to mid-size church. Includes narration AND an optional dramatic script. Veteran arranger Marty Parks.
SKU: WD.080689751721
UPC: 080689751721.
SKU: BA.BA05531
ISBN 9790006472284. 33.1 x 26.3 cm inches. Key: F major.
Urtext of the New Schubert Edition.
SKU: LP.OR-2244
UPC: 765762109902.
What a profound choice of words for a lyric: I have one deep supreme desire that I may be like Jesus. Our choirs don't sing songs of aspiration and commitment enough these days. It's as if the flow of lyrical thought has gone in other directions. It seems to me the ultimate in praise and worship is to emulate our Lord and Savior. We need to sing about it and strive with all of our beings to live it. You may wish to involve congregation on this anthem.
SKU: BA.BA03131
ISBN 9790006429875. 27.7 x 19.7 cm inches.
De Christo, et regno eius, Doctrina, Vita, Passione, Resurrrectione et Ascensione. 42 meist vierstimmige Motetten. Urtext der Rhau-Ausgabe.
SKU: BA.BA04197
ISBN 9790006444762. 27.5 x 19.5 cm inches.
22 Magnificat-Vertonungen der Jahre 1583-1585 aus Munchner Handschriften. Kompositionen zu 4 bis 7 Stimmen.
SKU: LO.10-5225L
ISBN 9780787763848.
Perfect for services focusing on missions and outreach, this anthem by Larry Shackley urges believers to be grateful for their blessings and to share them with others in need. Jesus has given His great blessing, More than our minds can conceive. Grace from His hand as He has promised. Given to all who will receive..
SKU: BA.BA03404
ISBN 9790006434008. 27.5 x 19.5 cm inches.
SKU: BA.BA04284
ISBN 9790006446650. 27.5 x 19.5 cm inches.
Nunc dimittis, Benedictus Dominus Deus Israel, Miserere mei Deus, Responsorien, Antiphonae, zweifelhafte Werke.
SKU: BA.BA04050
ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.
“Almiraâ€, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian.The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to “Almira†by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato†from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Editionâ€. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträgeâ€.Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition†volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar†(no. 71).
SKU: LP.765762074323
UPC: 765762074323.
Split-channel accompaniment CD can be used for both rehearsal and performance. Each contains the instrumental accompaniment on one channel, vocals on the other. For performance purposes, only the accompaniment channel is normally used. Includes multiple r.
SKU: BA.BA04045
ISBN 9790006443536. 33 x 26.1 cm inches. Text Language: Italian. Anonymus.
In 1734 Handel provided the pasticcio “ Oreste †for his third operatic enterprise which, following the bankruptcy of the Royal Academy and its successor academy, felt threatened by competition from the newly-founded Opera of the Nobility. Hence, the composer did not compile the work from favourite movements from his own and other composer's pieces as was usual at that time; rather in “ Oreste †he presented a selection of the most beautiful arias and ensembles exclusively from his own operas. In addition, he expanded the ballet and choral scenes which he thought would make a great impact after the move into the newly built Covent Garden Theatre. As most of the singers in his Italian company had been enticed away by the competition, Handel increasingly began to engage English virtuosi. He probably even worked on the new version of the libretto himself in order to place the new stars in the limelight to the best effect. The new vocal score is based on Volume 1 of the Supplement to Series II of the “Halle Handel†Edition edited by Bernd Baselt .
SKU: BA.BA08862
ISBN 9790006558216. 33.7 x 25.8 cm inches. Text Language: French. Preface: Bouissou, Sylvie / Kocevar, Érik. Text: Charles Colle.
The heroic pastoral Daphnis et Egl was performed only once, on 29 October 1753, for the entertainment of King Louis XV at Fontainebleau and remained unpublished until today.This edition is based on Rameau's autograph manuscript, a copy of the separate parts, and the libretto published by Ballard in 1753. A comparison of the sources reveals two versions of the work: the original version and the one revised for Fontainebleau, whereby the differences lie mainly in the final divertissement. This edition recommends the Fontainebleau version—which is actually more complete in its musical form, in particular with its overture and two ariettas—but also reconstructs the original state of the final divertissement (presented in the appendix) before it was revised.
SKU: BA.BA08857
ISBN 9790006558209. 33.5 x 25.7 cm inches. Text Language: French. Preface: Sylvie Bouissou. Louis de Cahusac.
The opera “Naïs†was premiered on 22 April 1749 at the Acadmie royale in the Palais-Royal, Paris, in celebration of the signing of the so-called Treaty of Aachen. It was revived again in August 1764 shortly before Rameau’s death and achieved great success as the “opera of peace,†even though it did not appear in print during the composer’s lifetime.In numerous arias Rameau provides his singers ample opportunity to shine, while he reveals his orchestral mastery, in particular in the chaconne and the various other ballets.The work appears here for the first time in a vocal score with a keyboard reduction. The reduction is by François Saint-Yves on the basis of the new critical edition by Pascal Dencheau which is part of Opera Omnia Rameau edited by Sylvie Bouissou.This edition is the result of a meticulous comparison of all known musical sources. In the main section, it presents the version that Rameau approved for the performances of 1749. The appendix contains those passages that the composer cut during the rehearsals in 1749 and all changes that he undertook for the 1764 revival.
SKU: HL.48021234
ISBN 9781458423542. UPC: 884088642037. 6.75x10.5 inches.
Text: in Latin compiled from the charter of the University, and from older orations in praise of Basle by Bernhard Wyss.Publisher: Boosey & HawkesDifficulty level: 4 (for chorus)Britten's genius lifts this work above being just a worthy celebration of the 500th anniversary of the foundation of Basle University. It is tongue-in-cheek and mockingly non-academic while referring all the time to academic musical forms and formulae. It is written in two parts (everything is in the statutory Latin including the titles of the parts - Pars I and Pars II). The titles of the movements show Britten's intention to show off a wide variety of techniques. Here are some examples: Chorale/Alla Rovescio (the theme is given and responded to with the same melody upside down)/Recitativo/Tema seriale con fuga/Canone ed ostinato. There is a good deal of humour here.There are seven movements in Pars I and six in Pars II. The tenor soloist is given three florid recitatives, accompanied only by a piano, which act as bridges between other orchestrally accompanied movements. Of these the most noteworthy are the Arioso con canto popolare for soprano solo with tenors and basses who hum a student song; another terrific Britten scherzo; and a wonderfully raucous final pair of movements (Canon ed ostinato and Corale con canto) where Britten seems to be aping the Vivat Regina! cries in Parry's I was glad or encouraging the kind of noisy 'I'm from the best university' kind of student touchline shout. This has outrageously high notes for the tenors (top B) which further endorse this feeling. There are real echoes of the Spring Symphony (see separate entry) final movement here which are further underlined by the last section of the Cantata which brings in the bells, piano, huge percussion and the inevitable chorale in which the choir sings 'that a free academy may thrive in a free community, for ever the ornament and treasure of illustrious Basle'.This may not be Britten at his most soul-searching but, as always, there is plenty here to enjoy, especially if the work is not taken too seriously. It is a celebratory, occasional piece and it could be well taken up by other academic establishments celebrating big anniversaries. The chorus parts are not very difficult, though they do present challenges for the choir - not least in having tenors capable of those very high notes at the end. The Tema seriale con fuga is sinewy and needs careful tuning. It also has the subject regularly given upside down after its initial sounding by the basses. All good fun.Duration: 21 minutesPaul Spicer, Lichfield, 2011.
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