SKU: CA.3116211

ISBN 9790007208905. Text language: German/English.

The cantata for the 20th Sunday after Trinity. Ah! I see now, as I to the wedding bidden, BWV 162 was first performed on 25 October 1716 in the Castle church at Weimar. During the first year in his position as Thomaskantor, Bach made a revival performance of the cantata on 10 October 1723. For this Leipzig version he added an additional obbligato voice in the first movement and in the final chorale he added a Corno da tirarsi, which played colla-parte with the soprano. However, we do not know what this mysterious instrument looked like. For performances today we recommend using a trumpet or a slide trumpet. The cantata begins not with an introductory chorus, but rather with a sonorous bass aria with a string accompaniment and obbligato trumpet. The following movements, movement 2 through 5, are also performed by vocal soloists. The third movement, a soprano aria, presents a peculiarity: the obbligato wind parts were not contained in the original version of this cantata. Our edition offers a reconstruction for the flute, made by the famous Bach interpreter and expert, Masaaki Suzuki. Score and part available separately - see item CA.3116200.

SKU: CA.3116213

ISBN 9790007208929. Text language: German/English.

The cantata for the 20th Sunday after Trinity. Ah! I see now, as I to the wedding bidden, BWV 162 was first performed on 25 October 1716 in the Castle church at Weimar. During the first year in his position as Thomaskantor, Bach made a revival performance of the cantata on 10 October 1723. For this Leipzig version he added an additional obbligato voice in the first movement and in the final chorale he added a Corno da tirarsi, which played colla-parte with the soprano. However, we do not know what this mysterious instrument looked like. For performances today we recommend using a trumpet or a slide trumpet. The cantata begins not with an introductory chorus, but rather with a sonorous bass aria with a string accompaniment and obbligato trumpet. The following movements, movement 2 through 5, are also performed by vocal soloists. The third movement, a soprano aria, presents a peculiarity: the obbligato wind parts were not contained in the original version of this cantata. Our edition offers a reconstruction for the flute, made by the famous Bach interpreter and expert, Masaaki Suzuki. Score and part available separately - see item CA.3116200.

SKU: TM.02250SC

Key of G.

SKU: CA.4012919

ISBN 9790007097158. Language: German/English.

Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach's St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn's lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the inextinguishable color of the instrumentation and the brilliant play with all the forms of composition. He described it as a jewel of the present.. Score and parts available separately - see item CA.4012900.

SKU: CA.4012904

ISBN 9790007092122. Language: German/English.

Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach's St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn's lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the inextinguishable color of the instrumentation and the brilliant play with all the forms of composition. He described it as a jewel of the present.. Score available separately - see item CA.4012900.

SKU: BA.BA08861-90

ISBN 9790006558186. 27 x 19 cm inches. Text Language: French. Preface: Nathalie Berton-Blivet. Text: Ballot de Sauvot, Sylvain.

Pigmalionwas the first example of a one-act ballet, preceded by an overture, composed specifically for the Academie royale de musique. With this work, Rameau turned to the form of the petit opera. From its very first revival,Pigmalionwas highly successful, and remained so until 1781. The new edition by Nathalie Berton-Blivet is based, for the most part, on the production material used at the Opera from 1748 to 1781 and the performance material realized for the court revival at Fontainebleau in October 1754.

This later version, the last one validated by Rameau, is the one reconstituted in this precious OOR volume, including a detailed introduction in French and English, a critical libretto edition, the new score with its critical report and some interesting facsimile pages.