Référence unique par son ISBN 73999390254 cette partition musique de Haendel George Friedrich n'est autre que Handel Samson Full Score Satb qui a été composée pour Piano Et Chant. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Hal Leonard. La référence catalogue de cette oeuvre est HL50324010. / Piano Et Chant / 196 pages / Partition

Zadok The Priest est un hymne de couronnement pour le roi George II et a par la suite été entendu à chaque couronnement de la Couronne britannique, au cours du souverain onction. L'entrée choral de l'ouverture du Zadok The Priest est un des moments plus frappants dans le répertoire choral et typique de grand de Handel, secouant les oeuvres. Marque d'accompagnement SSAATBB et Piano ou orgue et délicieusement édité pour cette édition par Donald Burrows. Note : lorsque c'est possible, la division complète des voix tout au long de l'ouvrage doit être observée pour fournir transtitions continuelles, lisses. / Chant Et Piano / 16 pages / Partition Séparée

Opera in three acts. Par HAENDEL GEORG FRIEDRICH. ; Almira, Handel's first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking's text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian. The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira's crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to ; Almira by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 ; Ingrato, spietato from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the ; Halle Handel Edition. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the ; Göttinger Händel -Beiträge. Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the ; Halle Handel Edition volume, could be reconstructed from the basso continuo part of the Bellante aria ; Ich brenne zwar (no. 71). - Urtext edition based on the ; Halle Handel Edition - Original German and Italian text with a German translation of the Italian arias/ Répertoire / Solistes, SATB et Orchestre

Arrangeur: Siegfried Petrenz. Par HAENDEL GEORG FRIEDRICH. George Frideric Handel is considered England’s first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759. In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions. Handel's Messiah Messias) for SATB and Piano./ Répertoire / Choeur Mixte et Instrument Divers

Handel Coronation Anthems in Urtext editions for the first time'Zadok the Priest?(BA 10258) and 'The King shall rejoice?(BA 10259) are the best-known of the four coronation anthems that Handel wrote for the crowning of George II in London (1727). HWV 258 accompanied the king's anointment, HWV 260 his actual coronation. Thanks to their festive and majestic structure befitting the occasion as well as their spacious scoring for large choir and orchestra, it comes as no surprise that motifs from 'Zadok the Priest? have found their way into the official hymn of the UEFA Champions League.The present editions by the authoritative Handel scholar Stephan Blaut are the first to offer these two anthems based on the Urtext from the 'Halle Handel Edition?.- Bilingual Forewords (Ger/Eng)- Idiomatic piano reductions- Based on the Halle Handel Edition / Choeur Mixte (SSAATBB) Et Orchestre

Handel Coronation Anthems in Urtext editions for the first time'Zadok the Priest?(BA 10258) and 'The King shall rejoice?(BA 10259) are the best-known of the four coronation anthems that Handel wrote for the crowning of George II in London (1727). HWV 258 accompanied the king's anointment, HWV 260 his actual coronation.Thanks to their festive and majestic structure befitting the occasion as well as their spacious scoring for large choir and orchestra, it comes as no surprise that motifs from 'Zadok the Priest? have found their way into the official hymn of the UEFA Champions League.The present editions by the authoritative Handel scholar Stephan Blaut are the first to offer these two anthems based on the Urtext from the 'Halle Handel Edition?.- Bilingual Forewords (Ger/Eng)- Idiomatic piano reductions- Based on the Halle Handel Edition / Chant Et Piano

Samson , an oratorio for soloists, mixed chorus and orchestra by George Frideric Handel, libretto by Newburgh Hamilton after Milton's Samson Agonistes . Edited by Donald Burrows. This latest addition to the Novello Handel Edition is the first complete, modern edition of the composer's longest oratorio, prepared after examination of all known contemporary sources, both music and word-books. The publication embodies the complete text known to have been performed at the Covent Garden premiere in 1743, as well as identifying the later shorter versions and additions performed regularly by Handel, and an Appendix of all further variants created by him and performed during his lifetime. It is thus a comprehensive and flexible edition for between four and eight soloists, with an abundance of choral writing and some of Handel's most sublime writing for voices. Includes an historical preface, extensive notes on the performance of the different versions and useful practical notes on the interpretation of Handel. / Chant Et Piano

Par HAENDEL GEORG FRIEDRICH. The episode from Ovid‘s “Metamorphoses” in which Daphne attempts to escape Apollo’s advances by turning into a laurel tree, causing the devastated god to weave a laurel crown in memory of the nymph, has inspired the masterworks of many artists. Gian Lorenzo Bernini, whose famous marble sculpture is housed in the Galleria Borghese in Rome, is only one example of this. Many composers set this myth to music including young George Frideric Handel with his grand-scale dramatic cantata “Apollo e Dafne”. The composer started working on the work shortly before leaving Italy in 1709, most likely finishing it the following year in Hanover. Bärenreiter now presents a vocal score of the opera-like cantata, the highlights of which include Dafne’s aria “Felicissima quest’alma” (accompanied by solo oboe) and Apollo’s famous lament “Cara pianta”./ Répertoire / Chant et Piano

'Cette entente de aria Bertarido de de l'opéra' Rodelinda '(1725) de George Frideric Handel, peuvent être chantées en français ou en italien. L'anglais, cependant, n'est pas une traduction de la version originale en italien par Nicola Haym, mais un tout autre poème de WG Rothery, écrit en 1910. Il a été rendu célèbre par la contralto britannique Kathleen Ferrier.Dans l'opéra, l'aria est chantée entièrement par le soliste. Ici, j'ai donné la partie da capo d'un choeur. La partie de piano est une réduction des cordes d'orchestre et peut être réalisée avec un tel. '- Wayland Rogers, / Choeur Mixte (SATB) Et Piano