Composed by George Frideric Handel (1685-1759). Edited by Amanda Babington. Arra...(+)
Composed by George
Frideric Handel
(1685-1759). Edited by
Amanda Babington.
Arranged by Andreas Kohs.
For alto voice solo,
tenor voice solo, bass
voice solo, SSATB choir,
piano reduction. This
edition: urtext edition.
Paperback. Level 3. Vocal
score. HWV 283. Published
by Baerenreiter Verlag
WithL'Etoil
e, Chabrier composed a
light-hearted opera which
has increasingly enjoyed
revivals in recent
years.
The plot
is introduced by King Ouf
I who offers his subjects
an execution every year
on his birthday.
Unfortunately the problem
now arises that no crime
has recently been
committed which might
serve as a reason for an
execution. Finally, he
finds a would-be victim
in the young Lazuli.
However, according to
predictions by the
astrologer Siroco,
Lazuli's fate is closely
linked to the king's own
life. The comic opera is
further bolstered by a
story of mistaken
identities which involves
a great deal of
diplomacy, a love story
and a large number of
refined, yet catchy
melodies. Chabrier was
a master of the sensitive
and complicated art of
musical comedy, a field
where he can be compared
in equal measure to
Offenbach, Rossini and
Mozart.
This vocal
score is based on the
full score edited by Hugh
Macdonald which is
published as part of the
seriesL'Opera
francais.
-
Authoritative Urtext
edition based on the
seriesL'Opera
francais - Original
French text with a German
singing translation -
Comprehensive foreword
(Ger/Eng/Fr)
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
Missa Divi Xaverii ZWV 12 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] - Avancé Barenreiter
Solo soprano voice, solo alto voice, solo tenor voice, solo bass voice, Mixed ch...(+)
Solo soprano voice, solo
alto voice, solo tenor
voice, solo bass voice,
Mixed choir-SATB,
orchestra (Soprano solo,
Alto solo, Tenor solo,
Bass solo, Mixed choir
(SATB), Orchestra) -
Level 5
SKU:
BA.BA09594
Composed
by Jan Dismas Zelenka.
Edited by Václav Luks.
This edition: urtext
edition. Paperback.
Barenreiter Urtext.
Score. ZWV 12.
Baerenreiter Verlag
#BA09594_00. Published by
Baerenreiter Verlag
(BA.BA09594).
ISBN
9790260107526. 31 x 24.3
cm inches. Text language:
Czech, English, German.
Preface: Stockigt, Janice
B. / Luks,
Václav.
The
â??Missa Divi
Xaveriiâ? ZWV 12, an
expansive and unusually
richly scored work, marks
a highlight in the uvre
of Jan Dismas Zelenka
(1679-1745). It was
composed in 1729 while he
was working at the
Dresden court.
The
principal source of this
first edition is the
damaged autograph score
which had long been kept
under lock and key.
Passages missing because
of its damaged condition
have been supplemented
using secondary sources
or reconstructed by
Václav Luks, clearly
marked as such in the
musical text.
The
first performance to use
the present new edition
took place in the summer
of 2014, when it was
performed at the Utrecht
Early Music Festival. A
CD recording by Collegium
1704, conducted by
Václav Luks, has been
released by the label
Accent (ACC
24301).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
Soloists, Mixed choir, Orchestra SKU: BA.BA05576 Composed by Franz Schube...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA05576
Composed
by Franz Schubert. Edited
by Rudolf Faber. This
edition: urtext edition.
Paperback. Score.
Baerenreiter Verlag
#BA05576. Published by
Baerenreiter Verlag
(BA.BA05576).
ISBN
9790006575954. 31 x 24.3
cm inches. Key: E-flat
major. Text Language:
Latin.
We know
relatively little about
the genesis of
Schubertâ??s Mass in
E-flat major (D 950)
which he completed in
1828, a few months before
his death. The work was
not performed during his
lifetime and we can only
speculate what might have
caused the composer to
write this Missa
solemnis.
In the
preface to this volume of
the New Schubert Edition,
editor Rudolf Faber
assembles all documented
facts. Furthermore, he
focuses on the accents,
which are such a
characteristic element of
Schubertâ??s autograph
scores, and explains how
Schubert used them in a
very differentiated
manner, in particular in
the Mass in E-flat major.
In order to do justice to
these subtle differences,
the New Schubert Edition
has introduced a new
symbol: an accent which
is flexible with regard
to its length and which
makes it possible to
visualize Schubertâ??s
sophisticated employment
of emphasis and
accentuation.
The
work is scored for large
orchestra (without
flutes), chorus, and one
soprano as well as two
tenors as soloists. In
Schubertâ??s autograph
the organ is not
explicitly called for,
but Ferdinand Schubert
added an organ part for
the posthumous premiere
on 4 October 1829 at the
Dreifaltigkeitskirche of
Vienna
Alservorstadt.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
Stabat Mater (Srnka, Kachlik) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier [Reduction] Barenreiter
Piano reduction by Antonin Dvorak. Composed by Antonin Dvorak (1841-1904). Edite...(+)
Piano reduction by
Antonin Dvorak. Composed
by Antonin Dvorak
(1841-1904). Edited by
Jan Kachlik / Miroslav
Srnka. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Version in 10
movements. Classical.
Vocal score. With
Language: Latin, Text
Language:
Czech/English/German.
Opus 58. Duration 1 hour,
27 minutes. Editio
Baerenreiter Praha
#H07920. Published by
Editio Baerenreiter Praha
Membra Jesu nostri Soli, choeur mixte et accompagnement [Conducteur] Carus Verlag
By Dietrich Buxtehude. Edited by Schlage, Thomas. For Soli SSATB, SSATB Choir, 2...(+)
By Dietrich Buxtehude.
Edited by Schlage,
Thomas. For Soli SSATB,
SSATB Choir, 2 Violins,
Violone (Violoncello), 5
Viola da Gamba, Basso
continuo. BuxWV 75. Full
score available
separately - see item
CA.3601300. Oratorios;
Use during church year:
Lent and Passiontide.
Piano/Vocal score.
Language: Latin. 80
pages. Duration 63 min.
Published by Carus Verlag
(German import).
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.
Requiem Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Vocal Score] Carus Verlag
Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Tim...(+)
Solo voices, SATB chorus,
orchestra (2 Corni di
bassetto, 2 Fg, 2 Tr, 3
Trb, Timp, 2 Vl, Va, Bc)
SKU: CA.5165203
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Vocal
score. KV 626. Duration
50 minutes. Carus Verlag
#5165203. Published by
Carus Verlag
(CA.5165203).
ISBN
9790007294243. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâ??s Requiem.
â??Another one?â? you
might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional Sü�mayr
version. Yet such is the
enormous power of
Mozartâ??s score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard Armanâ??s
additions to Mozartâ??s
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
Mozartâ??s 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
instrumentâ??s unique
sound is given an
opportunity to shine.
Armanâ??s 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. Mozartâ??s
fragment ends with the
Hostias, and so does
Armanâ??s 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
Sü�mayr, 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
Mozartâ??s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Composed by Franz Schubert (1797-1828). Edited by Internationale Schubert- ...(+)
Composed by Franz
Schubert
(1797-1828). Edited by
Internationale Schubert-
Gesellschaft Faber and
Rudolf.
This edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag
#BA05576_01. Published by
Baerenreiter 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.5165205
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Choral
Score. KV 626. Duration
50 minutes. Carus Verlag
#5165205. Published by
Carus Verlag
(CA.5165205).
ISBN
9790007314286. 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.
(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.5165209
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 #5165209.
Published by Carus Verlag
(CA.5165209).
ISBN
9790007313838. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartââ¬â¢s
Requiem.
ââ¬ÅAnother
one?ââ¬Â you
might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional
Süßmayr
version. Yet such is the
enormous power of
Mozartââ¬â¢s
score that the challenge
and appeal of completing
it remain undiminished.
After two decades of
intensive study, Howard
Armanââ¬â¢s
additions to
Mozartââ¬â¢s
great original show the
requisite care and
respect while
incorporating many new
insights.
ArmanÃ
â¬â¢s approach
is particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartââ¬â¢s
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
instrumentââ¬â
s unique sound is given
an opportunity to shine.
Armanââ¬â¢s
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 ââ¬â
in the spirit of Mozart
ââ¬â on
creating a sense of drama
and illuminating the
theme in all its possible
facets.
Mozartââ¬â¢s
fragment ends with the
Hostias, and so does
Armanââ¬â¢s
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
Süßmayr,
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.
Armanââ
¬â¢s version has
already proven its
practical value. The
premiere with the
Bavarian Radio Choir was
enthusiastically received
by audiences and press
alike ââ¬â
and celebrated as
offering a scholarly,
entirely fresh
perspective on
Mozartââ¬â¢s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Soloists, Mixed choir, Orchestra SKU: BA.BA10726-01 Oratorio in three ...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA10726-01
Oratorio in three
parts. Composed by
George Frideric Handel.
Edited by Michael
Pacholke. This edition:
Complete edition. Linen.
Complete edition, Score.
HWV 46. Baerenreiter
Verlag #BA10726-01.
Published by Baerenreiter
Verlag (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
Verità â? (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 Verità â?,
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
Verità â?.
ISBN
9790006558223. 27 x 19 cm
inches. Text Language:
French. Preface: Kocevar,
Ã?rik. Text: Charles
Colle.
The heroic
pastoral Daphnis et Egle
was performed only once,
on 29 October 1753, for
the entertainment of King
Louis XV at Fontainebleau
and remained unpublished
until today.
This
edition is based on
Rameau's autograph
manuscript, a copy of the
separate parts, and the
libretto published by
Ballard in 1753. A
comparison of the sources
reveals two versions of
the work: the original
version and the one
revised for
Fontainebleau, whereby
the differences lie
mainly in the final
divertissement. This
edition recommends the
Fontainebleau
version--which is
actually more complete in
its musical form, in
particular with its
overture and two
ariettas--but also
reconstructs the original
state of the final
divertissement (presented
in the appendix) before
it was revised.
Christmas Oratorio Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur d'étude / Miniature] Barenreiter
Urtext der Neuen Bach-Ausgabe. By Johann Sebastian Bach. Edited by Blankenburg, ...(+)
Urtext der Neuen
Bach-Ausgabe. By Johann
Sebastian Bach. Edited by
Blankenburg, Walter;D!Rr,
Alfred. For Soprano solo,
Alto solo, Tenor solo,
Bass solo, Mixed Choir,
Orchestra. B0renreiter
Studienpartituren - Study
scores. Study Score;
Urtext Edition
(paperbound). BWV 248.
Published by
Baerenreiter-Taschenparti
turen (German import).
Mass No.3 in f minor WAB 28 Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier [Vocal Score] Peters
By Anton Bruckner (1824-1896). Edited by Rudiger Bornhoft. For SATB Soli, SATB C...(+)
By Anton Bruckner
(1824-1896). Edited by
Rudiger Bornhoft. For
SATB Soli, SATB Chorus,
Piano. This edition:
Urtext. Choral.
Piano/Vocal Score. Text
Language: Latin.
Published by Edition
Peters
Oratorio in three
acts. Composed by
George Frideric Handel.
Edited by Hans Dieter
Clausen. This edition:
complete edition, urtext
edition. Linen. Halle
Handel Edition (HHA)
Series I, Voume 18, Nos.
1 2. Complete edition,
Score. Composed 1743. HWV
57. Duration 3 hours.
Baerenreiter Verlag
#BA04099_00. Published by
Baerenreiter Verlag
(BA.BA04099).
ISBN
9790006550111. 33 x 25.7
cm inches. Text Language:
English. Preface: Hans
Dieter Clausen. Text:
Newburgh
Hamilton.
Handel
composed Samson directly
after completing the
Messiah. After its
premiere in 1743 in the
Covent Garden Theatre in
London, the work rapidly
became one of the
composerâ??s most
successful oratorios
alongside Esther and
Judas Maccabaeus. This
probably had as much to
do with the popular Old
Testament story of the
libretto as with
Handelâ??s masterly
shaping of the arias and
choruses.
By
including some movements
in the appendix, this
edition makes it possible
for the first time to
perform the work in its
original 1741 version.
The edition is based
on the complete edition
volume of the Halle
Handel Edition (BA 4099),
offering the complete
music text of the
oratorio for the first
time.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
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