Ode For St. Cecilia'S Day. Par HAENDEL GEORG FRIEDRICH. Haendel composa le poème de John Dryden 1736 la 'Fête d'Alexandre ou la puissance de la Musique' sous la forme d'une cantate en deux parties. À la suggestion du baron Gottfried van Swieten 1790 Mozart édité cette ode en l'honneur de sainte Cécile. Ce traitement était la traduction allemande du poème par Karl Wilhelm Ramier base à partir de 1770. Comme avec d'autres dispositifs de Haendel travaux Uminstrumentierung Mozart provoque un changement de caractère tonal, la composition dans la tradition du classicisme viennois. - Handel: Nouvelles notes concises et typographiques (BA 4001-92, disponible en anglais seulement) - Mozart: d'abord la réduction pour piano disponible dans le commerce (BA 4527-90) Maintenant, sous une forme révisée: Pour la nouvelle édition de la Handel remplacé les informations dynamiques ont été l'objet d'une révision approfondie, qui a ajouté desAnhangs trois sets, la Handel sont, pour la première fois dans une réduction pour piano (BA 4001-92) publié. La lisibilité de la production a été considérablement améliorée./ Répertoire / Chant et Piano

Par HAENDEL GEORG FRIEDRICH. The episode from Ovid‘s “Metamorphoses” in which Daphne attempts to escape Apollo’s advances by turning into a laurel tree, causing the devastated god to weave a laurel crown in memory of the nymph, has inspired the masterworks of many artists. Gian Lorenzo Bernini, whose famous marble sculpture is housed in the Galleria Borghese in Rome, is only one example of this. Many composers set this myth to music including young George Frideric Handel with his grand-scale dramatic cantata “Apollo e Dafne”. The composer started working on the work shortly before leaving Italy in 1709, most likely finishing it the following year in Hanover. Bärenreiter now presents a vocal score of the opera-like cantata, the highlights of which include Dafne’s aria “Felicissima quest’alma” (accompanied by solo oboe) and Apollo’s famous lament “Cara pianta”./ Répertoire / Chant et Piano

Per Gli Sponsali Di Teti E Peleo - Hwv 73. Par HAENDEL GEORG FRIEDRICH. Handel's three-part serenata Parnasso in festa was premiered in March 1734 for the wedding of Princess Anne and Prince William IV of Orange. The music is largely based on the English oratorio Athalia. The Italian libretto, by Giacomo Rossi, takes up the Greek myth of the wedding of Thetis and Peleus. As so often in Handel's case, the work was subjected to three large-scale revisions by 1741. This vocal score is based on the Urtext from the Halle Handel Edition (BA 10718), the first to offer a scholarly-critical musical text for the complete serenata. The most significant changes in the later versions are reproduced in an appendix. - Bilingual Foreword (Ger/Eng) - Idiomatic piano reduction/ Répertoire / Chant et Piano

Handel's 'Agrippina? HWV 6 was performed with great success at the 2015 International Handel Festival in Göttingen (Germany) using the new Bärenreiter edition including the performance material and this vocal score.'Agrippina? is the last opera that Handel completed and premiered in Italy. The excellent libretto is one of the few original opera libretti that he set to music. The plot is tightly constructed, the characters sharply etched and equipped with a wide range of human emotions.Agrippina is married to her third husband, the Roman emperor Claudius. After he is presumed dead, she attempts with deception and intrigue to place her son Nero on the throne.The vocal score includes all the numbers from the appendix of the full score. These were used either during the successful Venetian series of performances in 1709/10 or were deleted or replaced by other numbers, versions and variants.- Urtext edition based on the 'Halle Handel Edition?- Includes a singing translation in German- Extensive bilingual Foreword (Ger/Eng) - Idiomatic uncluttered piano reduction / Chant Et Piano

Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum” in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum”. Here it is called 'Te Deum for Cannons” after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea”, the masque which was composed at almost the same time. Though in many respects this 'Te Deum” is reminiscent of the 'Utrecht Te Deum”, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition” (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum”./ Répertoire / Chant et Piano

John Dryden wrote two odes in honour of the patroness of music and musicians - A Song For St. Cecilia's Day , in 1687, and, in 1697, Alexander's Feast , both of which were subsequently set to music by Handel. A Song For St. Cecilia's Day proved so popular that it was performed six times during the winter of 1739-40, in spite of the fact that this was a 'hard winter'. Written for soprano and tenor soli, SATB chorus and orchestra, this edition contains all vocal parts and a piano accompaniment / Chant Et Piano

Premiered in London in 1733, Handel's 'magic opera? 'Orlando? is based on a libretto by Carlo Sigismondo Capeci that derives indirectly from Ludovico Ariosto's epic poem 'Orlando furioso?.This subject was very popular at the time and was frequently set to music, e.g. by Jean-Baptiste Lully, Agostino Steffani and Joseph Haydn. The title role of Orlando is the last one that Handel wrote for the celebrated castrato Senesino. Several stunning stage effects intended to illustrate Zoroastro's sorcery call for sophisticated baroque stage machinery.The vocal score has been adapted and carefully amended in keeping with the revision of the complete edition volume. The engraving and presentation of the former vocal score (BA 4027-90) have also been meticulously revised in many details. However the pagination stays the same so that both vocal scores are compatible with each other. A new Foreword in two languages (Eng/Ger) is also included in the edition.- Urtext edition based on the 'Halle Handel Edition?- With a singable translation in German- Adapted in keeping with the revised score- Comprehensive bilingual Foreword (Eng/Ger)- Idiomatic piano reduction / Chant Et Piano

Newly edited by Donald Burrows, the latest publication in the Novello Handel Edition with full historic, interpretative and critical notes. Handel's majestical setting of John Dryden in a cantata to honour the patron saint of music, first performed in London in 1739. ST or SAT soloists, SATB chorus. / Chant Et Piano

Arrangeur: Janet Baker. Par HAENDEL GEORG FRIEDRICH. Compiled by Janet Baker and Anthony Lewis CONTENTS Scherza infida (from Ariodante) D - G Dopo notte (from 'Ariodante') C sharp - A Presti omai l'Egizia terra (from 'Giulo Cesare') A - E Va tacito e nascosto (from 'Giulo Cesare') C - D Par che mi nasca in seno (from 'Tamerlano') E - G Cerco in vano (from 'Tamerlano') B flat - E flat/ Répertoire / Chant et Piano