(Cantata for the 3rd Sunday after Epiphany). Composed by Johann Sebastian Bach (...(+)
(Cantata for the 3rd
Sunday after Epiphany).
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Reinhold Kubik. Arranged
by Paul Horn. For STB
vocal soli, SATB choir, 2
oboes, [horn], 2 violins,
viola, basso continuo,
organ obligato. This
edition: Paperbound.
German title: Herr, wie
du willt, so schicks mit
mir. Cantatas, Epiphany.
Level 3. Vocal score.
Language: German/English.
Composed 1724. BWV 73.
Duration 17 minutes.
Published by Carus Verlag
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).
Psalm 95 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] Carus Verlag
(O! Come let us worship and kneel before the Lord). By Felix Bartholdy Mendelsso...(+)
(O! Come let us worship
and kneel before the
Lord). By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by R. Larry Todd.
For Soli SST, SATB Choir,
2 Flutes, 2 Oboes, 2
Clarinets, 2 Bassoons, 2
Horns, 2 Trumpets, 3
Trombones, Timpani, 2
Violins, Viola, Cello,
Contrabass, Organ. This
edition: Paperbound.
Stuttgart Urtext
editions. Cantatas,
Psalms, German, Praise
and thanks, Psalms. Full
score. Language:
German/English. Composed
1838. Opus 46. 128 pages.
Duration 28 min.
Published by Carus Verlag
Psalm 95 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] Carus Verlag
(O! Come let us worship and kneel before the Lord). By Felix Bartholdy Mendelsso...(+)
(O! Come let us worship
and kneel before the
Lord). By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by R. Larry Todd.
For Soli SST, SATB Choir,
2 Flutes, 2 Oboes, 2
Clarinets, 2 Bassoons, 2
Horns, 2 Trumpets, 3
Trombones, Timpani, 2
Violins, Viola, Cello,
Contrabass, Organ. This
edition: Paperbound.
Stuttgart Urtext
editions. Score available
separately - see item
CA.4007300. Cantatas,
Psalms, German, Praise
and thanks, Psalms. Vocal
score. Language:
German/English. Composed
1838. Opus 46. 40 pages.
Duration 28 min.
Published by Carus Verlag
O! Come
let us worship and kneel
before the Lord.
Composed by Felix
Bartholdy Mendelssohn.
Edited by R. Larry Todd.
This edition: urtext.
Stuttgart Urtext Edition:
Mendelssohn. DER
95.PSALM/KOMMT,LAssT UNS
ANBETEN. Sacred vocal
music, Cantatas, Psalms,
German, Praise and
thanks, Psalms. Set of
Orchestra Parts. Composed
1838. MWV A 16, Op. 46.
Duration 28 minutes.
Carus Verlag #CV
40.073/19. Published by
Carus Verlag
(CA.4007319).
ISBN
9790007134488. Language:
German/English.
The
Psalms inspired
Mendelssohn throughout
his working life, and,
aside from a cappella
settings, he left behind
five great orchestral
Psalms. Score and parts
available separately -
see item CA.4007300.
By Franz Joseph Haydn (1732-1809). Edited by Feldigl. For SATB Vocal Soli, SATB ...(+)
By Franz Joseph Haydn
(1732-1809). Edited by
Feldigl. For SATB Vocal
Soli, SATB Chorus,
[0.2.0.2-2.2.0.0],
Timpani, Organ, Strings.
This edition: Urtext.
Choral. Vocal score.
Duration circa 75
minutes. Published by
Edition Peters
(No. 2 from Alpha and Omega ). By Gwyneth W. Walker (1947-). Arranged by Gwynet...(+)
(No. 2 from Alpha and
Omega ). By Gwyneth W.
Walker (1947-). Arranged
by Gwyneth W. Walker. For
SAB vocal soli, SATB
choir, Piano, or Brass
Quint, Percussion, Organ
or Orchestra. Choral,
Christmas. Duration 4
minutes, 45 seconds.
Published by E.C.
Schirmer Publishing
Harmonie-Messe Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] Peters
By Haydn F. J. Edited by Schenk(Urtext). For SATB soli, SATB, 1222 2200 timpani,...(+)
By Haydn F. J. Edited by
Schenk(Urtext). For SATB
soli, SATB, 1222 2200
timpani, strings, organ.
Hob.XXII:14(B|)(Lat).
Sacred Choral Works.
Duration ca.50. Published
by C.F. Peters.
SATB vocal soli, SATB
choir, 2 english horn, 2
horns, 2 violins,
cello/contrabass, organ
solo, [2
clarinos/trumpets,
timpani]
SKU:
CA.4060349
Missa
in honorem Beatissimae
Virginis Mariae.
Composed by Franz Joseph
Haydn. Edited by
Christoph Grosspietsch.
This edition: urtext.
Stuttgart Urtext Edition:
Joseph Haydn, Sacred
vocal music. HAYDN:
GROssE ORGELSOLOMESSE IN
ES XXII:4. Sacred vocal
music, Masses, Latin.
Single Part, Organ.
Composed 1766. Hob.
XXII:4. Duration 40
minutes. Carus Verlag #CV
40.603/49. Published by
Carus Verlag
(CA.4060349).
ISBN
9790007219376. Key: E
flat major. Language:
Latin.
Haydn's
so-called Great Organ
Solo Mass in E flat major
is among those works by
Joseph Haydn which early
in its history enjoyed
widespread dissemination.
The E flat major Mass,
with an unusual scoring
including two English
horns in the orchestra,
was composed around 1770
during the first years of
Haydn's tenure as Music
Director for the Court of
Esterhazy. Despite the
readily playable,
effective part for organ,
employed prominently as a
solo instrument in the
piece, the Missa in
honorem Beatissimae
Virginis Mariae, which
was composed for a Feast
to the Blessed Virgin
Mary, is seldom performed
today. The new critical
edition hopes to
stimulate new interest in
this work. Score and part
available separately -
see item CA.4060300.
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 â??Il trionfo del
Tempo e della
Verità â? (â??The
Triumph of Time and
Truthâ?) HWV 46b. The
libretto of this oratorio
closely corresponds to
that of the oratorio
â??La Bellezza ravveduta
nel trionfo del Tempo e
del Disingannoâ?
(â??Beauty Reconciled in
the Triumph of Time and
Enlightenmentâ?) HWV
46a written in 1707. With
â??La Bellezza
ravvedutaâ?, 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
â??Il trionfo del Tempo
e della Verità â?,
Handel approached the
task pragmatically. He
needed a new non-dramatic
work to fulfill the
eveningâ??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 Handelâ??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
â??Englishâ? oratorio
form that he had
developed in
â??Estherâ? 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
â??Il trionfo del Tempo
e della
Verità â?.
Klavierauszug nach dem Urtext der Neuen Mozart-Ausgabe. By Wolfgang Amadeus Moza...(+)
Klavierauszug nach dem
Urtext der Neuen
Mozart-Ausgabe. By
Wolfgang Amadeus Mozart.
Edited by Fellerer, Karl
Gustav;Schroeder, Felix.
Arranged by Focke,
Martin. For Soprano solo,
Alto solo, Tenor solo,
Bass solo, Mixed
Choir-SATB, Trumpet (2),
Trombone (3), Strings,
Organ. Piano
Reduction/Vocal Score. KV
321. Duration 24'.
Published by
Baerenreiter-Ausgaben
(German import). ISBN
M006459674. (BA4893 90)
Four Passion Meditations Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Vocal Score] Oxford University Press
Composed by Bob Chilcott. Vocal score. 28 pages. Duration 15'. Oxford University...(+)
Composed by Bob Chilcott.
Vocal score. 28 pages.
Duration 15'. Oxford
University Press
#9780193519763. Published
by Oxford University
Press (OU.9780193519763).
Kyrie RV 587 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Reduction] Barenreiter
By Antonio Vivaldi (1678-1741). Edited by Malcolm Bruno; Caroline Ritchie. Arran...(+)
By Antonio Vivaldi
(1678-1741). Edited by
Malcolm Bruno; Caroline
Ritchie. Arranged by
Malcolm Bruno. For
soprano voice solo, alto
voice solo, SATB choir
(Coro I II), orchestra
(Coro I II): 2 violins,
viola, basso continuo
(cello, double bass,
organ). This edition:
Stapled, Urtext edition.
Piano reduction.
Language: Latin, Text
Language: English/German.
RV 587. 27 pages.
Published by Baerenreiter
Verlag
By Gabriel Faure (1845-1924). Edited by Christina M. Stahl; Michael Stegemann. A...(+)
By Gabriel Faure
(1845-1924). Edited by
Christina M. Stahl;
Michael Stegemann.
Arranged by Martin Focke.
For soprano voice
solo/baritone voice
solo/SATB choir/2
flutes/2 clarinets/2
bassoons/4 horns/2
trumpets/3
trombones/timpani/harp/2
violins/2 violas/2
cellos/contrabass/organ.
This edition: Urtext
edition. Vocal score.
Language: Latin, Text
language: German/English.
Opus 48. Published by
Baerenreiter Verlag
Te Deum and Jubilate Deo in D Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] - Intermédiaire/avancé Oxford University Press
By Henry Purcell (1659-1695). Arranged by Robert King. For SSATB soloists, SSATB...(+)
By Henry Purcell
(1659-1695). Arranged by
Robert King. For SSATB
soloists, SSATB choir, 2
trumpets, strings and
continuo (2 trumpets,
violin 1, violin 2,
viola, cello, double
bass, organ, theorbo
(optional)). Mixed
Voices. Classic Choral
Works. Standard Choral
Works. Vocal score. 40
pages. Duration 20'.
Published by Oxford
University Press
SATB vocal soli, SATB
choir, 2 english horn, 2
horns, 2 violins,
cello/contrabass, organ
solo, [2
clarinos/trumpets,
timpani]
SKU:
CA.4060309
Missa
in honorem Beatissimae
Virginis Mariae.
Composed by Franz Joseph
Haydn. Edited by
Christoph Grosspietsch.
This edition: urtext. 1x
40.603/21 English horn 1,
1x 40.603/22 English horn
2, 1x 40.603/31 horn 1,
1x 40.603/32 horn 2, 1x
40.603/33 clarino 1, 1x
40.603/34 clarino 2, 1x
40.603/41 timpani.
Stuttgart Urtext Edition:
Joseph Haydn, Sacred
vocal music. HAYDN:
GROssE ORGELSOLOMESSE IN
ES XXII:4. Sacred vocal
music, Masses, Latin. Set
of Orchestra Parts. Hob.
XXII:4. 64 pages.
Duration 40 minutes.
Carus Verlag #CV
40.603/09. Published by
Carus Verlag
(CA.4060309).
ISBN
9790007219338. Key: E
flat major. Language:
Latin.
Haydn's
so-called Great Organ
Solo Mass in E flat major
is among those works by
Joseph Haydn which early
in its history enjoyed
widespread dissemination.
The E flat major Mass,
with an unusual scoring
including two English
horns in the orchestra,
was composed around 1770
during the first years of
Haydn's tenure as Music
Director for the Court of
Esterhazy. Despite the
readily playable,
effective part for organ,
employed prominently as a
solo instrument in the
piece, the Missa in
honorem Beatissimae
Virginis Mariae, which
was composed for a Feast
to the Blessed Virgin
Mary, is seldom performed
today. The new critical
edition hopes to
stimulate new interest in
this work. Score and
parts available
separately - see item
CA.4060300.
Composed
by Johann Georg Zechner.
Edited by Friedrich W.
Riedel. This edition:
Paperbound. Sacred vocal
music, Mass, latin.
German title: Grosse
Orgelsolomesse. Sacred
vocal music, Masses,
Latin. Full score. 72
pages. Duration 35
minutes. Carus Verlag #CV
40.682/00. Published by
Carus Verlag
(CA.4068200).
ISBN
9790007088934. Key: C
major. Language:
Latin.
Johann Georg
Zechner is considered to
be one of the most
prolific Austrian
composers of church music
during the time of Maria
Theresa. His ca. 250
surviving compositions,
including works in
practically all genre of
church music, found a
wide reception in many
Austrian, Bohemian and
Moravian monasteries and
in pilgrimage churches.
His Grosse Orgelsolomesse
was probably composed in
1761 for the dedication
of the organ in the
monastery at Gottweig. As
in other of his late
works, the strict royal
style, which essentially
characterizes Zechner's
compositions, is tempered
through the use of
elements of the galant
style of composition. The
organ plays solistically
in all of the
movements.
Composed
by Johann Georg Zechner.
Edited by Friedrich W.
Riedel. 1x 40.682/31
trumpet 1, 1x 40.682/32
trumpet 2, 1x 40.682/41
timpani. Harmony parts.
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. 20
pages. Duration 35
minutes. Carus Verlag #CV
40.682/09. Published by
Carus Verlag
(CA.4068209).
ISBN
9790007220228. Key: C
major. Language:
Latin.
Johann Georg
Zechner is considered to
be one of the most
prolific Austrian
composers of church music
during the time of Maria
Theresa. His ca. 250
surviving compositions,
including works in
practically all genre of
church music, found a
wide reception in many
Austrian, Bohemian and
Moravian monasteries and
in pilgrimage churches.
His Grosse Orgelsolomesse
was probably composed in
1761 for the dedication
of the organ in the
monastery at Gottweig. As
in other of his late
works, the strict royal
style, which essentially
characterizes Zechner's
compositions, is tempered
through the use of
elements of the galant
style of composition. The
organ plays solistically
in all of the movements.
Score and parts available
separately - see item
CA.4068200.