| Wolfgang Amadeus Mozart:
Le nozze di Figaro (Die
Hochzeit des Figaro)
KV492: Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Sammelband] Barenreiter
Complete Edition hardcover Opera buffa in four acts-Premièred at the Vienna ...(+)
Complete Edition hardcover Opera buffa in four acts-Premièred at the Vienna Hoftheater on 1 May 1786 Wolfang Amadeus Mozart’s and Lorenzo Da Ponte’s Le nozze di Figaro may be safely regarded as one of the greatest operatic successes of all times. Yet its success was not entirely due to Mozart’s music: on the contrary because of the extraordinary demands it placed on the orchestra (especially the woodwinds) the music even posed an obstacle to the work’s spread outside the German-speaking countries. At least equally responsible for the opera’s success was the librettist Lorenzo Da Ponte who managed to transform a topical and socio-critical stage play into an opera libretto as effective as it isamusing.Many of the sources for Mozart’s first opera from the Lorenzo Da Ponte trilogy only became available to scholars again after the ‘New Mozart Edition’ volume was published. These include the autograph scores of acts 3 and 4 now held at the Biblioteka Jagiello ka in Kraków significant portions of the original sets of parts and acts 2 to 4 of the conductor’s copy from the first performance of 1786.These original sources now available again offer compelling solutions to several previously unresolved questions.Edition based on the Urtext of the ‘New Mozart Edition’ reflecting the latest musicological researchWith findings from original sources now available againDetailed foreword (Ger/Eng)Full score (BA4565-01) Vocal score (BA4565-92) study score format 22.5 x 16.5cm & Facsimile (BVK1882) available for saleV43 Performance material (BA4565-72) available to hire
418.00 GBP - vendu par Musicroom GB Délais: En Stock |
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| Dido and Aeneas (PURCELL
HENRY) Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] Barenreiter
Par PURCELL HENRY. Purcell Dido and Aeneas (Full Score, paperback) The opera ?Di...(+)
Par PURCELL HENRY. Purcell Dido and Aeneas (Full Score, paperback) The opera ?Dido and Aeneas?, a recount of the well-known story from Book IV of Virgil's Aeneid, has established itself as a favourite with the public. This is due to the skill of composer Henry Purcell and his librettist Nahum Tate, who combined an overriding tragic theme with masterfully inserted comic episodes. Long believed to have been conceived in 1689 for a performance at a ?School for Young Gentlewomen?, scholars have debated the origins of ?Dido? in recent decades, a process hampered by the lack of early musical sources. This edition addresses these challenges and evaluates the earliest sources that reproduce the opera in its surviving form. Surprisingly, these date from the 1770s and 80s, some ninety years after the work was written. Three key manuscripts ? now held at the Bodleian Library in Oxford (UK), at Tatton Park Library which is a National Trust property near Manchester (UK), and at the Wakayama Prefectural Library (Japan) - were all copied from the same original, most likely a handwritten score from 1704 which reappeared in the early 1770s, only to disappear again. This is the first 'Dido' edition based on the Tatton Park manuscript as the main source. It was produced during the second half of the 18th century by Philip Hayes, one of England's most prominent musicians. He was known in musicology for his meticulous copies of Purcell's music, often from the autograph manuscripts. The Bodleian and Wakayama manuscripts are presented in a new light and their role in this edition has been reassessed accordingly. - Urtext edition based for the first time on the Tatton Park manuscript as the main source - Informative Foreword (Eng/Ger) on the genesis, transmission, reception and performance practice - Complete facsimile reproduction of the Chelsea libretto / Date parution : 2023-06-01/ Répertoire / Solistes, Choeur Mixte et Orchestre
28.94 EUR - vendu par LMI-partitions Délais: En Stock |
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| Ighigenie auf Tauris
(GLUCK CHRISTOPH
WILLIBALD) Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Vienna version 1781. Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigenie auf Tauris (...(+)
Vienna version 1781. Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigenie auf Tauris (Vienna version 1781) (Vocal Score) Music drama in four acts Following upon the great success of “Iphigénie en Tauride”, Gluck arranged the popular drama of human passions, guilt and unconditional friendship once again for Vienna’s Burgtheater, where it was premièred in 1781. Especially remarkable is the masterly orchestration, which, among other things, turns the forces of Nature into a character in the drama and projects a striking contrast between civilization and savagery. Now Bärenreiter is issuing the carefully revised and corrected vocal score in a new engraving adapted to meet current standards. - Revised and newly engraved - Detailed foreword (Ger/Eng) on the work’s genesis and reception history, together with a summary of the plot - Practical, easy-to-play piano reduction - Performance material available for hire BA05843-72 - Full Score, hardback, available for sale BA02281 / Date parution : 2022-07-20/ Répertoire / Solistes, Choeur et Orchestre
57.94 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Hector Berlioz: Romeo et
Juliette: Orchestra:
Score Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Symphonie dramatique-Roméo et Juliette Op.17 Hol.73: Symphonie dramatiqueFor hi...(+)
Symphonie dramatique-Roméo et Juliette Op.17 Hol.73: Symphonie dramatiqueFor his third symphony ?Roméo et Juliette? (1839) Berlioz turned to his greatest literary passion Shakespeare drawing once again on his own most fervent experiences. Berlioz?s discovery of Shakespeare in 1827 had been overwhelming not only for the dramatic force of the poetry and drama but also because the leading actress of the company Harriet Smithson immediately won his heart. She later became his wife.He began to think seriously about composing some kind of musical ?Romeo and Juliet? but it was not realised until 1839. The symphony is scoredfor double chorus (to represent the two warring families) solo voices as secondary characters with the lovers themselves represented by the Orchestra.Urtext of the New Berlioz EditionFull score (BA5458) vocal score (BA5458-90) and study score (TP334) available for salePerformance material (BA5458-72) available for hire
378.00 GBP - vendu par Musicroom GB |
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| Johann Pachelbel: Christ
lay in grim deaths
prison: Mixed Choir:
Score Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Partition] Barenreiter
Easter Cantata-Christ lag in Todesbanden (Christ lay in grim death's prison)East...(+)
Easter Cantata-Christ lag in Todesbanden (Christ lay in grim death's prison)Easter CantataIn recent years the demand for making available a larger number of choral works by Johann Pachelbel (1653-1706) has made itself felt more strongly than ever before. Within the past few years the search for unpublished manuscripts of choral compositions written by Johann Pachelbel has been taken up again and not in vain. Approximately twenty instrumentally accompanied arias and thirty elaborate choral works intended for services of worship have recently been found. These date from the days when Pachelbel was an active church musician in Erfurt and Nuremberg and include compositionsof various categories e.g. motets cantatas magnificats and masses.The excellency of Pachelbel's choral works may be attributed in large part to the magnificence and splendour of their tonal character. They are unusually vocal choral and singable. In the very best sense of the term they are what the Germans call 'Gebrauchsmusik' that is to say they are functional music written for specific use in the church service. They are not music written for its own sake.Full score performance material (BA2875) choral score (BA2875-91) available for sale
19.50 GBP - vendu par Musicroom GB |
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| Franz Joseph Haydn: Missa
In Tempore Belli: Mixed
Choir: Score Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Partition] Barenreiter
Mass in Time of War-Haydn was in England in 1795 when he received word from hi...(+)
Mass in Time of War-Haydn was in England in 1795 when he received word from his new Prince Nicolaus II Esterházy that the Esterházy orchestra was to be reformed and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister except the usual routine of administration; but Haydn was to compose every year a new Mass for the name day of the Princess Josepha Maria which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen?s Day (26 December) 1796. The writer of these notes examined when preparingthis edition the music archives of the church and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score parts (BA4652) vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94) available for sale
39.00 GBP - vendu par Musicroom GB |
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| Georg Friedrich Händel:
Alessandro: Mixed Choir:
Score Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Oratorio in three parts-In quite characteristic fashion for the times Handel&rs...(+)
Oratorio in three parts-In quite characteristic fashion for the times Handel’s opera “Alessandro” looks at various episodes in the life and rule of Alexander the Great (356 323 BC). This legendary warrior and military commander conquered large parts of the world before meeting an untimely end at the age of 32. A central conflict in Handel’s opera is Alessandro being in love with two women Lisaura and Rossane who compete for his favour. In addition his claim to be of divine parentage is underlined occasioning him to demand the subservience of his followers which meets with vigorous disapproval.Handel composed “Alessandro” for the Royal Academyof Music to a libretto by Paolo Antonio Rolli in the 1725/26 season. The work was premiered at the King’s Theatre in London on 5 May 1726. “Alessandro” was the first of five operas for the Royal Academy operas which saw Handel compose for three of the most famous singers of his time: Francesco Bernardi (called Senesino) Francesca Cuzzoni and Faustina Bordoni.Ortensio Mauro’s libretto “La superbia d’Alessandro ” which was performed for the first time in Hanover in 1690 in a musical setting by Agostino Steffani and staged again in the city the following year under the title “Il zelo di Leonato” but with numerous alterations served as the source text for Handel’s “Alessandro”. One of the main aspects Rolli had to consider when preparing the libretto for the London performances was to keep the roles of the famous singers of the Royal Academy well balanced yet at the same time to engineer a musical contest between the prima donnas Cuzzoni and Bordoni (Lisaura and Rossane) as well. From a business point of view it made good sense for such rivalry would surely increase public interest in the opera.It is no longer possible to ascertain which changes Handel made during the following performance series of the 1727/28 season. For the performance series of 1732/33 Handel made substantial revisions to the opera: six numbers were deleted in their entirety the finale in part as well and the recitatives were made much shorter with the parts of Cleone and Leonato omitted
233.50 GBP - vendu par Musicroom GB |
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| Franz Schubert: Rosamunde
Fürstin von Cypern D
797: Orchestra: Vocal
Score Soli, choeur mixte et accompagnement Soli, chœur mixte et piano Barenreiter
Romantisches Schauspiel in vier Akten mit Musikbegleitung Chören und Tänzen-R...(+)
Romantisches Schauspiel in vier Akten mit Musikbegleitung Chören und Tänzen-Rosamunde Fürstin Von Cypern D 797Incidental music to the four-act play by Helmina von Chézy.On 20 December 1823 Helmina von Chézy?s ?great romantic drama? ?Rosamunde? received its premiere performance at Vienna?s Theater an der Wien. Unfortunately this version of the drama with ghosts shipwreck pirates attempted poisoning and other horrifying ingredients has not survived unlike Schubert?s popular incidental music which was already praised by contemporary critics. Special acknowledgment was given to ?the genius of this much-loved master? and as evidence of its popularity the overture and the ?Hunters? Chorus? had to beplayed again.Now Bärenreiter is issuing one of Schubert?s best-known compositions in a complete vocal score.The appendix includes Chézy?s draft to the play ?Rosamunde? and a reconstruction of the first version of this drama.Urtext edition based on the ?New Schubert Edition?Bilingual Foreword (Ger/Eng)Idiomatic uncluttered Piano reduction (Ger)Full score (BA5570) and vocal score (BA5570-90) available for sale performance material (BA5570-72) available for hire
19.50 GBP - vendu par Musicroom GB |
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| Giuseppe Verdi: Quattro
Pezzi Sacri: Mixed Choir:
Vocal Score Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Carus Verlag
Giuseppe Verdi's Quattro Pezzi Sacri for SATB and Piano.The single works forming...(+)
Giuseppe Verdi's Quattro Pezzi Sacri for SATB and Piano.The single works forming the sacred music cycle 'Quattro pezzi sacri' were composed as independent pieces between 1889 and 1897. The scoring ranges from solo voices a cappella to double choir with large orchestra. In 1898 the year of their first joint performance Verdi had them published together as 'Quattro pezzi sacri'. With the composition of the 'Quattro pezzi sacri' in the last years of his life Verdi thus returned to his church musician origins. Already at the age of 10 Verdi performed the duties of organist in his home congregation and later in Busseto where he received his first music lessons. Themasses at the collegiate church in Busseto formed some of his most important musical impressions. During the time Verdi composed 'Falstaff' his last opera he was once again composing sacred music this time in a conscious encounter with historical models such as Palestrina and Bach.
13.80 GBP - vendu par Musicroom GB |
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| Johann Sebastian Bach:
Cantata BWV 208 Was mir
behagt: Soprano: Score Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Partition] Barenreiter
Was mir behagt ist nur die muntre Jagd BWV 208Congratulatory Cantata for the Bi...(+)
Was mir behagt ist nur die muntre Jagd BWV 208Congratulatory Cantata for the Birthday of Duke Christian of Saxony-Weissenfels and of Duke Ernst August of Saxony-WeimarThe hunting cantata the earliest secular cantata of Bach's which has come down to us was performed for the birthday of Duke Christian of Saxony-Weissenfels (23February) - according to most recent research very probably in the year 1713. It was later performed again for the birthday of Duke Ernst August of Saxony-Weimar (the co-regent of Duke Wilhelm Ernst).Bach's score employs taut musical forms; noteworthy - and entirely characteristic ofBach's early style - is the dominant role of the continuo in recitatives and arias. The setting is in chamnber music style.- Urtext of the New Bach Edition- Full score & performance material (BA10208) and vocal score (BA10208-90) available for sale
25.50 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Vesperae Solennes De
Confessore: Mixed Choir:
Vocal Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier [Partition] Carus Verlag
Mozart's Vesperae solennes de Confessore for SATB.contents: Dixit Dominus (Ps 10...(+)
Mozart's Vesperae solennes de Confessore for SATB.contents: Dixit Dominus (Ps 109) in C major. Confitebor (Ps 110) in E flat major Beatus vir (Ps 111) in G major Laudate pueri (Ps 112) in D minor Laudate Dominum (Ps 116) in F major Magnificat in C major The present new critical editon of the 'Vesperae solennes de Confessore' KV 339 edited by Wolfgang Horn is the first edition since the publication of the ?old? Complete Edition from 1880 to be based on Mozart?s autograph score. It was thought to have been lost after the second world war but for the past several years it is again accessible through the Biblioteka Jagiellonska in Kraków. This work is now availablein carus music the choir app!
9.20 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Missa in C major K.257:
Mixed Choir: Score Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Partition] Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...(+)
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
38.00 GBP - vendu par Musicroom GB Délais: En Stock |
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| Wolfgang Amadeus Mozart:
Missa in C major K.257:
Mixed Choir: Part Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...(+)
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
14.00 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Missa in C major K.257:
Mixed Choir: Part Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...(+)
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
5.00 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Missa in C major K.257:
Mixed Choir: Parts Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...(+)
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
31.50 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Missa in C major K.257:
Continuo: Part Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...(+)
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale
5.00 GBP - vendu par Musicroom GB |
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| Leos Janacek: Ewige
Evangelium Ka: Mixed
Choir: Vocal Score Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Partition] BARENREITER
Vecné evangelium / The Eternal Gospel Cantata for Solo Voices Mixed Chorus and...(+)
Vecné evangelium / The Eternal Gospel Cantata for Solo Voices Mixed Chorus and Orchestra Leoš Janácek’s great oratorio “The Eternal Gospel” for soprano tenor mixed chorus and orchestra is based on a medieval legend in which an angel announces the coming of the Kingdom of Love on Earth to a Cistercian monk Joachim of Flora. Janácek set the text as a dramatic scene with two characters. The chorus unfolds as a contrasting foil to the two main figures until the final climax when the people sing “Alleluia” and receive the message of the brotherhood of all creation. The Eternal Gospel occupies aspecial place in Janácek’s œuvre. The dream-like atmosphere and emotional force of this twenty-minute cantata cast an unusually powerful spell. It originated during a time of turmoil: Janácek wrote it in spring 1914 on the eve of the First World War and the première took place in Prague in February 1917. In 1924 Janácek revised the cantata yet again for a festive performance on the occasion of his seventieth birthday. The vocal score has been prepared by Leoš Faltus one of the two editors of the volume for the Janácek Complete Edition (series B/volume 4). - Urtext Janacek Complete Edition - Full score (BA6860) and vocal score (BA6860-90) available for sale - Performance material (BA6860-72) available for hire
18.00 GBP - vendu par Musicroom GB |
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| Michael Tippett: A Child
Of Our Time: Double
Choir: Vocal Score Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Schott
A Child Of Our Time is probably Tippett's most celebrated work. It began life in...(+)
A Child Of Our Time is probably Tippett's most celebrated work. It began life in 1938 when Tippett was searching for an appropriate subject for a full-scale oratorio which would be modelled on Handel's Messiah and Bach's Passions. With the Second World War and particularly the news of Kristallnacht in Nazi Germany the idea for A Child Of Our Time was born. He enriched the work with Negro spirituals the perfect modern equivalent to Bach's chorales. The result is an exultant assertion of compassion and brotherhood against all divisions of race or religion. This is the Vocal Score with Piano reduction.
25.99 GBP - vendu par Musicroom GB |
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| Mass in C major
(BEETHOVEN LUDWIG VAN) Soli, choeur mixte et accompagnement [Conducteur] Carus Verlag
Op. 86. Par BEETHOVEN LUDWIG VAN. ?But, dear Beethoven, what have you done again...(+)
Op. 86. Par BEETHOVEN LUDWIG VAN. ?But, dear Beethoven, what have you done again'? Even if the authenticity of this statement, which was quoted by Anton Schindler, may be doubted, it reflects quite well the confusion that the Mass in C may have caused its commissioner, Prince Nicholas II Esterházy, in 1807. Unconventional for those times, here Beethoven opened up entirely new worlds of expression for the liturgical text, opening up new avenues for the further development of mass compositions in the 19th century. This important work of choral literature can now be performed by smaller forces thanks to this arrangement for soloists, choir and chamber orchestra. Instead of 12, just 5 wind instruments are required. The string parts can also be played by single soloists; the performance material contains suggestions about how to deal with the divisi passages. All the vocal parts (soloists and chorus) are unaltered in the arrangement, so that the vocal scores and choral scores from the original version can be used.-Large mass also performable for smaller choirs-Wind instruments of the original version reduced to five single instruments-Vocal and choral scores of the original version can be used-carus plus: the work (original version) is available in the app carus music, the Choir Coach, as well as in the series Carus Choir Coach (audio only) / Date parution : 2022-10-12/ Répertoire / Solistes, SATB et Orchestre
99.54 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Wolfgang Amadeus Mozart:
Missa In C Major K.257:
SATB: Vocal Score Soli, choeur mixte et accompagnement [Partition] Barenreiter
Credomesse (C)-This Mozart Mass (together with BA 7521 - BA 7522) have been arra...(+)
Credomesse (C)-This Mozart Mass (together with BA 7521 - BA 7522) have been arranged for solo voices chorus and organ from the Urtext of the ?New Mozart Edition? thereby making them accessible in all their beauty to choruses and church choirs with limited financial means at their disposal.Martin Focke has based the ?concertante? organ parts on the orchestral writing doing full justice to the timbre of the original. The solo parts and choruses of course leave the Urtext of the ?New Mozart Edition? entirely untouched.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt the like-named movement. Dating from the end of 1776 this Mass isremarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Our arrangement successfully patterns the idiosyncrasies of the orchestral writing.The solo and choral writing leaves the Urtext of the ?New Mozart Edition? entirely untouched.Self-contained version with organ instead of orchestra.Straightforward and easy-to-play organ part.Ideal for church services and concert performances.
16.50 GBP - vendu par Musicroom GB |
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| Franz Joseph Haydn:
'Nelson' Mass No.3 In D
minor: Mixed Choir: Vocal
Score Soli, choeur mixte et accompagnement [Partition] Peters
Haydn wrote his Mass No. 3 also known as 'Missa in Angustiis ' and also as the ...(+)
Haydn wrote his Mass No. 3 also known as 'Missa in Angustiis ' and also as the 'Lord Nelson Mass ' during Austrian wartime turmoil in 1798. Lord Nelson’s name became associated with the Mass because of his victory against Napolean the news of which coincided with the work’s premier performance in September 1798. Arranged for SATB and Piano.
13.95 GBP - vendu par Musicroom GB |
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| Die Erste Walpurgisnacht
Op. 60. Ballade Von
Goethe Für Soli,
Chor Und Orchester. Hrsg
John Michael Cooper Deutsch Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Partition] Barenreiter
/ Chant/Vocal/Choeur / Partition
84.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur |
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