SKU: SU.80101330
Soloist(s), Choir, and/or Congregation Composed: 2012 Published by: Zimbel PressThese three brief pieces were inspired by the Shakers, whose many thousands of songs were sung unaccompanied. For the first hundred years of their society, Shaker songs were always monophonic. Though the music of these monodies is not in a Shaker style, they are meant to be sung by soloists, choirs, and/or congregations without accompaniment. Minimum order quantity: 8 copies. Perusal copies are available by contacting carson@carsoncooman.com (include the organization name with your request). To order quantities fewer than 8.
SKU: TM.12698SET
Three Poems by Tristan Klingsor.
SKU: TM.12698SC
SKU: TM.10263SC
What Child in G; Three Kings in F. Typeset.
SKU: TM.10263SET
SKU: BA.BA10726-01
ISBN 9790006575596. 33 x 26 cm inches. Text Language: Italian. Preface: Pacholke, Michael.
In the brief half-year period from August 14, 1736, to January 27, 1737, Georg Friedrich Handel achieved an unprecedented level of productivity in his opera compositions, creating three operas. Additionally, in March 1737, he also composed a largely new oratorio titled â??Il trionfo del Tempo e della Verità â? (â??The Triumph of Time and Truthâ?) HWV 46b. The libretto of this oratorio closely corresponds to that of the oratorio â??La Bellezza ravveduta nel trionfo del Tempo e del Disingannoâ? (â??Beauty Reconciled in the Triumph of Time and Enlightenmentâ?) HWV 46a written in 1707. With â??La Bellezza ravvedutaâ?, Handel composed an allegorical and particularly dramatic oratorio right at the beginning of his oratorio compositions. In this work, there is no chorus inclined towards reflection. Not only do the four allegorical figures, Bellezza (Beauty), Piacere (Pleasure), Tempo (Time), and Disinganno (Enlightenment), listen to each other and react to the ideas presented by the others, but this prevailing dramatic principle of dispute is also found in the recitatives.In 1737, when reworking the oratorio material as â??Il trionfo del Tempo e della Verità â?, Handel approached the task pragmatically. He needed a new non-dramatic work to fulfill the eveningâ??s program for his audience at the Covent Garden Theatre during the fasting season when theatrical performances were prohibited. Although he had excellent Italian vocal soloists, notorious for their pronunciation in Handelâ??s English oratorios and who naturally preferred singing in Italian, Handel found a solution. It was evident to Handel that, in response to the ban on performances of his Italian operas during the fasting season of 1737, he should promptly create a new oratorio in the Italian language but following the three-part â??Englishâ? oratorio form that he had developed in â??Estherâ? HWV 50b in 1732. Unlike in Rome in 1707, he had access to a chorus in London in 1737, and the English oratorio, with its substantial choral sections, a preference for concert-like rather than dramatic composition, and frequent inclusion of organ concertos loosely related to the narrative, was already established.The new volume of the HHA includes the original version of the 1737 premiere as well as all the surviving early and later versions (the latter being exceptional highlights) of individual musical pieces from â??Il trionfo del Tempo e della Verità â?.
SKU: BA.BA04052
ISBN 9790006495702. 33.1 x 26 cm inches. Nicola Francesco Haym.
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 in the 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.
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.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.
SKU: CA.5528345
English/German.
In keeping with the victorious mood, Handel often splits the chorus into five voices (with divided sopranos) for passages of pure homophony. When the choir declaim as one, the effect is of joyful celebration. To start each phrase on the right note, it is essential to be familiar with the orchestral interludes. The cantabile movements, such as No. 3, can be particularly tricky to perform: The vocal leaps in these demanding choral-soprano sections become much easier if you can hear the underlying harmonies while practicing. The same is true for No. 5.The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions:Original recordingCoach: each part is accompanied by the piano, with the original recording sounding in the backgroundCoach in slow mode: the tempo of the coach slows down to 70% of the original version â through this reduction passages can be learned more effectively.Performers: Dorothee Mields (soprano), Ulrike Andersen (alto), Mark Wilde (tenore), Chris Dixon (basso) â Alsfelder Vokalensemble, Concerto Polacco â Wolfgang Helbich. Score available separately - see item CA.5528300.
SKU: CA.3114919
ISBN 9790007141233. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score and parts available separately - see item CA.3114900.
SKU: CA.3114914
ISBN 9790007208592. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score and part available separately - see item CA.3114900.
SKU: CA.3114912
ISBN 9790007208578. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3114949
ISBN 9790007208608. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3114911
ISBN 9790007208561. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3114909
ISBN 9790007208554. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3114913
ISBN 9790007208585. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.2718803
ISBN 9790007250911. Language: LAT/EN/DT.
After Missa Latina and Magnificat, Te Deum is now the third major composition by musician and composer Karl Albrecht âBobbiâ Fischer published by Carus. Fischerâs musical roots lie in classical music, which he combines with jazz elements and Latin American rhythms.All three styles appear in the Te Deum. In keeping with the proclamation âTe Deum laudamusâ (We praise thee, O God), the work begins with the festive (Cuban) energy, propelled by timpani and trumpet; the choir can also be heard imitating fanfares. Later, a cappella choruses become a recurring element, in which phrases set as Gregorian chant are presented against an ever-changing chordal background. But the score also features elements of swing and rhythm and blues, frenetic choral outbursts of joy, as well as moments of mystic contemplation. Moreover, the instrumentalists are given ample opportunity for improvised solos. Interwoven into the otherwise Latin text is the well-known German chorale GroÃer Gott, wir loben dich. Here several verses can be sung with the congregation; alongside the original German text, the score features the English translation âHoly God, we praise thy nameâ.- An exciting combination of classical choral music with elements of jazz and Latin American music- The congregation can take part in the performance (chorale)- Singers can choose between Latin/German or Latin/English- Varied mix of styles- An enrichment of our crossover program
SKU: CA.3114905
ISBN 9790007161958. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score available separately - see item CA.3114900.
SKU: BA.BA04014
ISBN 9790006442935. 33 x 26 cm inches. Text Language: English. Preface: Nott, Kenneth. Text: Thomas Morell.
“Jephtha†is Handel’s last oratorio. Handel had to break off from composing several times because of his increasing blindness in 1751. The first performance at the Covent Garden Theatre in February 1752 was the last performance he conducted before he went completely blind.In “Jephthaâ€, Handel succeeded in achieving the perfect fusion between a biblical plot and the spirit of classical tragedy. With great intensity and dramatic expression he highlighted in particular the fates of Jephtha and Iphis , thereby portraying convincing and complex characters.The chorus “How Dark, O Lord, are Thy Decrees†at the end of part two is of crucial importance in the work and is regarded as the dramatic high point of the oratorio.The vocal score is based on volume I/30 of the “Halle Handel Edition†(BA 4014), which contains the complete critical version of the music of the oratorio for the first time.
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