Arrangeur: Andrea Campora. Par BEETHOVEN LUDWIG VAN. Beethoven’s sacred works include two settings of the Mass. The “Mass in C major”, completed and premiered in 1807, has been unjustly described as a preliminary step towards the great “Missa solemnis”. Yet it is a self-contained and, for its time, decidedly modern piece of church music. Drawing on the rich body of sources, Beethoven specialist Barry Cooper suggests practical solutions to the work’s musical and interpretative problems. His deep study of the sources convinced him to include a fully realized organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. Rounding off this Urtext edition are a Foreword on the work’s genesis and a detailed Critical Commentary. - Score with realization of the organ part - Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) - Idiomatic piano reduction Features of the Barenreiter Urtext edition of Beethoven 's Mass In C Major : Score with realisation of the Organ part Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) Straight-forward Piano reduction Full score and performance material (BA9039) and Vocal score (BA9039-90) available for sale Amongst Beethoven ’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and, for its time, distinctly modernpiece of sacred music. Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the original sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary. / Messe / Répertoire / Solistes, Choeur Mixte et Orchestre

The first great orchestral psalmMendelssohn's first great orchestral psalm took almost six years to complete, from the initial sketches and the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms, Mendelssohn took the Latin words from the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation, he made use of Psalm 115 from the Luther Bible.This edition by the leading Mendelssohn authority John Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis, the vocal parts are underlaid with the Latin text, and the German text appears underneath.Rounding off this Urtext edition are an informative Foreword and detailed Critical Commentary. / Choeur Mixte Et Orchestre

Edizione Critica A Cura Di Claudio Toscani. Par PERGOLESI GIOVANNI BATTISTA. EDIZIONE NAZIONALE DELLE OPERE DI GIOVANNI BATTISTA PERGOLESI (Casa Ricordi in collaborazione con la Fondazione Pergolesi Spontini di Jesi) Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705), Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeo in Naples. With this opera – his second dramma serio for San Bartolomeo in less than two years – the young composer (who had already acquired considerable professional stature in the city’s theatres, churches, and aristocratic circles) reprised a perennially popular subject centered aroundthe dramatic conflict between filial piety and devotion to one’s betrothed. Inserted between the opera’s three acts were the intermezzi of La serva padrona, which would soon go on to take all of Europe by storm. The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica “San Pietro a Majella” in Naples and prepared by Giuseppe Sigismondo, who was quite probably working from the now-lost autograph. Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted, along with a number of manuscript copies of individual arias. The edition is furnished with a historical introduction, which traces the libretto’s complicated literary lineage and illustrates the circumstances of the opera’s commission, genesis, premiere, and subsequent history: and a critical apparatus containing detailed source descriptions and critical notes for both the text and the music. An earlier version of the last movement of the Sinfonia, and an aria for the third act whose text does not appear in the original printed libretto, are provided as appendices. / Date parution : 1905-07-09/ Répertoire / Solistes, Choeur et Orchestre

Kantaten I-Iii. Par BACH JOHANN SEBASTIAN. ?A widely-accepted form for the Christmas Oratorio is to perform parts I?III exclusively. In their concentration on the actual Christmas story they form a rounded whole. The present edition is conceived especially for this kind of performance. ? [Singen und Musizieren im Gottesdienst, Juli/August 2000] / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kantaten I-Iii. Par BACH JOHANN SEBASTIAN. ?A widely-accepted form for the Christmas Oratorio is to perform parts I?III exclusively. In their concentration on the actual Christmas story they form a rounded whole. The present edition is conceived especially for this kind of performance. ? [Singen und Musizieren im Gottesdienst, Juli/August 2000] / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kantaten I-Iii. Par BACH JOHANN SEBASTIAN. ?A widely-accepted form for the Christmas Oratorio is to perform parts I?III exclusively. In their concentration on the actual Christmas story they form a rounded whole. The present edition is conceived especially for this kind of performance. ? [Singen und Musizieren im Gottesdienst, Juli/August 2000] / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kantaten I-Iii. Par BACH JOHANN SEBASTIAN. ?A widely-accepted form for the Christmas Oratorio is to perform parts I?III exclusively. In their concentration on the actual Christmas story they form a rounded whole. The present edition is conceived especially for this kind of performance. ? [Singen und Musizieren im Gottesdienst, Juli/August 2000] / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kyrie-Gloria-Messe. Par ALTNICKOL JOHANN-CHRISTOPH. The Missa in d, composed around 1750, is one of the few surviving compositions of Altnickol. He was the student and later son-in-law of Johann Sebastian Bach. The wealth of forms and at the same time, the clarity of this composition show the influence of his teacher, but above all it shows the expression of an individual style of church music. With its contrapuntal mastery and musical depth this Kyrie-Gloria Mass, presented here in a first edition, represents a high point in this widely disseminated genre. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Alto et Bas

Par BIZET GEORGES. As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic ?Te Deum laudamus?, to the skillful choral fugue of ?Fiat misericordia tua?, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet?s ?uvre. The edition is based on the composer?s autograph score ? the work's only surviving source. For the first time, this work is available with all performance parts. / Date parution : 2023-06-01/ Répertoire / Solistes [ST], SATB et Piano