Présentation de Pascal Duc : Historique, bibliographie - Index des pièces - Texte complet des Indes Galantes. Préface de RameauTrès belle gravure, extrêmement lisible et élégante. La préface est remarquablement bien documentée. Cette version est certainement due au grand succès que connut l'Opéra-ballet de Rameau.Pièces pour clavecinPour le détail de chaque Concert, nous consulter / Soli Choeurs Et Instruments / 257 pages / niveau : 1 / Fac-Similés - Format: 23.5 X 31.5

Saint Francois D'Assise is an Opera in three acts by Olivier Messiaen (1908-1992). Written in 1972 to 1983 it concerns the Catholic preacher Saint Francis of Assisi and displays the composer's devout Catholic faith. The third volume contains the complete third act of the Opera comprising the final two scenes; Stigma and Death and New Life. Despite his studies of Mozart and Wagner's operas Messiaen vowed that he would never compose one himself however he was eventually convinced by the French president. After feeling unworthy to dramatise either Christ's Passion or Resurrection he eventually chose to portray the life of SaintFrancis of Assisi whose life often reflected Christ's chastity humility poverty and suffering. This unique Opera by the individual Messiaen is a significant contribution to the repertoire and was notably semi-staged as part of the BBC proms series in 2008.

Der Friede sei mit dir BWV 158Cantata for Easter TuesdayThe cantata Der Friede sei mit dir is one of those works of Bach’s which present the most problems. Neither the author of the text nor the history of the work’s composition is known to us; and to judge by appearances the version that has come down to us is but a fragment compounded of a number of once disparate elements and gives little indication of the work’s original form.Yet the movements that have come down to us are of such uncommon musical interest that we would not want to be deprived of them just because they may be incomplete. The modesty of its requirements is at least in partresponsible for the comparatively wide popularity enjoyed by this cantata.- Urtext of the New Bach Edition- Full score & performance material (BA10158) vocal score (BA10158-90) available for sale

We know that Mozart held his Vespers in high regard since he once asked his father in a letter dated 12 March 1783 to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae Solennes De Confessore K. 339 both call for four Vocal parts two Violins two Clarini Kettledrums Basses (Violoncello Double Bass and Bassoon) three Trombones and Organ.They contain settings of Psalms 109 (Dixit) 110 (Confitebor) 111 (Beatus vir) 112 (Laudate pueri) 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms anautonomous unit; the Doxology at the end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionPerformance material (BA4894) vocal score (BA4894-90) available for sale

Cantata for Easter Tuesday-Der Friede sei mit dir BWV 158Cantata for Easter TuesdayThe cantata Der Friede sei mit dir is one of those works of Bach’s which present the most problems. Neither the author of the text nor the history of the work’s composition is known to us; and to judge by appearances the version that has come down to us is but a fragment compounded of a number of once disparate elements and gives little indication of the work’s original form.Yet the movements that have come down to us are of such uncommon musical interest that we would not want to be deprived of them just because they may be incomplete. The modesty of its requirements is at least in partresponsible for the comparatively wide popularity enjoyed by this cantata.- Urtext of the New Bach Edition- Full score & performance material (BA10158) vocal score (BA10158-90) available for sale

The material for Mozart’s azione sacra is taken from the Old Testament book of Judith the story of the beautiful Israelite who steals into the enemy camp of the Assyrians and decapitates their sleeping commander Holofernes.Often called a stroke of genius by the fifteen-year-old Mozart Betulia Liberata brooks comparison with his early operas in every respect. But Mozart was evidently concerned to distinguish between an azione sacra and an azione teatrale in the music itself e.g. in the accompanied recitatives and the sacred aura of the final chorus. Performance material available for hire.First vocal scoreof Mozart’s Betulia Liberata.Easy to play Piano reduction.Clear and uncluttered appearance on the page.Original Italian words underlaid with a new German translation.Bilingual preface in German and English.

The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

Oratorio on passages from the Holy Bible and the Catholic liturgy. Franz Liszt’s “Christus” is an attempt to capture in music the life of Christ from his birth to his Passion and Resurrection thereby following in the tradition of Handel’s biblical oratorios. Despite the familiar subject matter Liszt was concerned less with depicting Jesus’s deeds than with producing an object of meditation. To this end he employed a full array of musical devices to create a work abounding in sharp contrasts: symphonic textures alongside simple hymns modal harmonies alongside bold chromaticism and varied combinations of voices and instrumentsalongside purely instrumental groupings. David Friddle’s new edition is the first to publish the original text of “Christus” on the basis of all available sources. His extensive introduction also sheds light on the performance practices of Liszt’s day. Our vocal score contains a German translation of the original Latin as a guide. - First Urtext edition of this work. - Straightforward easy-to-play piano reduction. - Duration: approx. 175 minutes. - Full score (BA7680) and vocal score (BA7680-90) for sale; performance material (BA7680-72) for hire.

Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum H 146. The special appeal of this “Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.The eight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto tenor and bass – which interact with the chorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research- Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum H 146. The special appeal of this “Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.The eight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto tenor and bass – which interact with the chorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research- Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

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 Piet 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 solopassages.The same 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.- Vocal score as well as choral score available for the ?Gloria?.- Informative foreword (Ger/Eng).

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 totender transparently scored solo passages. The same 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. - Vocal score as well as choral score available for the “Gloria”. - Informative foreword (Ger/Eng).