| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Beati III: Pro eis solitariis (For those that are lonely) Soli, Mixted choir and accompaniment - Easy MorningStar Music Publishers
Solo and SS choir divisi (a cappella) - Early Intermediate SKU: MN.56-0031(+)
Solo and SS choir divisi (a cappella) - Early Intermediate SKU: MN.56-0031 Composed by Howard Goodall. 21st Century. Instrument parts. Duration 4 minutes, 39 seconds. MorningStar Music Publishers #56-0031. Published by MorningStar Music Publishers (MN.56-0031). UPC: 688670220364. Latin. Genesis 20:13; Numbers 11:17. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For Solo and SS divisi, a cappella, the music has a light, ethereal feeling. ââ¬ÅBeatiââ¬Â can be taken as a sort of ââ¬ÅBlessed are theyââ¬Â prefix for the movements which are not direct quotes from the Beatitudes. This movement is a unison, chant-like setting of the Latin texts for Genesis 20:13 (ââ¬ÅThou shalt do me this kindnessââ¬Â¦Ã¢â¬Â) and Numbers 11:17 (ââ¬ÅAnd I will take of thy spiritââ¬Â). The soloist begins and sometimes takes over from the choral voices. Mostly unison except for about ten measures (out of the 69) in two-part texture and four measures in three parts. Duration 4:39
$2.65 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lieder fur Singstimme und Klavier (Gesamtausgabe, Bd. 15) [Score] Carus Verlag
SKU: CA.5021500 Composed by Josef Gabriel Rheinberger. Edited by Manuela ...(+)
SKU: CA.5021500 Composed by Josef Gabriel Rheinberger. Edited by Manuela Jahrmarker. This edition: Complete edition, linen cover. Josef Gabriel Rheinberger - Complete Works. German title: Lieder fur Singstimme und Klavier. Josef Gabriel Rheinberger. Complete Works. Full score (complete edition / selected edition). Carus Verlag #CV 50.215/00. Published by Carus Verlag (CA.5021500). ISBN 9790007090265. Volume 15 reveals a largely unknown treasure of the romantic song for voice with piano accompaniment in which his complete 100 solo songs with opus numbers are united in one collection. The musical spectrum ranges from the naive-witty Kinderlieder op. 152 to the highly dramatic setting of Des Madchens Klage op. 57,7 from Schiller's Wallenstein. Among the authors of these poems Rheinberger's scarcely-known contemporaries are represented, just as are the great names of German literature, including Goethe, Eichendorff, and Scheffel. English and Italian poets are also represented (Burns, Moore, Petrarca, Savonarola). $315.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Chromatic Fantasy and Fugue, BWV 903 Piano solo Alfred Publishing
Composed by Johann Sebastian Bach (1685-1750). Edited by Dr. Hans Bischoff. For ...(+)
Composed by Johann Sebastian Bach (1685-1750). Edited by Dr. Hans Bischoff. For Piano. Book; Masterworks; Piano Solo; Solo. Alfred Masterwork Edition. Form: Fantasia; Fugue. Baroque; Masterwork. Advanced. 20 pages. Published by Alfred Music
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| Piano Sonata No. 11, B-Flat Major Piano solo G. Henle
Op. 22 'Grand Sonata' Piano Solo. Composed by Ludwig van Beethoven...(+)
Op. 22 'Grand Sonata' Piano
Solo. Composed by Ludwig van
Beethoven (1770-1827). Edited
by Murray Perahia and Norbert
Gertsch. Henle Music Folios.
Classical. Softcover. 28
pages. G. Henle #HN1515.
Published by G. Henle
$12.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bach -- Six English Suites, BWV 806--811 Piano solo - Advanced Alfred Publishing
Composed by Johann Sebastian Bach (1685-1750). Edited by Dr. Hans Bischoff. For ...(+)
Composed by Johann Sebastian Bach (1685-1750). Edited by Dr. Hans Bischoff. For Piano. Book; Masterworks; Piano Solo; Solo. Alfred Masterwork Edition. Baroque; Masterwork. Advanced. 132 pages. Published by Alfred Music
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| Musidex Band/Orchestra Concert Size Filing Envelope Concert band Southern Music Ltd
Musi-Dex. Southern Music. Southern Music Company #F11. Published by Southern Mus...(+)
Musi-Dex. Southern Music. Southern Music Company #F11. Published by Southern Music Company
$0.45 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Studio Ghibli - Kalimba J-POP & Japanese Standard Melodies Yamaha
Kalimba SKU: YM.GTL01101093 Easy-Intermediate Kalimba Book. Compos...(+)
Kalimba SKU: YM.GTL01101093 Easy-Intermediate Kalimba Book. Composed by Joe Hisaishi. Kalimba Collection. Anime Song; J-Pop, Studio Ghibli. Book. Yamaha Music Media #GTL01101093. Published by Yamaha Music Media (YM.GTL01101093). ISBN 9784636107678. 9 x 12 inches. Enjoy Popular J-POP Melodies in Chord Arrangements with Kalimba! The book has 20 songs from popular standard melodies, mainly J-Pop, in melody and accompaniment chord arrangements that sound gorgeous even when played alone. Compatible with 17-note kalimba. All the songs are accompanied by the note numbers engraved on the instruments. The music can be easily played by comparing it with the instrument. This book explains how to play the basic kalimba, shows the correspondence between kalimba note names and staff lines, and easy musical rules. This book suits beginner players and those who have difficulty adding their chords. Includes chord arrangements for 17-note kalimba to enjoy the gorgeous sounding melody and accompaniment chord arrangements by just one player; the song Suzume feat. Toaka requires tuning one note. The tuning method is described in the book. 17-note kalimba numbers written for all songs. Features visual indication of where to play chords with one hand! The key notations for two chords played simultaneously with one hand, and arpeggio notation for three or more chords, are included in the sheet music and the note numbers. The book is designed to be easy to read and play visually. $12.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Missa Sanctissimae Trinitatis in A minor ZWV 17 Breitkopf & Härtel
Continuo realization (solos: SATB - choir: SATB - 2.2.0.0. - 0.0.0.0. - str - bc...(+)
Continuo realization (solos: SATB - choir: SATB - 2.2.0.0. - 0.0.0.0. - str - bc) SKU: BR.OB-5589-11 Urtext. Composed by Jan Dismas Zelenka. Edited by Thomas Kohlhase. Arranged by Paul Horn. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Mass; Baroque. Part. 60 pages. Duration 60'. Breitkopf and Haertel #OB 5589-11. Published by Breitkopf and Haertel (BR.OB-5589-11). ISBN 9790004344170. 10 x 12.5 inches. Prelude to Mastery The Missa Sanctissimae Trinitatis was probably composed within a few weeks in the late fall of 1736, an occasion for the composition is not recorded. With this mass, the first in a series of five late masses, Jan Dismas Zelenka entered upon the phase of his masterful late works. Its spacious conception abundant in numbers, stylistic and compositional wealth, as well as its vehement, musical expressive power clearly differentiate this work from Zelenka's previous masses. This new edition is based on the corresponding volume of the series Das Erbe deutscher Musik, from which the preface and critical report also derive.Have a look into the piano vocal score. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt). $48.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Complete Bluegrass Banjo Method Banjo [Sheet music + CD] Mel Bay
by Neil Griffin. Complete. Level: Multiple Levels. Book/CD Set. Size 8.75x11.75....(+)
by Neil Griffin. Complete. Level: Multiple Levels. Book/CD Set. Size 8.75x11.75. 244 pages. Published by Mel Bay Pub., Inc.
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Definitive Paul Simon Songbook Melody line, Lyrics and Chords [Sheet music] Music Sales
The Definitive Paul Simon Songbook by Paul Simon. For Melody Line, Lyrics and Ch...(+)
The Definitive Paul Simon Songbook by Paul Simon. For Melody Line, Lyrics and Chords. Music Sales America. Folk Rock. Softcover. 560 pages. Paul Simon Music #PS11594. Published by Paul Simon Music
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| Les Indes galantes RCT 44 Orchestra Barenreiter
Orchestra SKU: BA.BA07568 Ballet héroïque in one prologue and fo...(+)
Orchestra SKU: BA.BA07568 Ballet héroïque in one prologue and four acts. Composed by Jean-Philippe Rameau. Edited by Sylvie Bouissou. This edition: urtext edition. Paperback. Symphonies / Version 1736. Score, anthology. RCT 44. Baerenreiter Verlag #BA07568_00. Published by Baerenreiter Verlag (BA.BA07568). ISBN 9790006558285. 33 x 24 cm inches. Preface: Sylvie Bouissou. Text: Louis Fuzelier. The new scholarly-critical edition of the score of Rameau’s “ballet hroïque†Les Indes galantes finally clears up its convoluted source history. At the first performance, on 23 August 1735, it consisted of a prologue and three acts: Le Turc gnreux, Les Incas du Prou and Les Fleurs. But Les Fleurs already proved controversial in the early performances, and from 11 September of that same year it was given a wholly new form. For the revival on 10 March 1736 Rameau and Fuzelier added an entirely new act Les Sauvages, and in the years that followed, the “ballet hroïque†was presented either complete (1743, 1751 and 1761) or abridged with a prologue, Les Incas du Prou and Les Sauvages (1751–73).
With regard to the instrumental movements (dances and descriptive pieces), the present publication is based on the complete edition Opera Omnia Rameau (OOR) volumes IV/2 and IV/7 edited by Sylvie Bouissou which are currently in preparation. It includes not only the orchestral pieces in the version deemed valid by Rameau in 1736 (with version 2 of Les Fleurs and Les Sauvages), but also those from the first version of Les Fleurs (1735) as well as its 1743 and 1773 revisions. Performers are thus given a complete selection of all the orchestral numbers from one of Rameau’s central stage works for use also in concert performance.
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$80.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jazz Cello/Bass Wizard Junior, Book 2 Cello [Sheet music + CD] - Intermediate Mel Bay
By Martin Norgaard. For Cello. Method. Jazz Wizard. Jazz. Level: Intermediate. B...(+)
By Martin Norgaard. For Cello. Method. Jazz Wizard. Jazz. Level: Intermediate. Book/CD Set. Size 8.75x11.75. 64 pages. Published by Mel Bay Publications, Inc.
$17.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Great Big Praise for a Great Big God, Book 1 - CD/Book Combo Children choir Lillenas Publishing Co.
117 Fun, Exciting, Singable Songs for Younger Children. Edited by Thomas Fettke,...(+)
117 Fun, Exciting, Singable Songs for Younger Children. Edited by Thomas Fettke, Ken Bible. Arranged by Thomas Fettke, Ken Bible. (unison). This edition: MD492. Suggested Use: For children pre-school to third grade. Use at Sunday school, children's choir, children's church, VBS, camps, Christian schools, and home. Lillenas Publications. Great resource for working with younger kids. Sacred. Book/Split-Channel Accompaniment Cassette Combo. 144 pages. Published by Lillenas.
(1)$39.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Adina - Intermediate Ricordi
Vocal, Piano Accompaniment (Vocal Score) - intermediate SKU: HL.50601634 ...(+)
Vocal, Piano Accompaniment (Vocal Score) - intermediate SKU: HL.50601634 Vocal Score based on the Critical Edition by Fabrizio Della Seta. Composed by Gioachino Rossini. Edited by Fabrizio Della Seta. Vocal Score. Classical, Opera. Softcover. Composed 2018. 173 pages. Ricordi #CP13825900. Published by Ricordi (HL.50601634). ISBN 9788881920457. UPC: 888680932381. 8x11 inches. Italian-English. - Rossini -. Composed in 1818 on commission from an unknown individual in Lisbon, Adina was left to languish some years until its premiere in 1826, with a single performance in that city remaining virtually the only one on record until the opera's revival in 1963. The present vocal score is based on the critical edition of the orchestral full score prepared by Fabrizio Della Seta and published by the Fondazione Rossini of Pesaro in collaboration with Casa Ricordi. This Edition reconstructs for the first time the structure of the autograph score, which reflects the collective contributions of at least five different hands: having composed only four entirely new numbers and repurposed another three from Sigismondo, Rossini relied upon collaborators and copyists for the remainder of the music. Della Seta's detailed examination of this fundamental document (housed at the Fondazione Rossini) together with an informed assessment of the secondary sources, including a complete manuscript copy (housed at the British Library in London), various manuscript vocal parts with Rossini's autograph interventions (housed in the Royal Conservatory of Brussels), and the first edition of the vocal score published by Ricordi between 1855 and 1859, additionally reveals how the libretto printed in Lisbon for that single historic performance in 1826 differed substantially from the narrative disposition of the autograph score, with ample cuts and modifications (among those the suppression of the Aria Alì and the addition of a Coro). While neither attributable to Rossini himself nor pertaining to his original conceptual design of the opera, this Coro, the music of which survives in the first vocal score, is included as an Appendix to the edition. $32.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Horn Concerto No. 1 in E-Flat Major, Op. 11 Orchestra [Study Score / Miniature] G. Henle
French Horn; Orchestra (Study Score) SKU: HL.51487253 Hornkonzert Nr. ...(+)
French Horn; Orchestra (Study Score) SKU: HL.51487253 Hornkonzert Nr. 1 Es-Dur Opus 11 Study Score. Composed by Richard Strauss. Edited by Peter Damm. Henle Study Scores. Classical. Softcover. 83 pages. G. Henle #HN7253. Published by G. Henle (HL.51487253). UPC: 840126933048. 6.75x9.5x0.245 inches. With his first horn concerto, the merely eighteen-year-old Richard Strauss succeeded in producing a captivating masterstroke. To this day, the concerto is beloved throughout the world (not only) by horn players, and together with Mozart's masterworks, numbers among the essential pieces in the instrument's repertoire. Peter Damm, former principal horn for the Staatskapelle Dresden and world-class soloist, has not only performed the concerto publicly over 170 times himself, but has also presented pivotal research findings and publications on its genesis. Prepared after reviewing all surviving sources, the Urtext edition he has edited may thus been regarded as the edition of reference. The orchestral score, available in a practical study edition, eliminates innumerable errors from the first edition. About Henle Urtext What I can expect from Henle Urtext editions: - error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for Urtext editions)
$21.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| O Come, O Come, Emmanuel Choral SATB SATB [Octavo] Hope Publishing Company
Arranged by Lloyd Larson. (SATB). Jazz/SwingStyle, Hymntune and Sacred. Print M...(+)
Arranged by Lloyd Larson. (SATB). Jazz/SwingStyle, Hymntune and Sacred. Print Music Single (SATB). 12 pages. Published by Hope Publishing Company.
$2.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Johannes-Passion BWV 245 Choral, Orchestra [Study Score / Miniature] Breitkopf & Härtel
(study score). By Johann Sebastian Bach (1685-1750). For Solo Parts, Mixed Choir...(+)
(study score). By Johann Sebastian Bach (1685-1750). For Solo Parts, Mixed Choir, Orchestra. Breitkopf Full Scores. Study score. 136 pages
$24.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Flotenkonzert in G Carus Verlag
Flute, 2 Violins, Viola, Basso continuo SKU: CA.1702212 Composed by Franz...(+)
Flute, 2 Violins, Viola, Basso continuo SKU: CA.1702212 Composed by Franz Xaver Richter. Edited by Robert Dohn. Violin 2. Single Part, Violin 2. 8 pages. Carus Verlag #CV 17.022/12. Published by Carus Verlag (CA.1702212). Key: G major. Language: all languages. Among the large numbers of works in different genres, the composer has left eight flute concertos - imaginative examples of early classical style which are worth rediscovering. Carus-Verlag has published one of them in a first edition, making it again accessible. Score and part available separately - see item CA.1702200. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| On Eagle's Wings Vocal duet Hope Publishing Company
Composed by Michael Joncas. Arranged by Douglas Wagner. For Vocal Duet (Two Medi...(+)
Composed by Michael Joncas. Arranged by Douglas Wagner. For Vocal Duet (Two Medium Voices - Key of E-flat). Comfort, Confidence, Encouragement, Guidance, Promise, Funeral, Hymntune, Sacred. Published by Hope Publishing Company
$7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Trio for Pianoforte, Violin and Violoncello, op. 97 Piano Trio: piano, violin, cello Barenreiter
Archduke. Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del...(+)
Archduke. Composed by Ludwig
van Beethoven (1770-1827).
Edited by Jonathan Del Mar.
This edition: urtext edition.
Hardback. Score, Part. Opus
97. Baerenreiter Verlag
#BA10942. Published by
Baerenreiter Verlag
$47.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Zoroastre RCT 62A-B Orchestra [Score] Barenreiter
Orchestra SKU: BA.BA08889 Opéra in five acts. Composed by Jean-...(+)
Orchestra SKU: BA.BA08889 Opéra in five acts. Composed by Jean-Philippe Rameau. Edited by Graham Sadler. This edition: urtext edition. Paperback. Symphonies / Versions from 1749 and 1756. Score. Baerenreiter Verlag #BA08889_00. Published by Baerenreiter Verlag (BA.BA08889). ISBN 9790006575213. 33 x 24 cm inches. Text Language: French. Louis de Cahusac. This collection of the instrumental numbers from Zoroastre, a Tragdie in five acts includes the movements and dances of all the original versions, i.e. those of January and February 1756 (found in the Opera Omnia Rameau volume IV.26, BA08867-01) as well as those of 1749. Orchestras can compile a suite to meet precisely their own needs. For this purpose, the index includes a separate overview sorted by key. The performance material of the Symphonies is available on hire reflecting the high standard of Opera Omnia.
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$91.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lieder mit Klavierbegleitung Op. 10 Bis Op. 29 Schott
Piano; Voice (Score) SKU: HL.49045562 Strauss Werke Complete Edition B...(+)
Piano; Voice (Score) SKU: HL.49045562 Strauss Werke Complete Edition Band 2. Composed by Richard Strauss. Edited by Andreas Pernpeintner. This edition: Hardback/Hard Cover. Sheet music. Edition Schott. Classical. Hardcover. Composed 1885-1895. 336 pages. Schott Music #RSW202. Published by Schott Music (HL.49045562). ISBN 9783901974052. German. Richard Strauss (1864–1949), the composer of large-scale operas and tone poems, also wrote lieder throughout his life. His entire oeuvre stretching over a period of 78 years is framed by lied compositions: the Weihnachtslied dating from December 1870 (the secondentry in the chronological catalogue of Strauss's works) and the lied Malven written in November 1948 (Strauss’s last completed composition). His lied compositions include lieder with piano accompaniment, genuine orchestral lieder and subsequent orchestrationsof original lieder with piano. Strauss frequently conducted his own operas and orchestral works and also gave public performances ofhis lieder both as pianist and conductor. As was customary in the concert practice of the time, he combined lieder with larger-scaleworks: it was not uncommon for tone poems and lieder to appear on the same programme. Music publishing houses were active in the dissemination of Strauss lieder across the world: in the first prints, the early lieder were published in their original register, mostly only with German texts, but numerous editions were subsequently issued for other vocal registers or with additional texts in English, later also in French, Italian and Russian translations. The broad spectrum was rounded off by arrangements of lieder (such as purely instrumental piano arrangements by Max Reger and Walter Gieseking), arrangements and orchestrations by other composers andlieder albums containing collections of Strauss lieder not ordered chronologically according to their opus numbers. The fact that Strauss is to this day one of the most frequently performed composers is not only due to his operas and tone poems, but also his lieder, particularly the most treasured favourites. A number of these pieces are contained in this volume: Zueignung op. 10 No. 1,Nichts op. 10 No. 2, Die Nacht op. 10 No. 3, Allerseelen op. 10 No. 8, Ständchen op. 17 No. 2, Ruhe, meine Seele! op. 27 No. 1, Cäcilie op. 27 No. 2, Heimliche Aufforderung op. 27 No. 3, Morgen! op. 27 No. 4 and Traum durch die Dämmerung op. 29 No. 1. $338.00 - See more - Buy online | | |
| Belshazzar - Intermediate/advanced Carus Verlag
Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl...(+)
Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4 SKU: CA.5506114 Composed by George Frideric Handel. Edited by Felix Loy. Single Part, basso continuo. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506114). ISBN 9790007243074. English/German. Text: Charles Jennens. Belshazzar, with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.
The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.
* First Urtext edition * For the first time all three performable versions of the work in one edition * Based throughout on Handel's conductor's score * Includes the aria Lament not thus which was cut before the first performance . Score and part available separately - see item CA.5506100. $57.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Belshazzar - Intermediate/advanced Carus Verlag
Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl...(+)
Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4 SKU: CA.5506113 Composed by George Frideric Handel. Edited by Felix Loy. Single Part, viola. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506113). ISBN 9790007243067. English/German. Text: Charles Jennens. Belshazzar, with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.
The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.
* First Urtext edition * For the first time all three performable versions of the work in one edition * Based throughout on Handel's conductor's score * Includes the aria Lament not thus which was cut before the first performance . Score and part available separately - see item CA.5506100. $35.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Belshazzar - Intermediate/advanced Carus Verlag
Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl...(+)
Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4 SKU: CA.5506111 Composed by George Frideric Handel. Edited by Felix Loy. Single Part, violin 1. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506111). ISBN 9790007243050. English/German. Text: Charles Jennens. Belshazzar, with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.
The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.
* First Urtext edition * For the first time all three performable versions of the work in one edition * Based throughout on Handel's conductor's score * Includes the aria Lament not thus which was cut before the first performance . Score and part available separately - see item CA.5506100. $35.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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