SATB Voices, (Tr) Ctto, 3 Trb, Basso Continuo

SKU: CA.2045311

Composed by Heinrich Schutz. Edited by Uwe Wolf. Sacred vocal music. Stuttgart Urtext Edition: Schutz. Basso continuo. Sacred vocal music. Single Part, basso continuo. SWV 453. Duration 4 minutes. Carus Verlag #CV 20.453/11. Published by Carus Verlag (CA.2045311).

ISBN 9790007249298. Language: German.

This composition survives in the sources as a wedding song, even though the occasion it was written for is not known. It is stylistically close to the Symphoniae sacrae I, sharing its exquisite scoring with the last composition in the set (Bucinate in neomenia tuba/Jubilate Deo) with concertante instrumental parts for cornett and trumpet (or two cornetts). The text, taken from Proverbs, has an opening verse in triple meter which recurs in the middle (shortened) and at the end of the composition in the style of a ritornello, then commonly found in Italy. This verse ends with a characteristically dissonant transition for the upper instrumental parts to the final chord - as the key message of the composition. Score and part available separately - see item CA.2045300.

SATB Voices, (Tr) Ctto, 3 Trb, Basso Continuo

SKU: CA.2045305

Composed by Heinrich Schutz. Edited by Uwe Wolf. Sacred vocal music. Stuttgart Urtext Edition: Schutz. Sacred vocal music. Choral Score. SWV 453. Duration 4 minutes. Carus Verlag #CV 20.453/05. Published by Carus Verlag (CA.2045305).

ISBN 9790007239770. Language: German.

This composition survives in the sources as a wedding song, even though the occasion it was written for is not known. It is stylistically close to the Symphoniae sacrae I, sharing its exquisite scoring with the last composition in the set (Bucinate in neomenia tuba/Jubilate Deo) with concertante instrumental parts for cornett and trumpet (or two cornetts). The text, taken from Proverbs, has an opening verse in triple meter which recurs in the middle (shortened) and at the end of the composition in the style of a ritornello, then commonly found in Italy. This verse ends with a characteristically dissonant transition for the upper instrumental parts to the final chord - as the key message of the composition. Score available separately - see item CA.2045300.

Chorus (with soloists) and piano (solos: SSSAAABarBarB - choir: SATB - 1(picc).2.2.2. - 2.2.0.0. - timp - cow horn - str)

SKU: BR.EB-8911

Drama in 3 Acts. Composed by Andre-Ernest-Modeste Gretry. Choir; Softbound. Edition Breitkopf. Opera; Music theatre; Classical. Piano/Vocal Score. 160 pages. Breitkopf and Haertel #EB 8911. Published by Breitkopf and Haertel (BR.EB-8911).

ISBN 9790004185773. 7.5 x 10.5 inches.

Duration: full-length Persons: Wilhelm Tell (T) his wife (S) young Tell (S) Marie, his sister (S) Melchtal (Bar) Melchtal's son(T) Gessler (Bar) 2 men of the people, soldier (BBB) tavellor (T) tavellor's wife / tavellors' young children / Surlemann / old man / 2 officers/ 2 soldiers (speakers) choir: SSATB/SSS/ATB orchestra: 1(Picc).2.2.2. 2.3cornet.2.0.0. timp.small drum str Althoug Gretry cannot escape the shadow of Wagner and Verdi, there is a clear trend favoring a reevaluation of this composer. The opera was greeted with exceptional enthusiasm in Paris in 1791, during the French Revolution. The Swiss freedom fighter was already a well-known character there nearly 15 years before Schillers drama. A number of arias from Gretrys opera even survived the success of Rossinis work of the same name of 1829.

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.