Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Soprano and Piano. Cycle of 6 songs. Simple Daylight was commissioned by Lincoln Center and dedicated to its first singer Dawn Upshaw. The music is set to poems in Michael Fried's To the Center of the Earth creating a song cyclethat requires a motet-like partnership between singer and pianist. Recorded on Elektra Nonesuch.

Nine Amen and Halleluja Movements-Between 1728 and 1747 Handel composed these nine two-part movements for soprano and instrumental bass. Though speculation exists the occasion for which the pieces were composed as well as the exact date of their composition remain unknown.The soprano sings short liturgical phrases such as ?Amen? ?Allelujah? ?Alleluja amen? or ?Amen alleluia?. The editor has supplied a text for the movement HWV 275 which until now has for reasons unknown been without text. The Amen and Hallelujah movements are in easy keys (using up to one sharp or two flats) and the modulations rarely move to harmonically distant tonal areas. Handel figured the bassline very detailed which playsmostly an accompanying supportive role imitating the voice in a few places. The vocal part is distinguished by the repetition of motives by repeated notes but also by short or extended coloratura. Presumably these movements were intended for use in teaching.Today these short movements of between 25 and 76 bars lend themselves well to use in church services.Based on the Urtext of the ?Halle Handel Edition?Idiomatic realization of the continuo part

Operatic Arias - Vol. 4-Volume 4 for soprano contains the second half of the large-scale arias and ariettas that Rameau composed for lyric soprano (the 18th-century equivalent of today?s lyric coloratura soprano) in his prologues and divertissements. Each number is accompanied by a keyboard reduction and is introduced by a brief account of the dramatic situation as well as an English translation of the vocal text.- Detailed historical Introductions (Fr/Eng)- Practical keyboard reductions based on Opera Omnia Rameau- Each number is preceded by a brief outline of the dramatic situation and an English translation of the vocal text- Co-edited by the Centre de musique baroquede Versailles and the Société Jean-Philippe Rameau (distributed exclusively by Bärenreiter)

A selection of songs from the musical stage presented in their authentic settings, excerpted from the original vocal scores. Arranged for soprano vocals and piano. / Répertoire d'Examen / Recueil / Voix

La collection la plus complète des sélections de Broadway jamais organisée spécifiquement pour le chanteur. Chacun des cinq volumes de la série contient des chansons importants choisis parce qu\'ils sont appAvailableriate fpr chaque voix. Toutes les sélections sont sous leur forme authentique, original et de la musique vocale originale. Les chansons dans Musical Theatre anthologie du chanteur, écrit par des compositeurs tels notés comme Kurt Weill, Richard Rodgers, Stephen Sondheim et Jerome Kern, sont des chefs-d\'oeuvre vocales idéales pour les auditions, pratiquer ou effectuant des chanteurs. / Date parution : 2005-06-27/ Recueil / Soprano 1

La collection la plus complète des sélections de Broadway jamais organisée spécifiquement pour le chanteur. Chacun des cinq volumes contient des chansons importants choisis en raison de leur pertinence à ce type de voix particulière. Toutes les sélections sont sous leur forme de tic, extrait les scores vocales originales. Les chansons dans Musical Theatre anthologie du chanteur, écrit par des compositeurs tels notés que Kurt Weill, Richard Rodgers, Stephen Sondheim et Jerome Kern, sont des chefs-d'oeuvre vocales idéales pour l'auditioniacticing ou d'effectuer des chanteurs. / Répertoire d'Examen / Recueil / Voix