Pour le soli de SAATBB, le choeur et les instruments de SSAATB. Édité par la partition vocale de Peter Dennison.This inclut une réduction de piano de la partition instrumentale. Adagio (Symphony No.24) [Haydn, Joseph] Hail! Bright Cecilia (Chorus And Quartet) Hail! Bright Cecilia (Solos And Chorus) Hark Each Tree (Duet: Alto And Bass) In Vain The Am'rous Flute (Duet: Alto And Tenor) Let These Amongst Ourselves Contest (Duet: Basses) Soul Of The World (Chorus) The Airy Violin (Alto Solo) The Fife And All The Harmony Of War (Alto Solo) Thou Tun'st This World (Soprano Solo And Chorus) 'tis Nature's Voice (Alto Solo) With That Sublime Celestial Lay (Trio: Altos And Bass) Wondrous Machine (Bass Solo)

Herrscher des Himmels, erhöre das Lallen - BWV 248 III, BWV3 248.3. Par BACH JOHANN SEBASTIAN. The Christmas Oratorio with just organ instead of orchestral accompaniment? Can this work with such a festive and colorfully orchestrated piece? This arrangement shows that it can, and surprisingly well!Carsten Klomp has carefully transcribed the orchestral writing for organ. Staying close to the original score goes hand-in-hand with a transcription brilliantly suited to the organ, with full use of the tonal and performing possibilities of the instrument.The first three parts of the Christmas Oratorio are now available from Carus in this form. So for the first time, a complete performance of Parts I?III of the work can now be given in an arrangement for soloists, choir and organ.Each of the organ parts is available to match the scores. These allow for optimal page-turns, as the choral parts are not printed, but the da capo sections are always written out in full.The editions are available individually or as a set (including the three scores with the individual organ parts).The vocal parts (for soloists and choir) are identical to the original version, so that the vocal score and choral score of that version can be used.This work (original version) is also available in carus music, the choir app! / Date parution : 2022-10-12/ Répertoire / Solistes, SATB et Orgue

Arrangeur: Andrea Campora. Par BEETHOVEN LUDWIG VAN. Beethoven’s sacred works include two settings of the Mass. The “Mass in C major”, completed and premiered in 1807, has been unjustly described as a preliminary step towards the great “Missa solemnis”. Yet it is a self-contained and, for its time, decidedly modern piece of church music. Drawing on the rich body of sources, Beethoven specialist Barry Cooper suggests practical solutions to the work’s musical and interpretative problems. His deep study of the sources convinced him to include a fully realized organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. Rounding off this Urtext edition are a Foreword on the work’s genesis and a detailed Critical Commentary. - Score with realization of the organ part - Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) - Idiomatic piano reduction Features of the Barenreiter Urtext edition of Beethoven 's Mass In C Major : Score with realisation of the Organ part Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) Straight-forward Piano reduction Full score and performance material (BA9039) and Vocal score (BA9039-90) available for sale Amongst Beethoven ’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and, for its time, distinctly modernpiece of sacred music. Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the original sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary. / Messe / Répertoire / Solistes, Choeur Mixte et Orchestre

B-Dur. Par MOZART WOLFGANG AMADEUS. This Litany of the Blessed Virgin Mary is the first and most straightforward of four litanies which Mozart composed from 1771 to 1776 in Salzburg. Its light instrumental scoring - only the 'church trio'' of two violins and continuo, with trombones used merely to reinforce the choir - suggest that this piece was intended for Marian devotions in the small Court Chapel of Schloss Mirabell. / Hymnes et chorals / Date parution : 2001-06-01/ Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

B-Dur. Par MOZART WOLFGANG AMADEUS. This Litany of the Blessed Virgin Mary is the first and most straightforward of four litanies which Mozart composed from 1771 to 1776 in Salzburg. Its light instrumental scoring - only the 'church trio'' of two violins and continuo, with trombones used merely to reinforce the choir - suggest that this piece was intended for Marian devotions in the small Court Chapel of Schloss Mirabell. / Hymnes et chorals / Date parution : 1990-03-01/ Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

B-Dur. Par MOZART WOLFGANG AMADEUS. This Litany of the Blessed Virgin Mary is the first and most straightforward of four litanies which Mozart composed from 1771 to 1776 in Salzburg. Its light instrumental scoring - only the 'church trio'' of two violins and continuo, with trombones used merely to reinforce the choir - suggest that this piece was intended for Marian devotions in the small Court Chapel of Schloss Mirabell. / Hymnes et chorals / Date parution : 2005-06-01/ Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

B-Dur. Par MOZART WOLFGANG AMADEUS. This Litany of the Blessed Virgin Mary is the first and most straightforward of four litanies which Mozart composed from 1771 to 1776 in Salzburg. Its light instrumental scoring - only the 'church trio'' of two violins and continuo, with trombones used merely to reinforce the choir - suggest that this piece was intended for Marian devotions in the small Court Chapel of Schloss Mirabell. / Hymnes et chorals / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

Par PURCELL HENRY. Purcell Dido and Aeneas (Full Score, paperback) The opera ?Dido and Aeneas?, a recount of the well-known story from Book IV of Virgil's Aeneid, has established itself as a favourite with the public. This is due to the skill of composer Henry Purcell and his librettist Nahum Tate, who combined an overriding tragic theme with masterfully inserted comic episodes. Long believed to have been conceived in 1689 for a performance at a ?School for Young Gentlewomen?, scholars have debated the origins of ?Dido? in recent decades, a process hampered by the lack of early musical sources. This edition addresses these challenges and evaluates the earliest sources that reproduce the opera in its surviving form. Surprisingly, these date from the 1770s and 80s, some ninety years after the work was written. Three key manuscripts ? now held at the Bodleian Library in Oxford (UK), at Tatton Park Library which is a National Trust property near Manchester (UK), and at the Wakayama Prefectural Library (Japan) - were all copied from the same original, most likely a handwritten score from 1704 which reappeared in the early 1770s, only to disappear again. This is the first 'Dido' edition based on the Tatton Park manuscript as the main source. It was produced during the second half of the 18th century by Philip Hayes, one of England's most prominent musicians. He was known in musicology for his meticulous copies of Purcell's music, often from the autograph manuscripts. The Bodleian and Wakayama manuscripts are presented in a new light and their role in this edition has been reassessed accordingly. - Urtext edition based for the first time on the Tatton Park manuscript as the main source - Informative Foreword (Eng/Ger) on the genesis, transmission, reception and performance practice - Complete facsimile reproduction of the Chelsea libretto / Date parution : 2023-06-01/ Répertoire / Solistes, Choeur Mixte et Orchestre

Par MAHLER GUSTAV. Over the years, the need for a new edition of Mahler's Symphony No. 2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerization also ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony No. 2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors has been corrected./ Répertoire / Solistes, Choeur et Orchestre

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 Saint Francis 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. / Chant Et Piano

Dramma per musica in thre acts. Par HAENDEL GEORG FRIEDRICH. Tamerlano HWV 18; Dramma per musica in 3 acts Handel began the composition of Tamerlano, one of the supreme masterpieces of Baroque opera seria, on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano, Tragedia per musica, which had been set to music by Francesco Gasparini, and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October, so many alterations and revisions were made that a fresh performing-score had to be writtern very late inthe proceedings, to replace an earlier one which is now 1ost. There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once, in 1731, for three performances. For this revival he marked in the performing score a number of cuts in the recitatives, which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera. Urtext of the Halle Handel Edition. Full score (BA4052) and vocal score (BA4052-90) available for sale Performance material (BA4052-72) available for hire/ Répertoire / Solistes, Choeur et Orchestre

Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Violon II