Messiah Soli, choeur mixte et accompagnement Carus Verlag
Composed by George Frideric Handel (1685-1759). Edited by Ton Koopman, Jan Siemo...(+)
Composed by George
Frideric Handel
(1685-1759). Edited by
Ton Koopman, Jan Siemons.
Arranged by Siegfried
Petrenz. This edition:
urtext. Awards / Prizes:
Deutscher
Musikeditionspreis Best
Edition . Awards /
Prizes: Deutscher
Musikeditionspreis Best
Edition ; Carus sheet
music series: Vocal
scores XL. Messiah Kart
Ga-Format. Innovative
practice aids, Sacred
vocal music, Oratorios.
Vocal score. Composed
1742. HWV 56. 256 pages.
Duration 150 minutes.
Carus Verlag #CV
55.056/02. Published by
Carus Verlag
(CA.5505602).
Messiah Soli, choeur mixte et accompagnement Carus Verlag
Composed by George Frideric Handel (1685-1759). Edited by Ton Koopman, Jan Siemo...(+)
Composed by George
Frideric Handel
(1685-1759). Edited by
Ton Koopman, Jan Siemons.
Arranged by Siegfried
Petrenz. This edition:
urtext. Awards / Prizes:
Deutscher
Musikeditionspreis Best
Edition . Awards /
Prizes: Deutscher
Musikeditionspreis Best
Edition ; Carus sheet
music series: Vocal
scores XL. Messiah Kart
Ga-Format. Innovative
practice aids
Composed by Christoph Willibald Von Gluck (1714- 1787). Edited by Yuliya Shein....(+)
Composed by Christoph
Willibald Von Gluck
(1714-
1787). Edited by Yuliya
Shein.
This edition: complete
edition, urtext edition.
Linen. Complete edition,
Score, anthology.
Baerenreiter
Verlag #BA05817_01.
Published
by Baerenreiter Verlag
Comedie (Laxenburg 1765). Composed by Christoph Willibald von Gluck (1714- 178...(+)
Comedie (Laxenburg 1765).
Composed by Christoph
Willibald von Gluck
(1714-
1787). Edited by Yuliya
Shein. This edition:
complete
edition, urtext edition.
Cloth bound. Christoph
Willibald Gluck.
Samtliche
Werke IV/4. Complete
Edition,
Score. Baerenreiter
Verlag
#BA05823-01. Published by
Baerenreiter Verlag
Semele, HWV 58 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Soloists, Mixed choir, Orchestra SKU: BA.BA04025-01 Composed by George Fr...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA04025-01
Composed by George
Frideric Handel. Edited
by
Georg-Friedrich-Händel
-Gesellschaft e. V.
Risinger and Mark. This
edition: Complete
edition. Linen. Complete
edition, Score. HWV 58.
Baerenreiter Verlag
#BA04025-01. Published by
Baerenreiter Verlag
(BA.BA04025-01).
ISBN
9790006443222. 33 x 26 cm
inches. Text Language:
English.
Handelâ??
s â??Semeleâ?, which
premiered in February
1744, is based on an
adapted version of
William Congreveâ??s
opera libretto titled
â??The Story of
Semeleâ?, originally
published in 1706.
However, neither Handel
nor his librettist
referred to
â??Semeleâ? as an
opera or an oratorio,
which, according to the
understanding at the
time, would have required
a biblical and/or
Christian subject matter.
Contemporary audiences
also disagreed on the
genre. The problematic
classification as an
oratorio has persisted
into the present day,
likely due to the edition
labeled as such by
Chrysander. The â??Halle
Handel Editionâ? (HHA)
distances itself from
this classification and,
considering the available
sources, refrains from
assigning a genre
label.
Congreve
deviates from the
mythological source
multiple times in order
to create tensions among
the characters. The
desired marriage between
Semele and Athamas, whom
she does not love, is an
addition by Congreve to
provoke the envy of her
sister Ino, who desires
Athamas herself.
Therefore, Ino sees her
own advantage in
Semeleâ??s abduction by
Jupiter. While
Jupiterâ??s wife Juno
decides to destroy Semele
out of jealousy for his
relationship with her,
Jupiter brings Ino to his
palace to console Semele.
The vengeful Juno takes
advantage of Inoâ??s
presence and transforms
into her likeness,
persuading Semele to
carry out a plan that
later proves fatal. In
the end, Ino emerges as
the winner, as she is
able to convince their
father, Cadmus, to marry
her to Athamas. The
appearance of Apollo in
the final scene to
announce that Semeleâ??s
immortal son Bacchus was
saved from her ashes
provides little
consolation. However,
this twist allows the
drama to conclude with
exuberant joy and a
magnificent final chorus
after the tragic scenes
in the third act,
culminating in the death
of the
protagonist.
Hande
lâ??s autograph score
shows significant
deviations from and
numerous revisions of the
original version
premiered. All surviving
early versions, the
musical movements deleted
before the premiere, and
the version of the
December 1744, are given
in the appendix to the
HHA.
Compassion from Invictus: A Passion Soli, choeur mixte et accompagnement [Conducteur et Parties séparées] - Facile MorningStar Music Publishers
Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in ...(+)
Soprano voice solo, SATB
choir, and piano (E-flat
Soprano saxophone, 2
Horns in F, Piano, Organ
(or digital keyboard),
Double String Quartet,
Double Bass) - Early
Intermediate
SKU:
MN.56-0108
Composed
by Howard Goodall. Lent,
Holy Week, Triduum/Three
Days, Tenebrae, 21st
Century. Score &
instrument parts.
Duration 6 minutes, 19
seconds. MorningStar
Music Publishers
#56-0108. Published by
MorningStar Music
Publishers (MN.56-0108).
Exaudiat te Dominus Psalm 19 (20) Soli, choeur mixte et accompagnement [Conducteur et Parties séparées] - Intermédiaire Furore Verlag
Composed by Antonia Bembo (1643-1715). Edited by Conrad Misch. Soli, Choir and I...(+)
Composed by Antonia Bembo
(1643-1715). Edited by
Conrad Misch. Soli, Choir
and Instruments (Piano,
Organ, Orchestra). First
edition. Choral. Score
and parts. Published by
Furore Verlag
(FV.FUE-6710).
Oratorio in two
Parts. Composed by
George Frideric Handel.
Edited by Michael
Pacholke. Arranged by
Christopher Sokolowski.
This edition: urtext
edition. Paperback.
Barenreiter Urtext. Rome
1707. Vocal Score. HWV
46A. Baerenreiter Verlag
#BA10721_90. Published by
Baerenreiter Verlag
(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.
By George Frideric Handel (1685-1759). Edited by Ton Koopman / Jan Siemons. Arra...(+)
By George Frideric Handel
(1685-1759). Edited by
Ton Koopman / Jan
Siemons. Arranged by
Siegfried Petrenz. For
SATB soli, S(S0ATB choir,
2 oboes, 2 bassoons, 2
trumpets, timpani, 2
violins, viola, basso
continuo. This edition:
Paperbound. Stuttgart
Urtext Edition. German
title: Messiah kart
GA-Format. Oratorios.
Full score. Language:
English/German. Composed
1742. HWV 56. 328 pages.
Duration 150 minutes.
Published by Carus Verlag
Composed by Michael
Haydn. Edited by Charles
H. Sherman. This edition:
urtext. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa
Beatiss.Virginis Mariae
Mh 15. Sacred vocal
music, Masses, Latin,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Set of Orchestra
Parts. Composed circa
1758-1760. MH 15.
Duration 30 minutes.
Carus Verlag #CV
50.305/19. Published by
Carus Verlag
(CA.5030519).
ISBN
9790007145477. Key: C
major. Language:
Latin.
The Missa
Beatissimae Virginis
Maria was composed ca.
1758-1760, between the
end of his tenure as a
singer in the choir of
St. Stephen's in Vienna
and the beginning of his
first position as
violinist and music
director for the Bishop
of Grosswardein. The
scoring of SATB (for soli
as well as choir) and
church trio was augmented
by two trumpets (clarini)
and timpani, as well as
two trombones. The latter
instruments double the
alto and tenor voices in
tutti passages but in the
Et incarnatus est they
are also employed in an
obbligato role. On the
one hand, as an early
work this Mass is in the
style of the festive
baroque tradition, as
practiced in south-German
regions until the middle
of the eighteenth
century; on the other
hand it already shows the
subjective inspiration
which distinguished it
from many of the mass
settings by Haydn's
contemporaries. Score and
parts available
separately - see item
CA.5030500.
Composed by Michael
Haydn. Edited by Charles
H. Sherman. This edition:
urtext. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa
Beatiss.Virginis Mariae
Mh 15. Sacred vocal
music, Masses, Latin,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Single Part, Organ.
Composed circa 1758-1760.
MH 15. 24 pages. Duration
30 minutes. Carus Verlag
#CV 50.305/49. Published
by Carus Verlag
(CA.5030549).
ISBN
9790007223762. Key: C
major. Language:
Latin.
The Missa
Beatissimae Virginis
Maria was composed ca.
1758-1760, between the
end of his tenure as a
singer in the choir of
St. Stephen's in Vienna
and the beginning of his
first position as
violinist and music
director for the Bishop
of Grosswardein. The
scoring of SATB (for soli
as well as choir) and
church trio was augmented
by two trumpets (clarini)
and timpani, as well as
two trombones. The latter
instruments double the
alto and tenor voices in
tutti passages but in the
Et incarnatus est they
are also employed in an
obbligato role. On the
one hand, as an early
work this Mass is in the
style of the festive
baroque tradition, as
practiced in south-German
regions until the middle
of the eighteenth
century; on the other
hand it already shows the
subjective inspiration
which distinguished it
from many of the mass
settings by Haydn's
contemporaries. Score and
part available separately
- see item
CA.5030500.
Requiem (Arman-Fassung) Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Carus Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165219
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Set of
Orchestra Parts. KV 626.
Duration 50 minutes.
Carus Verlag #5165219.
Published by Carus Verlag
(CA.5165219).
ISBN
9790007313883. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâs Requiem.
âAnother one?â
you might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional SüÃmayr
version. Yet such is the
enormous power of
Mozartâs score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard
Armanâs additions to
Mozartâs 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
Mozartâs 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
instrumentâs unique
sound is given an
opportunity to shine.
Armanâs 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.
Mozartâs fragment
ends with the Hostias,
and so does Armanâs
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 SüÃmayr,
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
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Four Passion Meditations Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Vocal Score] Oxford University Press
Composed by Bob Chilcott. Vocal score. 28 pages. Duration 15'. Oxford University...(+)
Composed by Bob Chilcott.
Vocal score. 28 pages.
Duration 15'. Oxford
University Press
#9780193519763. Published
by Oxford University
Press (OU.9780193519763).