SKU: MN.56-0108
UPC: 688670221255. English, Latin. Psalms 142; Jeremiah 3:48, 52, 56.
Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This excerpt is scored for soprano solo, SATB choir and piano. This fourth movement of the larger work is inspired by the extraordinary story of Irena Sendler née Krzyżanowska, a Polish nurse and head of Å»egota, the Polish Council to Aid Jews in the Second World War, whose personal interventions saved the lives of approximately 2,500 Jewish children in the Warsaw Ghetto, smuggling them to safety, acts of humanitarian bravery that eventually caused her arrest and torture by the Gestapo. She is honoured as Righteous Amongst the Nations at Yad Vashem, Jerusalem. The Latin texts of this movement are taken from the Book of Lamentations (“My eye hath run down with streams of water, for the destruction of the daughter of my people. My enemies have chased me and caught me like a bird, without cause…â€) and from Psalm 142, the Old Testament being the meeting-point of Sendler’s Catholicism and the Jewish tradition of those whose lives she saved. Duration 6:19.
SKU: MN.56-0109
UPC: 688670221262. English, Latin. John 20:1.
Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This excerpt is scored for soprano solo, tenor solo, SATB choir and piano. The text is by Christina Georgina Rossetti, Isaac Watts (“When I survey the wondrous cross,â€) and drawn from John 20:1 (this text in Latin). The music is serene, acknowledging the grief of those who are left to mourn. Duration 6:57.
SKU: MN.56-0106
UPC: 688670221231. English, Latin.
Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This movement, scored for soprano solo, SATB choir and piano, expresses the unimaginable pain felt by a mother seeing her child torn away from her at a slave auction. To this harrowing account are appended the words of William Wilberforce, spoken in the House of Commons on 18th April 1791, “You may choose to look the other way but you can never say again that you did not know.†Duration 6:47.
SKU: TM.05090SET
From Piano Suites.
SKU: TM.05090SC
SKU: BA.BA04025-01
ISBN 9790006443222. 33 x 26 cm inches. Text Language: English.
Handelâ??s â??Semeleâ?, which premiered in February 1744, is based on an adapted version of William Congreveâ??s opera libretto titled â??The Story of Semeleâ?, originally published in 1706. However, neither Handel nor his librettist referred to â??Semeleâ? as an opera or an oratorio, which, according to the understanding at the time, would have required a biblical and/or Christian subject matter. Contemporary audiences also disagreed on the genre. The problematic classification as an oratorio has persisted into the present day, likely due to the edition labeled as such by Chrysander. The â??Halle Handel Editionâ? (HHA) distances itself from this classification and, considering the available sources, refrains from assigning a genre label.Congreve deviates from the mythological source multiple times in order to create tensions among the characters. The desired marriage between Semele and Athamas, whom she does not love, is an addition by Congreve to provoke the envy of her sister Ino, who desires Athamas herself. Therefore, Ino sees her own advantage in Semeleâ??s abduction by Jupiter. While Jupiterâ??s wife Juno decides to destroy Semele out of jealousy for his relationship with her, Jupiter brings Ino to his palace to console Semele. The vengeful Juno takes advantage of Inoâ??s presence and transforms into her likeness, persuading Semele to carry out a plan that later proves fatal. In the end, Ino emerges as the winner, as she is able to convince their father, Cadmus, to marry her to Athamas. The appearance of Apollo in the final scene to announce that Semeleâ??s immortal son Bacchus was saved from her ashes provides little consolation. However, this twist allows the drama to conclude with exuberant joy and a magnificent final chorus after the tragic scenes in the third act, culminating in the death of the protagonist.Handelâ??s autograph score shows significant deviations from and numerous revisions of the original version premiered. All surviving early versions, the musical movements deleted before the premiere, and the version of the December 1744, are given in the appendix to the HHA.
SKU: BA.BA04590-01
ISBN 9790006451296. 33 x 26 cm inches. Text Language: Italian. Text: Giovanni de Gamerra.
On 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate, K.87 (74a), for the 1770-71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770, and the premiere duly took place on the Feast of St. Stephen (26 December) in 1770. The second, Lucio Silla (K. 135), again commissioned for the 1771-72 Carneval season in Milan, doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona, where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand, the third son of Maria Theresia, scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba, K. 111.)
About Barenreiter Urtext
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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: CA.4007250
ISBN 9790007240059. German/English.
Psalm texts inspired Mendelssohn throughout his composing career. In 1837 Robert Schumann judged Mendelssohn's setting of Psalm 42 as the highest level that he has achieved as a composer of church music, indeed the highest level that modern church music has ever reached. With this arrangement of Mendelssohn's cantata Wie der Hirsch schreit (As the hart longs) smaller choirs and choirs with more limited resources of space or finance can now perform this popular work. The original symphonic wind and brass forces have been reduced from 15 to 5 wind and brass forces. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal scores and chorus scores of that version can be used. Can be performed by smaller choirs with smaller instrumental forces Usable with the vocal scores and choral scores from the original version. Complete performance material available on loan. carus plus: the work is also available in carus music, the choir app, and the practice CD series Carus Choir Coach. Score available separately - see item CA.4007200.
SKU: BA.BA05858
ISBN 9790006497973. 33 x 27 cm inches. Language: German. Preface: Ute Poetzsch.
Continuo-Aussetzung von Andreas Kohs.
SKU: BA.BA05448
ISBN 9790006471478. 33.2 x 26.5 cm inches. Text Language: French. Text: Berlioz, Hector / Nerval, Gérard de.
In 1828 Berlioz wrote the Huit scènes de Faust. The work was soon withdrawn but almost twenty years later each of the eight scenes found a place in the Lgende dramatique La damnation de Faust dedicated to Franz Liszt. The first part of the Damnation exposes the figure of Faust and has an introductory nature. From the second part onwards, the course of action is largely based on Goethe’s drama.Contrasting characters and dramatic effect are of central importance in understanding Berlioz’s musical thought and his compositional process. Magic and fairy tale, incantations and ghosts, have been the ever-recurring themes of opera since the Baroque. It is precisely this fantasy in Berlioz's Faust, the “Opra de Concert en Quatre actsâ€, which comes very close to the spirit of Goethe's presentation.
SKU: CA.5165203
ISBN 9790007294243. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to SüÃ?mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: BA.BA10700
ISBN 9790006550135. 33 x 26 cm inches. Text Language: English, Italian. Preface: Heinrich, Artie. Text: Gay, John / Hughes, John / Pope, Alexander / Giuvo, Nicola.
Handel 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), the masque “Acis and Galatea†HWV 49a (1718) and finally the pasticcio-like serenata “Acis and Galatea†HWV 49b (1732) of which the original version is now made available in its complete form for the first time.A particular charm is provided by the use of two languages in the serenata. The work was originally conceived in English, as was required for the first performance. However, Handel’s Italian singers were criticised for their poor command of English, – so in the end, many numbers were sung in Italian. The extensive appendix to the vocal score includes the additional arias and newly composed movements for the versions used in the 1734 and 1736 performances.
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