Requiem Soli, choeur mixte et accompagnement Soli, chur mixte et orchestre [Vocal Score] Peters
By Gabriel Faure. Edited by Urtext. For soprano, baritone soli, SATB, 2022 4230 ...(+)
By Gabriel Faure. Edited
by Urtext. For soprano,
baritone soli, SATB, 2022
4230 timpani, 2 harp,
organ, strings.
Op.48(Lat). Sacred Choral
Works. Duration 45'.
Published by C.F. Peters.
By Gounod C. Edited by Erben(Urtext). For STB soli, SATB, 3224 4430 timpani, per...(+)
By Gounod C. Edited by
Erben(Urtext). For STB
soli, SATB, 3224 4430
timpani, percussion, harp
(6), octobass, strings,
organ. (Lat). Sacred
Choral Works. Duration
ca.45'. Published by C.F.
Peters.
Vom Himmel hoch (From heav'n on high) Soli, choeur mixte et accompagnement Soli, chur mixte et orchestre [Conducteur d'étude / Miniature] Carus Verlag
Weihnachtskantate. By Felix Mendelssohn. Edited by Lehmann, Karen. For Soli SBar...(+)
Weihnachtskantate. By
Felix Mendelssohn. Edited
by Lehmann, Karen. For
Soli SBar, SSATB Choir, 2
Flutes, 2 Oboes, 2
Clarinets, 2 Bassoons, 2
Horns, 2 Trumpets,
Timpani, 2 Violins, 2
Violas, 2 Cellos,
Contrabass. Full score
available separately -
see item CA.4018900.
Cantatas; Stuttgart
Urtext editions; Use
during church year:
Christmas. Study score.
Language: German/English.
Composed 1831. 72 pages.
Duration 16 min.
Published by Carus Verlag
(German import).
Kantate zum 10. Sonntag nach Trinitatis. By Johann Sebastian Bach. Edited by Kub...(+)
Kantate zum 10. Sonntag
nach Trinitatis. By
Johann Sebastian Bach.
Edited by Kubik,
Reinhold. Arranged by
Paul Horn. For Soli ATB,
SATB Choir, Flute, 2
Oboes, (Violino),
Strings, Organ. BWV 102.
Cantatas; Stuttgart
Urtext editions. Score.
Language: German/English.
Composed 1726. 84 pages.
Duration 24 min.
Published by Carus Verlag
(German import).
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 ??Il trionfo del
Tempo e della Verità?
(??The Triumph of Time
and Truth?) HWV 46b.
The libretto of this
oratorio closely
corresponds to that of
the oratorio ??La
Bellezza ravveduta nel
trionfo del Tempo e del
Disinganno? (??Beauty
Reconciled in the Triumph
of Time and
Enlightenment?) HWV 46a
written in 1707. With
??La Bellezza
ravveduta?, 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
??Il trionfo del Tempo e
della Verità?, Handel
approached the task
pragmatically. He needed
a new non-dramatic work
to fulfill the
evening??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 Handel??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
??English? oratorio
form that he had
developed in ??Esther?
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 ??Il
trionfo del Tempo e della
Verità?.
Semele, HWV 58 Soli, choeur mixte et accompagnement Soli, chur 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-G
esellschaft 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.
Handel??s
??Semele?, which
premiered in February
1744, is based on an
adapted version of
William Congreve??s
opera libretto titled
??The Story of
Semele?, originally
published in 1706.
However, neither Handel
nor his librettist
referred to ??Semele?
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 ??Halle
Handel Edition? (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
Semele??s abduction by
Jupiter. While
Jupiter??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 Ino??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 Semele??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
l??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.