Solo voices, choir, orchestra (4 Soprano Voice Solo, 2 Tenor Voice Solo, Mixed choir, 2 Fl, 2 Ob, 2 bassoon, 2 Hn, 2 Trp, timpani, harpisc., Str)

SKU: BA.BA04590-01

Dramma per musica in three Acts. Composed by Wolfgang Amadeus Mozart. Edited by Kathleen Kuzmick Hansell. This edition: complete edition, urtext edition. Linen. Edition in 2 volumes. Complete edition, Score. K. 135. Duration 4 hours. Baerenreiter Verlag #BA04590_01. Published by Baerenreiter Verlag (BA.BA04590-01).

ISBN 9790006451296. 33 x 26 cm inches. Text Language: Italian. Text: Giovanni de Gamerra.

On 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate, K.87 (74a), for the 1770-71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770, and the premiere duly took place on the Feast of St. Stephen (26 December) in 1770. The second, Lucio Silla (K. 135), again commissioned for the 1771-72 Carneval season in Milan, doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona, where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand, the third son of Maria Theresia, scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba, K. 111.)

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

Soprano, Baritone, Young Voices, Chorus & Orchestra. Composed by Karl Jenkins. Boosey & Hawkes Voice. Softcover. 112 pages. Boosey & Hawkes #M060133282. Published by Boosey & Hawkes

(0.2+da caccia.0.0/1.0.0.0,cem,or g,str,SATB soli,SATB chorus)

SKU: TM.01751SET

Composed by Johann Sebastian Bach. Set Type: A. Set of parts. Lucks Music Library #A2501. Published by Lucks Music Library (TM.01751SET).

Sandra Dackow Little Known Gem - Grade IV+. Ed. by Hoffmann. This delightful set of works in the keys of G, A, and B-flat major takes full advantage of multiple stops, chords, and fiddle writing that lays easily under the hand and is fun to play. The fast movements are vigorous and the contrasting slow movements are not particularly fussy or florid, though they include some ornamentation. In the Allegro sections, musicians should approach the playing as they would a work by Haydn or Mozart: eighth and quarter notes off the string and at the frog, and sixteenth notes on the string. Stamitz's players would have followed the general rule of the down bow, where the strong beat would begin with a down bow. In Concerto No. 1 in G, the Violin I parts reach to sixth position, requiring high G's. Unusual writing for its time, these passages are both logical and easy for players to find and hear. Cello and bass parts reach high F's on occasion and require third, fourth and fifth positions. The second violin and viola parts do not require extended ranges, making this work practical for an upper intermediate orchestra. The slow movements transition between different keys and requires the low strings to use extension notes such as G-sharp and A-sharp.

SATB vocal soli, SATB choir, 2 oboes, 3 trumpets, timpani, 2 violins, viola, organ obligato

SKU: CA.3102905

Cantata for the inauguration of a new town council. Composed by Johann Sebastian Bach. Edited by Hans Grischkat, Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Wir danken dir, Gott, wir danken dir. Sacred vocal music, Cantatas, Praise and thanks. Choral Score. Composed 1731. BWV 29. 8 pages. Duration 28 minutes. Carus Verlag #CV 31.029/05. Published by Carus Verlag (CA.3102905).

ISBN 9790007042394. Key: D major. Language: German/English.

Bac h's cantata Wir danken dir, Gott, wir danken dir of 1731, composed for the inauguration of the Leipzig town council, is one of the cantatas which has an obbligato organ part. In the introductory Sinfonia (an arrangement of the opening movement of the Partita in E for solo violin) and the final aria, the organ has a prominent solo part. The final aria is a transposed repetition of the first aria in the cantata, which frames its central section as a motto Halleluja, Stark und Macht sei dem allerhochsten Namen. However, the high point of the cantata is the magnificent choral movement which precedes the first Halleluja. Bach also re-used this music later in the Gratias and Dona nobis pacem sections of the Mass in B minor. New revised edition. Score available separately - see item CA.3102900.

(0.2+da caccia.0.0/1.0.0.0,cem,or g,str,SATB soli,SATB chorus)

SKU: TM.01751SC

Composed by Johann Sebastian Bach. Score. Lucks Music Library #A2501. Published by Lucks Music Library (TM.01751SC).

Sandra Dackow Little Known Gem - Grade IV+. Ed. by Hoffmann. This delightful set of works in the keys of G, A, and B-flat major takes full advantage of multiple stops, chords, and fiddle writing that lays easily under the hand and is fun to play. The fast movements are vigorous and the contrasting slow movements are not particularly fussy or florid, though they include some ornamentation. In the Allegro sections, musicians should approach the playing as they would a work by Haydn or Mozart: eighth and quarter notes off the string and at the frog, and sixteenth notes on the string. Stamitz's players would have followed the general rule of the down bow, where the strong beat would begin with a down bow. In Concerto No. 1 in G, the Violin I parts reach to sixth position, requiring high G's. Unusual writing for its time, these passages are both logical and easy for players to find and hear. Cello and bass parts reach high F's on occasion and require third, fourth and fifth positions. The second violin and viola parts do not require extended ranges, making this work practical for an upper intermediate orchestra. The slow movements transition between different keys and requires the low strings to use extension notes such as G-sharp and A-sharp.

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3119213

Church cantata. Composed by Johann Sebastian Bach. Edited by Christine Blanken. Arranged by Christine Blanken. Stuttgart Urtext Edition: Bach vocal. Viola. Sacred vocal music, Cantatas, Praise and thanks. Single Part, Viola. Composed ca. 1730. BWV 192. 8 pages. Duration 15 minutes. Carus Verlag #CV 31.192/13. Published by Carus Verlag (CA.3119213).

ISBN 9790007210267. Text language: German/English.

The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and part available separately - see item CA.3119200.

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3119212

Church cantata. Composed by Johann Sebastian Bach. Edited by Christine Blanken. Arranged by Christine Blanken. Stuttgart Urtext Edition: Bach vocal. Violin 2. Sacred vocal music, Cantatas, Praise and thanks. Single Part, Violin 2. Composed ca. 1730. BWV 192. 8 pages. Duration 15 minutes. Carus Verlag #CV 31.192/12. Published by Carus Verlag (CA.3119212).

ISBN 9790007210250. Text language: German/English.

The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and part available separately - see item CA.3119200.

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3119214

Church cantata. Composed by Johann Sebastian Bach. Edited by Christine Blanken. Arranged by Christine Blanken. Stuttgart Urtext Edition: Bach vocal. Basso continuo. Sacred vocal music, Cantatas, Praise and thanks. Single Part, basso continuo. Composed ca. 1730. BWV 192. 8 pages. Duration 15 minutes. Carus Verlag #CV 31.192/14. Published by Carus Verlag (CA.3119214).

ISBN 9790007210274. Text language: German/English.

The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and part available separately - see item CA.3119200.

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3119211

Church cantata. Composed by Johann Sebastian Bach. Edited by Christine Blanken. Arranged by Christine Blanken. Stuttgart Urtext Edition: Bach vocal. Violin 1. Sacred vocal music, Cantatas, Praise and thanks. Single Part, Violin 1. Composed ca. 1730. BWV 192. 8 pages. Duration 15 minutes. Carus Verlag #CV 31.192/11. Published by Carus Verlag (CA.3119211).

ISBN 9790007210243. Text language: German/English.

The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and part available separately - see item CA.3119200.

By Joseph Haydn Johann Michael Haydn. Edited by Hans Ryschawy. For Soli SATB, SATB Choir, 2 Clarinos/Trumpets, Timpani, 2 Violins, Basso continuo. Stuttgart Urtext Edition. German title: Te Deum (Esterhazy) (3). Set of instrumental parts (except strings).

Oratorio in six scenes. Composed by George Frideric Handel (1685-1759). Edited by Howard Serwer. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Series I, Volume 8. First version. Score. Composed 1720. HWV 50a. Baerenreiter Verlag #BA04047-01. Published by Baerenreiter Verlag

Orchestra Soli STB, Coro SATB, 2 Blfl f1, 2 Ob, Tr, 2 Vl, Va, Bc - Level 3

SKU: CA.3112707

Cantata for the Sunday of Estomihi. Composed by Johann Sebastian Bach. Edited by Hans Grischkat, Felix Loy. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Special days, Lent and Passiontide, Holy Week, Mourning, death. Study score. Composed 1725. BWV 127. 44 pages. Duration 21 minutes. Carus Verlag #CV 31.127/07. Published by Carus Verlag (CA.3112707).

ISBN 9790007245177. Key: F major. Language: German/English. Text: Eber, Paul.

Cantata BWV 127 belongs to the cycle of chorale cantatas which Bach performed in 1724/25 in Leipzig. It bears close links to the St John Passion, which was performed on Good Friday 1725 in its second version. In formal terms and in the interpretation of the text and its orchestration, it is one of the most astonishing vocal works by Bach. The opening chorus, with its multi-layered construction, is nothing less than a preliminary version for the chorale fantasia O Mensch bewein dein Sunde gross. The aria Die Seele ruht in Jesu Handen is distinguished by its exquisite scoring: a solo oboe and the soprano form a duet, whilst the background comprises delicate chords on recorders and continuo, intended to symbolize funeral bells. A solo trumpet gives the following movement particular brilliance. The words Ich breche mit starker und helfender Hand unmistakably anticipate the chorus Sind Blitze, sind Donner in Wolken verschwunden from the St Matthew Passion. New revised edition. Score available separately - see item CA.3112700.

Composed by Joseph Haydn Johann Michael Haydn. Edited by Hans Ryschawy. For SATB vocal soli, SATB choir, 2 clarinos/trumpets, timpani, 2 violins, basso continuo. Stuttgart Urtext Edition. German title: Te Deum in C. Choral score. Language: Latin. MH deest.. Duration 7 minutes. Published by Carus Verlag

(Soprano Solo, Mixed Chorus, opt. SSA Chorus, and Ensemble Vocal Score). By Karl Jenkins. SATB. Boosey and Hawkes Sacred Choral. Book only. 84 pages. Boosey and Hawkes #M060122170. Published by Boosey and Hawkes

By Joseph Haydn Johann Michael Haydn. Edited by Hans Ryschawy. For Soli SATB, SATB Choir, 2 Clarinos/Trumpets, Timpani, 2 Violins, Basso continuo. Stuttgart Urtext Edition. German title: Te Deum in C. Vocal score. Language: Latin. 16 pages. Duration 7 min

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

Frankfurt festive music for the birth of an imperial prince in 1716, Part 1, Church Music. Composed by Georg Philipp Telemann (1681- 1767). Edited by Wolfgang Hirschmann. This edition: Edition of selected works, Urtext edition. Linen. Telemann Musical Works. Volume 16. Score. TWV 12:a, b. Baerenreiter Verlag #BA05305-01. Published by Baerenreiter Verla

(Cantata for Reformation Day). Composed by Johann Sebastian Bach (1685-1750). Edited by Reinhold Kubik. Arranged by Paul Horn. For SATB vocal soli, SATB choir, 2 oboes/2 oboe d'amore, oboe d'caccia, [3 trumpets, timpani], 2 violins, viola, basso continuo. D-Dur (D major). German title: Ein feste Burg. Cantatas, Special days, Reformation day. Level 3. Cello part. Language: German/English. BWV 80. 20 pages. Duration 30 minutes. Published by Carus Verlag

(Cantata for Reformation Day). Composed by Johann Sebastian Bach (1685-1750). Edited by Reinhold Kubik. Arranged by Paul Horn. For SATB vocal soli, SATB choir, 2 oboes/2 oboe d'amore, oboe d'caccia, [3 trumpets, timpani], 2 violins, viola, basso continuo. D-Dur (D major). German title: Ein feste Burg ist unser Gott (rev.2004). Cantatas, Special days, Reformation day. Level 3. Choral score. Language: German/English. BWV 80. Duration 30 minutes. Published by Carus Verlag

Vocal Score. By Claudio Monteverdi. Arranged by Jerome Roche. Schott. Size 7.5x10.75 inches. 175 pages. Published by Schott.

Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc - Grade 3

SKU: CA.1025000

Composed by Henry Purcell. Edited by Julia Rosemeyer. Carus digital: Extra digital products. Full Score. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025000. Published by Carus Verlag (CA.1025000).

ISBN 9790007251826. Key: D major. English.

â??Hail! bright Cecilia, hail to thee. Great patroness of us and harmony!â? â?? this exclamation opens the final chorus of Henry Purcellâ??s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Ceciliaâ??s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexanderâ??s Feast, HWV 75 (Carus 55.075), and his Ode for St. Ceciliaâ??s Day, HWV 76 (Carus 55.076).Purcellâ ??s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the â??Orpheus Britannicusâ?, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century

Solo voices, choir, orchestra (Mezzo Voice Solo, Tenor Voice Solo, BarSolo, Bass Voice Solo, Mixed choir: SSTTBB, children choir: SS, 3Fl, 2 Ob, 2 clarinet, clarinet-B, 4bassoon, 4Hn, 2 Trp, 2 Pist, 3trombone, Op, Tb, timpani, percussion, 8, 10harp, Str) - Level 4

SKU: BA.BA05448

Lègende dramatique in four parts. Composed by Hector Berlioz. Edited by Julian Rushton. This edition: complete edition, urtext edition. Linen. New Berlioz Edition (Neue Berlioz-Ausgabe - NBE) Volume 8a/b. Complete edition, Score. Opus 24. 453/556 pages. Duration 2 hours. Baerenreiter Verlag #BA05448_00. Published by Baerenreiter Verlag (BA.BA05448).

ISBN 9790006471478. 33.2 x 26.5 cm inches. Text Language: French. Text: Berlioz, Hector / Nerval, Gérard de.

In 1828 Berlioz wrote the Huit scènes de Faust. The work was soon withdrawn but almost twenty years later each of the eight scenes found a place in the Lgende dramatique La damnation de Faust dedicated to Franz Liszt. The first part of the Damnation exposes the figure of Faust and has an introductory nature. From the second part onwards, the course of action is largely based on Goethe’s drama.

Contrasting characters and dramatic effect are of central importance in understanding Berlioz’s musical thought and his compositional process. Magic and fairy tale, incantations and ghosts, have been the ever-recurring themes of opera since the Baroque. It is precisely this fantasy in Berlioz's Faust, the “Opra de Concert en Quatre acts”, which comes very close to the spirit of Goethe's presentation.

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