Opera in three
acts. Composed by
George Frideric Handel.
Edited by Graham
Cummings. This edition:
complete edition, urtext
edition. Linen. Halle
Handel Edition (HHA)
Series II, Volume 25.
Complete edition, Score.
HWV 28. Duration 3 hours.
Baerenreiter Verlag
#BA10702_01. Published by
Baerenreiter Verlag
(BA.BA10702-01).
ISBN
9790006550159. 33 x 26 cm
inches. Text Language:
Italian. Preface:
Cummings, Graham. Pietro
Metastasio.
Full
instrumentation: soprano
solo/3alto solo/tenor
solo/baritone solo/2bass
flute/flute/2oboe/2horn/t
rumpet/3violin/viola/bass
.
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
With Variants, Examples and Advice for Playing and Improvising on any instrument...(+)
With Variants, Examples
and Advice for Playing
and Improvising on any
instrument. Edited by
Pascale Boquet, Gerard
Rebours. Music Books/CDs.
Teaching Works. Level:
Grade 0. 144 pages.
Published by Editions
Fuzeau Classique - France
(French import).
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S).
UPC:
680160690589.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Dramma
per musica in drei
Akten. Composed by
Christoph Willibald Von
Gluck. Edited by
László Somfai. This
edition: complete
edition, urtext edition.
Linen. Christoph
Willibald Gluck. Complete
Works. Series III, Volume
8. Complete edition,
Score. Duration 2 hours.
Baerenreiter Verlag
#BA02284_00. Published by
Baerenreiter Verlag
(BA.BA02284).
ISBN
9790006419586. 33 x 26.5
cm inches. Text Language:
Italian, German.
Translation: Hans
Swarowsky. Pietro
Metastasio.
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
Dramma per musica in
three Acts. Composed
by Wolfgang Amadeus
Mozart. Edited by Bruce
Alan Brown and Daniel
Heartz. This edition:
Complete edition. Linen.
New Mozart Edition (NMA).
II/5/11. Complete
edition, Critical
commentary. K. 366. 266
pages. Duration 3 hours,
30 minutes. Baerenreiter
Verlag #BA04562_41.
Published by Baerenreiter
Verlag (BA.BA04562-41).
ISBN 9790006546633. 24
x 17.5 cm inches.
Language: Italian.
Giambattista
Varesco.
This
separately published
Critical Commentary
offers extensive
information on the
genesis, reception,
sources, and readings of
the works included in the
music volume.
Orchestra Banjo 1, Banjo
2, Bass, Bass Clarinet,
Bassoon, Celesta, Cello,
Clarinet, Electric Bass,
Electric Guitar 1,
Electric Guitar 2,
English Horn, Flute,
Harp, Mandolin, Oboe,
Organ, Percussion 1,
Percussion 2, Piano,
Piccolo, Trombone 1,
Trombone 2 and more.
SKU: CF.CY3233Y
Origianl Facsimile
Edition. Composed by
Lukas Foss. Full score
(large). With Standard
notation. 80 pages.
Duration 37 minutes. Carl
Fischer Music #CY3233Y.
Published by Carl Fischer
Music (CF.CY3233Y).
ISBN 9780825890048.
UPC: 798408090043. 11 x
14
inches.
...Around
the time of the
Bicentennial, when I got
a commission to write my
American Cantata, I found
the need to be American
again in my music, as I
was in my early music. I
started to combine my
adventurousness of my
more recent music with my
earlier traditional
style. And I found that I
could be just as crazy,
while being at the same
time, to a certain
extent, traditional!
(excerpted from a Foss
interview with classical
radio host Bruce Duffie)
A manuscript score is now
available as custom
print, offering a special
glimpse into the genesis
of this major Foss choral
work.
(Orchestra) SKU: BA.BA11903 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11903
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 84. Baerenreiter
Verlag #BA11903_00.
Published by Baerenreiter
Verlag (BA.BA11903).
ISBN 9790006573783.
32.5 x 25.5 cm
inches.
Beethovenâ
€™s incidental music
op. 84 was written in
1809 for a performance of
Goethe’s drama
“Egmont†at
the Burgtheater in
Vienna. Numerous
composers of the day
tried their hand at
writing music for the
dramatic material of
Goethe’s tragedy,
several in collaboration
with the author himself.
The overture reflects the
themes of the play
through its expressive
music, and over the last
two hundred years it has
become one of the most
popular works by
Beethoven conceived for
the stage.
For
this new edition,
Beethoven specialist
Jonathan Del Mar draws on
various manuscript
sources including a
handwritten set of parts
which has never been
taken into account
before. Thus, numerous
discrepancies such as
missing notes in the
flute part or unclear
bowing could be clarified
for the first
time.
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
Solo voices, choir, orchestra (soprano voice solo (3), tenor voice solo (2 ), fl...(+)
Solo voices, choir,
orchestra (soprano voice
solo (3), tenor voice
solo (2 ), flute (2 ),
oboe (2 ), english horn,
bassoon (2 ), horn (4),
trumpet (2 ),
harpsichord, strings)
SKU: BA.BA04599-41
Serenade in two
acts. Composed by
Wolfgang Amadeus Mozart.
Edited by Pierluigi
Petrobelli and Wolfgang
Rehm. This edition:
Complete edition. Linen.
New Mozart Edition (Neue
Mozart Ausgabe - NMA)
Series I, Volume 5, No.
9. Complete edition,
Critical commentary. K.
208. 79 pages. Duration 2
hours. Baerenreiter
Verlag #BA04599_41.
Published by Baerenreiter
Verlag (BA.BA04599-41).
ISBN 9790006496310.
24.4 x 17.3 cm inches.
Language: Italian. Pietro
Metastasio.
This
separately published
Critical Commentary
offers extensive
information on the
genesis, reception,
sources, and readings of
the works included in the
music volume.
(Piccolo and Piano). Composed by Leos Janacek (1854-1928). Edited by Jirà Zah...(+)
(Piccolo and Piano).
Composed by Leos Janacek
(1854-1928). Edited by
Jirà Zahrádka. For
Piccolo, Piano
Accompaniment. Henle
Music Folios. Softcover.
G. Henle #HN1143.
Published by G. Henle
Violin, Piano SKU: HU.HN410 Composed by Claude Debussy. Edited by Ernst-Gunter ...(+)
Violin, Piano
SKU: HU.HN410
Composed by Claude
Debussy. Edited by
Ernst-Gunter Heinemann.
Strings, Repertoire,
Solos. Sonata for Violin
and Piano. Classical,
Romantic. Softcover Book.
70 pages. G. Henle
#HN410. Published by G.
Henle (HU.HN410).
Woodwind Ensemble (Score & Parts) SKU: HL.51481261 Set of Parts. C...(+)
Woodwind Ensemble (Score
& Parts)
SKU:
HL.51481261
Set of
Parts. Composed by
Richard Strauss. Edited
by Norbert Gertsch. Henle
Music Folios. Classical.
Softcover. 55 pages. G.
Henle #HN1261. Published
by G. Henle
(HL.51481261).
UPC:
840126933031.
9.0x12.0x0.202
inches.
For flute,
2 oboes, 2 clarinets (B
flat), 2 bassoons, double
bassoon or bass tuba, 4
horns (E flat major/B
flat) with additional
parts for horns in F.
When he was a mere 18
years old, Richard
Strauss composed the
highly Romantic,
one-movement Serenade for
Wind Instruments, op. 7.
Extremely popular among
wind players to this day,
this work recalls in
instrumentation and
structure Mozart's
“Gran
Partitaâ€, which
certainly served as a
model for Strauss. The
serenade was not
premiered in its Bavarian
homeland as might have
been expected, butrather
in Dresden, in 1882,
under the direction of
the then much-esteemed
conductor Franz
Wüllner, who had also
given the inaugural
performances of Richard
Wagner's Rheingold and
Die Walküre and later
premiered Strauss' tone
poems Till Eulenspiegel
and Don Quixote. So it
was a great honour for
the young Bavarian!
Editor Norbert Gertsch
presents this little
masterwork here for the
first time in Urtext
quality - in full score
and instrumental parts -
for which not just the
first edition but also
the autograph manuscript
was scrutinised
fastidiously.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Ode to
St Cecilia. Composed
by George Frideric
Handel. Edited by Stephan
Blaut. This edition:
urtext edition.
Paperback. Score. HWV 76.
Baerenreiter Verlag
#BA10722_00. Published by
Baerenreiter Verlag
(BA.BA10722).
ISBN
9790006567713. 31 x 24.3
cm inches. Text Language:
English.
Following
upon
“Alexander’s
Feast†(1736), in
1739 Handel produced a
second setting of the
“Ode to St
Ceciliaâ€
(“Song for St
Cecilia’s
Dayâ€). At its
première it was
combined with
“Alexander’s
Feastâ€. Rather than
a dramatic plot
presentable in the
theatre, the Ode, in its
seven sections, offers a
general hymn of praise to
music and its impact.
Accordingly, it largely
consists of emotion-laden
arias and festive
orchestration.
Thi
s edition, based on the
Urtext from the
“Halle Handel
Editionâ€, offers
the version heard at the
first performance
– the version
preferred in
today’s concert
life. The foreword
(Ger/Eng) provides many
detailed notes on
performance practice with
regard to
orchestration.
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
Solo SATB choir; orchestra SKU: HP.C5636O Composed by Natalie Sleeth. Arr...(+)
Solo SATB choir;
orchestra
SKU:
HP.C5636O
Composed by
Natalie Sleeth. Arranged
by Thomas Fettke. Piano
Accompaniment with
Optional Orchestra. Vocal
Solo Sheet Music Series.
General Worship, Sacred.
Set of Instrumental
Parts. 53 pages. Hope
Publishing Company
#C5636O. Published by
Hope Publishing Company
(HP.C5636O).
Popular
choral anthem Natalie
Sleeth's popular choral
anthem and hymn, also
known as In the Bulb
There Is a Flower, has
been given a lovely new
treatment by Tom Fettke
for SATB choirs. The
provocative text relates
both to our present life
and our hope of eternal
life, as expressed in I
Corinthians 15:35-58.
This fresh setting
emphasizes the
resurrected life as it
builds to the final
victory stanza with
driving rhythm and a
change to common meter
(4/4). This arrangement
is also available in a
medium-voice vocal solo
in the key of F.
The orchestration
by Camp Kirkland contains
a Conductor's Score and
parts for: Flute 1 & 2,
Oboe, Clarinet 1 & 2,
Horn 1 & 2, Alto Sax 1 &
2 (substitute for Horn 1
& 2), Trombone 1 & 2,
Tenor Sax/Baritone TC
(substitute for Trombone
1 & 2), Trombone 3/Tuba,
Percussion 1 & 2, Harp,
Violin 1 & 2, Viola,
Clarinet 3 (substitute
for Viola), Cello/Bassoon
and String Bass, Keyboard
String Reduction.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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