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

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

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

Sing, Choirs! is a library in miniature. It contains many of the Christian church's popular traditional anthems, including at least one example that will be suitable for each of the major services of the year. A number of Anglican chants (Psalms, Magnificat and Nunc Dimittis) are included, set out in a way that should enable those who are unfamiliar with the style to perform them easily. The selection of movements from the Mass can be used to enrich the music of the liturgy in services. Many of the works in Sing, Choirs! are presented in their original form, such as Bruckner's Locus Iste and Mozart's Laudate Dominum . Others are arrangements, adaptations or longer pieces, abridged to bring them into the scope of a useable anthem, including choral arrangements of Handel's Largo , the Ave Marias by Schubert and by Bach and Gounod, and Franck's Panis Angelicus amongst many others. This collection has practicability as a priority. The Organ parts can be played on either the Piano or the Keyboard. Much of the music in Sing, Choirs! will be suitable for special occasions, making this an indispensable volume for choirs singing at weekly church services, weddings, funerals and in the concert hall. / Choeur Mixte (SATB) Et Orgue

Music for Royal Occasions is an exciting volume of pieces written for coronations and other royal celebrations over the past five centuries. It includes long-standing favourites, such as Handel's Zadok the priest and Parry's I was glad - and works from earlier years, such an Henry Purcell's I was glad and the delightful Rejoice in the Lord alway . Many well-loved composers were commissioned to write motets for the coronation of Queen Elizabeth II, and several are published here, including George Dyson's stirring Confortare , William Harris's Let my prayer and Herbert Howells's Behold O God our defender . In addition, two pieces performed at the wedding oF the present Duke and Duchess of Cambridge are included: Paul Mealor's beautiful Ubi caritas , and Hubert Parry's epic anthem, Bless pair of sirens . Music for Royal Occasions provides a well-rounded concert programme in itself for choral societies or community choirs. The collection offers many useful and accessible pieces for church choirs, suitable for a wide variety of occasions. 'an inventive selection of festive music' - Jeremy Summerly, Choir and Organ / SATB

'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

Handel's dramatic cantata Apollo And Daphne belongs to the composer's early years in Italy. It seems likely to have been written in Rome, where Handel lived intermittently between 1707 and 1710. Opera in Rome had been placed under a papal ban, but musical society in the performance of dramatic cantatas, which possessed most of the features of opera without requiring elaborate staging. Handel's plainly dramatic intentions in this cantata are reinforced by the appearance of much of its music in his later operas. / Voix

Georg Frideric Händel 's Serse (Xerxes) has everything one would expect from a Baroque opera - many intertwining love stories, affairs, intrigues, scheming, misunderstanding and forgiving - all presented in the great master's magnificent music. The opera is set in Persia in 480 BC and is very loosely based upon Xerxes I of Persia, though there is little in either the Baroque libretto or music that is relevant to that setting, the main focus is on the characters ( Serse , Arsamene, Amastre, Romilda, Atalanta, Ariodate and Elviro - some of which are based on real historical persons) and their plotting. The English version for the opera in three acts was made for the English National Opera's production, first performed in 1985, on the 300th anniversary of Händel 's birth. In this edition of the Vocal score with the original Italian and the later English lyrics accompaniment is provided by the instruments indicated in the orchestration (2 Recorders (or Flutes), 2 Oboes, 2 Horns in F, Trumpet in D, Strings and Continuo [Harpsichord, Cello, Double Bass, Bassoon]), but can also be played by the Piano. Serse 's part, originally sung by a castrato, can be performed by a Soprano or a Countertenor. / Chant Et Piano

John Dryden wrote two odes in honour of the patroness of music and musicians - A Song For St. Cecilia's Day , in 1687, and, in 1697, Alexander's Feast , both of which were subsequently set to music by Handel. A Song For St. Cecilia's Day proved so popular that it was performed six times during the winter of 1739-40, in spite of the fact that this was a 'hard winter'. Written for soprano and tenor soli, SATB chorus and orchestra, this edition contains all vocal parts and a piano accompaniment / Chant Et Piano

This well-known collection of 21 arias, some including recitatives, is an ideal introduction to singing in Italian, as well as providing useful material for the advanced performer. The set contains a varied selection of operatic arias, movements from solo cantatas, and songs. / Voix Haute(s)

Take your singing to the next level with the exciting additions to the student repertoire featured in this book and 2 x CD set.Continuing from The First Book of Solos and The First Book of Solos - Part II, The Second Book of Mezzo-Soprano/Alto Solos contains over 30 songs that require a little more vocal range and musical sophistication but are still decidedly student material. / Mezzo-Soprano

Arias récemment édite et gravées rédigées par Richard Walters. Contient les notes historiques avec l'information sur toutes les oeuvres majeures presentées, et traduite ligne par ligne pour l'étude. / Classique / Partition /

Par HALSEY S. / SUMMERLEY J.. Ce volume présente une richesse du répertoire inestimable, original pour les chorales de voix supérieure. Bon nombre des pièces recueillies dans le présent volume sont publiées ici pour la première fois ou ne jouissent pas de la même exposition comme une grande partie du répertoire des voix mixtes. Le volume s'appuie sur le succès de 'Chorale Programme Series' la musique de Faber, dont certaines pièces ont été tirées. 30 'Masterworks sacré englobe de nombreuses époques et offre les deux accompagné et morceaux non accompagnés, il forme une collection dynamique et polyvalente convenant à une variété de services et de concerts à travers l'année. Ce volume est une ressource inestimable, tant pour les chorales de voix supérieure afin d'obtenir source d'inspiration et nouveau répertoire ainsi que pour mixtes chorales de voix qui veulent mettre en valeur le talent de leurs les chanteuses. 10-packs sont disponibles et offrent une économie de coûts importantes. / Date parution : 1999-12-25/ Recueil / SATB

This well-known collection of 21 arias, some including recitatives, is an ideal introduction to singing in Italian, as well as providing useful material for the advanced performer. The set contains a varied selection of operatic arias, movements from solo cantatas, and songs. / Voix Basses