SKU: HL.279257

ISBN 9781787600041. 0.25 inches.

21 popular works for mezzo-soprano or alto voice with piano accompaniment featuring selected works from the major exam board syllabuses, spanning grades 5 to 8 and beyond. Includes a preface and performance notes by Catherine Wyn-Rogers and Malcolm Martineau, and a digital version of the book to view on any device. CONTENTS: THOMAS ARNE: Under the Greenwood Tree * J.S. BACH: Nun wird mein liebste Brautigam/Bereite dich, Zion * SAMUEL BARBER: Must the winter come so soon? * GEOFFREY BURGON: Nunc dimittis * ERNEST CHAUSSON: Les Papillons * CLAUDE DEBUSSY: Romance * EDWARD ELGAR: Where Corals Lie * MANUEL DE FALLA: Nana * ENRIQUE GRANADOS: El Majo Discreto * REYNALDO HAHN: L'enamouree * Quand Je Fus Pris Au Pavillon * GEORGE FRIDRICH HANDEL: VICTORY HELY-HUTCHINSON: The Owl and the Pussycat * FRANZ LISZT: Es muss ein Wunderbar sein * JEAN-BAPTISTE LULLY: Bois Epais * FELIX MENDELSSOHN: O Rest in the Lord * CLAUDIO MONTEVERDI: L'incoronazione di Poppea (Arnalta's Lullaby) * WOLFGANG AMADEUS MOZART: Voi che sapete * GEORGE MUNRO: My Lovely Celia * FRANCIS POULENC: Voyage * FRANZ SCHUBERT: Aufenthalt.

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 Veritàâ? (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 Veritàâ?, 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 Veritàâ?.