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.BA10721-90
ISBN 9790006568680. 27 x 19 cm inches. Text Language: Italian. Preface: Annette Landgraf. Text: Pamphili, Benedetto.
Handel composed his first Italian oratorioLa Bellezza ravveduta nel trionfo del Tempo e del DisingannoHWV 46a in 1707. It is based on an allegorical moral libretto written by Cardinal Benedetto Pamphili who also commissioned this work.Disinganno (Illumination) and Tempo (Time) try to get the young, beautiful and frivolous Bellezza (Beauty) to recognise the true values of life and to act accordingly. The audience accompanies Bellezza in her spiritual development, in which she increasingly distances herself from Piacere (Pleasure) and listens more and more to Tempo and Disinganno.The oratorio contains some of the most beautiful music Handel ever composed. This includes the enchanting ariaLascia la spina, in which he uses the music of the sarabande from the operaAlmira, composed in Hamburg in 1704, and which then achieved immortal fame inRinaldo(1711) asLascia ch'io pianga.
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: CA.1039700
ISBN 9790007187590. Language: German.
Johannes Brahms's Alto Rhapsody is published here in a new Urtext edition, modernised for present-day performance practice. It is based on the 2nd impression of the first printed edition, as this is regarded as the authentic musical text following the last revisions made by the composer. The musical setting of Goethe's poem Harzreise im Winter opens with a somber beginning, then by turning to divine powers, it arrives at a hopeful new level. The work - which was composed in connection with the marriage of Julie, the daughter of Brahms's revered Clara Schumann, in 1869 - impresses above all with its personal touch as well as its pioneering progressive harmonies and enormous compositional power, which still entice listeners into the concert hall.
SKU: TM.09865SET
Schwanenweiss (Svanehvit). Peacock, Harp, Maiden with the Roses, Listen, The Robin Sings, Prince Alone, Swanehvit and Song/Praise.
SKU: TM.09865SC
SKU: CA.4068700
ISBN 9790007239701. Key: C minor. Latin.
A mass setting by Robert Schumann? This is still likely to cause surprise among audiences â?? after all, Schumann is not generally viewed as a sacred composer. Indeed, his little-known late work, the Missa sacra, Op. 147, is a discovery not just for listeners but often for the performers themselves. The mass combines an acute fascination with sacred liturgy typical of Schumannâ??s time with the pragmatism of its intended use by a local choral society. The composer employs his considerable skills to create a captivating and varied score that is almost ethereal in the Kyrie, leading to passages of an intimate and lyrical piano that alternate with fortissimo for words of praise, while always displaying the utmost sensitivity and a delight in dissonance. The composer declared his setting to be â??fashioned with great loveâ?. The demanding orchestral mass can be realized with limited means. The solo parts can be filled from the choir. The work, which the composer himself did not have published, is here reissued on the basis of Schumannâ??s partial autograph score. Carus has also produced an arrangement of the work for choir and organ, enabling performances without orchestra in smaller venues (Carus 40.687/45).
SKU: CA.4068703
ISBN 9790007239718. Key: C minor. Latin.
A mass setting by Robert Schumann? This is still likely to cause surprise among audiences – after all, Schumann is not generally viewed as a sacred composer. Indeed, his little-known late work, the Missa sacra, Op. 147, is a discovery not just for listeners but often for the performers themselves. The mass combines an acute fascination with sacred liturgy typical of Schumann’s time with the pragmatism of its intended use by a local choral society. The composer employs his considerable skills to create a captivating and varied score that is almost ethereal in the Kyrie, leading to passages of an intimate and lyrical piano that alternate with fortissimo for words of praise, while always displaying the utmost sensitivity and a delight in dissonance. The composer declared his setting to be “fashioned with great loveâ€. The demanding orchestral mass can be realized with limited means. The solo parts can be filled from the choir. The work, which the composer himself did not have published, is here reissued on the basis of Schumann’s partial autograph score. Carus has also produced an arrangement of the work for choir & organ, enabling performances without orchestra in smaller venues (Carus 40.687/45).
SKU: CA.3110611
ISBN 9790007207021. Key: F major. Language: German/English.
The Actus tragicus or Gottes Zeit ist die allerbeste Zeit BWV 106 remains one of Bach's best-known and most admired works, one which continues to resonate to this day - a work of genius such as even great masters seldom achieve (Alfred Durr). The cantata is one of the earliest known vocal works by Johann Sebastian Bach. It was written during his time at Muhlhausen, probably in 1707, when Bach took up the position of organist at the Divi Blasii Church. A possible occasion for its composition may have been the funeral of the mayor of Muhlhausen, Adolph Strecker. The short, slow Sonatina with two recorders, two gambas and continuo gets the listener into the mood of the character of the cantata. This instrumental combination is unique in Bach's vocal output, but could derive from a central German tradition. This new edition is a critical-practical edition which combines both the latest discoveries in Bach research with a detailed Critical Report as well as addressing current questions on performance practice. Score and part available separately - see item CA.3110600.
SKU: CA.3110612
ISBN 9790007207038. Key: F major. Language: German/English.
SKU: CA.3110649
ISBN 9790007207052. Key: F major. Language: German/English.
SKU: CA.3110609
ISBN 9790007207014. Key: F major. Language: German/English.
The Actus tragicus or Gottes Zeit ist die allerbeste Zeit BWV 106 remains one of Bach's best-known and most admired works, one which continues to resonate to this day - a work of genius such as even great masters seldom achieve (Alfred Durr). The cantata is one of the earliest known vocal works by Johann Sebastian Bach. It was written during his time at Muhlhausen, probably in 1707, when Bach took up the position of organist at the Divi Blasii Church. A possible occasion for its composition may have been the funeral of the mayor of Muhlhausen, Adolph Strecker. The short, slow Sonatina with two recorders, two gambas and continuo gets the listener into the mood of the character of the cantata. This instrumental combination is unique in Bach's vocal output, but could derive from a central German tradition. This new edition is a critical-practical edition which combines both the latest discoveries in Bach research with a detailed Critical Report as well as addressing current questions on performance practice. Score and parts available separately - see item CA.3110600.
SKU: TM.14536SET
Beginning of Act II. Nos. 15 and 16. Sc pages 109-115. No. 15 sung by Mabel, chorus. No. 16 sung by Frederic and Major General.
SKU: TM.14536SC
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