SKU: ST.EM7
ISBN 9790220218507.
CONTENTS A silly Sylvan (SSAAT) Ah cannot sighs, nor tears? (SSAAA (or T) B) Ah, cruel Amarillis (SST (or A)) All pleasure is of this condition (SSAT (or A) B) As fair as mourn (SAA (or T)) As matches beauty (S (or A) S (or A) TB) Change me, O heavAns (SSA (or T) B (or T)) Come shepherd swains (SSA (or T)) Despite thus unto myself (SSA (or T) A (or T) T (or B) B) Down in a valley (SSATB) Draw on sweet night (SSAA (or T) TB) Flourish ye hillocks (SST) Fly not so swift, my dear (SA (or S) A (or T) B (or T)) Happy streams whose trembling fall (SST (or A) T) Happy, oh happy he (SA (or S) A (or T) B) Hard destinies are love and beauty (SSATB) I live, and yet me thinks (S(or A) S(or A) T) I love, alas, yet am not loved (SSA (or T) B) Long have I made these hills (SSAATB) Love not me for comely grace (SAA (or T) T) O what shall I do? (SST (or A)) O wretched man (SSAT (or A) T (or B) B) Oft have I vowed (SSATB) So light is love (SSA (or T)) Softly, O softly, drop my eyes (SSAATB) Stay, Corydon, thou swain (SSATTB) Sweet honey sucking bees (SSAAB) There is a jewel (Risposta) (SST) There where I saw (SSATB) Weep, weep mine eyes (SSA (or T) TB) When Cloris heard of her Amyntas (S (or A) S (or A) A (or T) T) Where most my thoughts (SSA (or T) A (or T) T (or B) B) Ye that do live in pleasures (SSAA (or T) B) Yet, sweet take heed (SSAAB).
SKU: ST.EM24
ISBN 9790220209888.
CONTENTS Ah, cruel, hateful fortune (SSA(orT)A(orT)T(orB)B) Ah, sweet, alas, when first I saw (SSATB) Alas, what hope of speeding (SST(orA)B) Bright Phoebus greets most clearly (SSAT (or A) T (or A) B) Farewell, my love (SSAT) If pity reign with beauty (SSATB) I love, alas, yet am I not beloved (SSAA (or T) TB) Lo, here my heart I leave (SSTB) Mourn now, my soul (SSATB) Must I part, O my jewel? (SSAATB) O heavens, what shall I do? (SSATB) See what a maze of error (SSATB) She that my plaints (SSAT (or A) B) Sleep now, my Muse (SSAATB) Sleep now, my Muse (SSAT) Sorrow consumes me (SSATB) Sound out, my voice (SSATB) Sweet love, 0 cease thy flying (SSA (or T) TB) That Muse which sung (SSATB) Up then, Melpomene (SSAT (or A) T (or B) B) What can I do, my dearest? (SSAB) What, shall I part thus? (SSAT (or A) B) Why should I love? (SSATB) Why wail we thus? (SSAT (or A) TB) With Angel's face and brightness (SSAT (or A) T (or A) B) Woe am I, my heart dies (SSAB).
SKU: XC.SATB2310A
6.75 x 10.5 inches.
This sensitive arrangement of the classic Irving Berlin song is full of lush jazz-inspired harmonies, contrasted with moments of stunning simplicity. Singers and audiences alike will find new depths of emotion and heart in this fresh rendition.
SKU: HL.50512709
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: PR.411411640
ISBN 9781491137642. UPC: 680160691098. The Garden of the Finzi-Continis novel by Giorgio Bassani.
Based on Bassani’s 1962 novel, THE GARDEN OF THE FINZI-CONTINIS dramatizes the true story of a prosperous Jewish family’s disruptions and consequences from state-mandated antisemitism in Italy during World War II. Gordon describes the opera as “romantic, sun-drenched, and cataclysmic, all at the same time.” This dramatically topical and personal grand opera premiered at New York City Opera and National Yiddish Theatre Folksbiene to rave reviews in 2022. Chris Ruel wrote in OperaWire, “I have chosen Ricky Ian Gordon and Michael Korie’s THE GARDEN OF THE FINZI-CONTINIS as my favorite opera of 2022.”.At one point, in 2008, I was walking down 72nd Street, and I passed the video store, (this is when there were video stores) and I thought to myself, I wonder if Kevin (my partner) has ever seen The Garden of the Finzi-Continis? which was always one of my favorite movies. My reaction when we watched it that night was unlike any other time I had seen it. I was wrenched, sobbing, inconsolable. My heart felt like the autumn leaves we see blowing through the garden at the end of the movie. It seemed immediately that this had to be my next opera. I called Michael Korie, and we both bought the Bassani novel and read it. We settled on it. It felt clear that we both had a collective story to tell through it.Because this opera is so close to both of our hearts, it is dedicated to our fathers.It is not only that The Garden of the Finzi-Continis is a Holocaust story that makes it so resonant for me, though obviously this is no small matter, but the tragedy of people trying to live their lives, or actually living them, their petty disappointments, their heartbreaks, against the backdrop of total catastrophe… that makes it so moving. They cannot possibly imagine what will befall them, but we know… and this makes their every move fascinating and devastating… like watching moths under a glass. It is romantic, sun-drenched and cataclysmic, all at the same time.This is why I had to write it.
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.
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.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: BA.BA05531
ISBN 9790006472284. 33.1 x 26.3 cm inches. Key: F major.
Urtext of the New Schubert Edition.
SKU: BA.BA02936
ISBN 9790006427758. 27.6 x 19.8 cm inches.
27 Kompositionen. Urtext der Lechner-Gesamtausgabe.
SKU: ST.EM33
ISBN 9790220200076.
This interesting collection looks back to the 'Winter' of Byrd and Mundy in the conservative settings of such verse as My prime of youth (see EM35B); but it is also a contemporary record, with two madrigals celebrating the failure of Guy Fawkes' Gunpowder Plot against James I. CONTENTS Behold now praise the Lord (S (or A) S (or A) TBB) But yet it seems (SSAB) Can I abide this prancing? (SSATB) Earth's but a point (SSATB) For Lust is frail (SSATB) He only can behold (SSAB) Her eyes like angels (SSATB) I can no more but hope (SSAB) In hope a King (SSAB) My prime of youth (SSAB) O heavy heart (SSAB) O Lord bow down thine ear (SATTB) Rest with yourselves (SSATB) Shall I abide this jesting (SSATB) The man upright of life (SSAB) The sacred choir of angels (SATBB) The Spring is past (SSAB) The stately stag (SSATB) The sturdy rock (SSATB) There is a garden in her face (SSATB) Those cherries fairly do enclose (SSATB) Though Wit bids Will (SSAB) What if a day (SSATB) Who loves this life (SSAB).
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