SKU: CF.V2508

ISBN 9781491158609. UPC: 680160917211. 9 x 12 inches.

AThe Saddest Noise, the Sweetest Noisea is an aria taken from The Passions of Bloom, an evening-length work for soloists, chorus and orchestra. The text is from a poem by Emily Dickinson, here scored for a chamber ensemble comprising mezzo-soprano, piano, viola and acello. aThe Saddest Noise, the Sweetest Noisea is dedicated to Kate Maroney in appreciation for her unforgettable performance of the aria at the premiere of The Passions of Bloom in June 2017 at Sprague Hall in New Haven.
The Saddest Noise, the Sweetest Noise is an aria taken from The Passions of Bloom, an evening-length work for soloists, chorus and orchestra. The text is from a poem by Emily Dickinson, here scored for a chamber ensemble comprising mezzo-soprano, piano, viola and 'cello. The Saddest Noise, the Sweetest Noise is dedicated to Kate Maroney in appreciation for her unforgettable performance of the aria at the premiere of The Passions of Bloom in June 2017 at Sprague Hall in New Haven.
“The Saddest Noise, the Sweetest Noise” is an aria taken from The Passions of Bloom, an evening-length work for soloists, chorus and orchestra. The text is from a poem by Emily Dickinson, here scored for a chamber ensemble comprising mezzo-soprano, piano, viola and ‘cello.“The Saddest Noise, the Sweetest Noise” is dedicated to Kate Maroney in appreciation for her unforgettable performance of the aria at the premiere of The Passions of Bloom in June 2017 at Sprague Hall in New Haven.

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?.

SKU: CF.VS6

ISBN 9781491151013. UPC: 680160908516. 9x12 inches. Harold Bloom, Walt Whitman, Herman Melville, Emily Dickinson.

Martin Bresnick's Passions of Bloom for solo voices, chorus (SATB) and Orchestra is based on the writings of Walt Whitman, Herman Melville, and Emily Dickinson. It was composed in honor of Professor Harold Bloom and the love of literature he has instilled in generations of devoted readers and students.

SKU: GI.WLG164

UPC: 785147016267. English. Text by Emily Dickinson.

An incredibly dynamic work for treble choir, On the Strangest Sea is a unique setting of a well-loved text by Emily Dickinson. A driving piano accompaniment, interesting violin part, and beautifully crafted vocal lines make this a great option for a concert centerpiece. Your singers will appreciate the sentiment of the work and the variety of texture in the vocal writing. Lynne Gackle Choral Series.

SKU: PR.45640010L

UPC: 680160615025. 11 x 14 inches. Text: Emily Dickinson. Emily Dickinson.