(1.1.2.1/2.0+2.1.0,2 perc,str) SKU: TM.06074SET Composed by Franz Lehar. ...(+)
(1.1.2.1/2.0+2.1.0,2
perc,str)
SKU:
TM.06074SET
Composed
by Franz Lehar. Arranged
by Deshon. Set Type: D.
Set of parts. Published
by Lucks Music Library
(TM.06074SET).
Lessons in
Love, I Will Give You All
for Love, There is a Land
of Fancy, Melody of Love,
Love's Sorcery, Love for
a Year, Love is Like a
Rose. P/C in set.
(2.2.2.2/2.2.3.0,timp,per c,hp,str) SKU: TM.12307SET Composed by Franz Le...(+)
(2.2.2.2/2.2.3.0,timp,per
c,hp,str)
SKU:
TM.12307SET
Composed
by Franz Lehar. Set Type:
D. Set of parts. Lucks
Music Library #A8025.
Published by Lucks Music
Library (TM.12307SET).
Sandra Dackow
Little Known Gem - Grade
V. Prelude, In Minuet
Style, Sarabande,
Caprice, Pastoral, Air,
Frolic. Containing seven
fun to play sections,
each movement in An
English Suite has
approachable technical
demands while not being
too lengthy. The Prelude
is neo-Baroque, where
Baroque rhythms are
combined with Victorian
harmonies. Sounding more
difficult than it
actually is to play, this
movement is busy with
violin passages that
reach high G's. In Minuet
Style has lovely lines
for viola and charmingly
couples an older form
with more advanced
harmonic language. The
Saraband offers drama and
resembles the style and
writing of Elgar. There
are high G's for both
cello and bass, but the
passages are logical and
fall under the hand
easily. Most technically
difficult, the Caprice is
a diversion requiring
precision, speed, and
technique to maneuver
through changing
harmonies and tonalities.
The retro Pastoral was
written in a manner
similar to the Gavotte
from Grieg's Holberg
Suite, while the Air
contains effective
alternation of solo notes
with tutti textures. The
final Frolic movement is
a fun fiddle tune that is
great for featuring the
first and second violin
sections. It has also
served as a theme song
for one of New York's
classical music stations.
Keep arco accompaniments
at the frog and off the
string during repetitive
rhythmic passages and in
pizzicato sections, as
they can easily be
rushed.
Composed
by Robert Schumann.
Edited by Hansjörg
Ewert. Set of Orchestra
Parts. Composed 1852. Op.
147. Duration 40 minutes.
Carus Verlag #4068719.
Published by Carus Verlag
(CA.4068719).
ISBN
9790007311384. Key: C
minor. Latin.
A
mass setting by Robert
Schumann? This is still
likely to cause surprise
among audiences â
after all, Schumann is
not generally viewed as a
sacred composer. Indeed,
his little-known late
work, the Missa sacra,
Op. 147, is a discovery
not just for listeners
but often for the
performers themselves.
The mass combines an
acute fascination with
sacred liturgy typical of
Schumannâs time with
the pragmatism of its
intended use by a local
choral society. The
composer employs his
considerable skills to
create a captivating and
varied score that is
almost ethereal in the
Kyrie, leading to
passages of an intimate
and lyrical piano that
alternate with fortissimo
for words of praise,
while always displaying
the utmost sensitivity
and a delight in
dissonance. The composer
declared his setting to
be âfashioned with
great loveâ. The
demanding orchestral mass
can be realized with
limited means. The solo
parts can be filled from
the choir. The work,
which the composer
himself did not have
published, is here
reissued on the basis of
Schumannâs partial
autograph score.
Carus has also
produced an arrangement
of the work for choir and
organ, enabling
performances without
orchestra in smaller
venues (Carus
40.687/45).
.
Score and parts available
separately - see item
CA.4068700.
Composed
by Robert Schumann.
Edited by Hansjörg
Ewert. Choral Score.
Composed 1852. Op. 147.
Duration 40 minutes.
Carus Verlag #4068706.
Published by Carus Verlag
(CA.4068706).
ISBN
9790007239725. Key: C
minor. Latin.
A
mass setting by Robert
Schumann? This is still
likely to cause surprise
among audiences â
after all, Schumann is
not generally viewed as a
sacred composer. Indeed,
his little-known late
work, the Missa sacra,
Op. 147, is a discovery
not just for listeners
but often for the
performers themselves.
The mass combines an
acute fascination with
sacred liturgy typical of
Schumannâs time with
the pragmatism of its
intended use by a local
choral society. The
composer employs his
considerable skills to
create a captivating and
varied score that is
almost ethereal in the
Kyrie, leading to
passages of an intimate
and lyrical piano that
alternate with fortissimo
for words of praise,
while always displaying
the utmost sensitivity
and a delight in
dissonance. The composer
declared his setting to
be âfashioned with
great loveâ. The
demanding orchestral mass
can be realized with
limited means. The solo
parts can be filled from
the choir. The work,
which the composer
himself did not have
published, is here
reissued on the basis of
Schumannâs partial
autograph score.
Carus has also
produced an arrangement
of the work for choir and
organ, enabling
performances without
orchestra in smaller
venues (Carus
40.687/45).
.
Score available
separately - see item
CA.4068700.
Composed
by Robert Schumann.
Edited by Hansjörg
Ewert. Set of Orchestra
Parts. Composed 1852. Op.
147. Duration 40 minutes.
Carus Verlag #4068709.
Published by Carus Verlag
(CA.4068709).
ISBN
9790007311322. Key: C
minor. Latin.
A
mass setting by Robert
Schumann? This is still
likely to cause surprise
among audiences â
after all, Schumann is
not generally viewed as a
sacred composer. Indeed,
his little-known late
work, the Missa sacra,
Op. 147, is a discovery
not just for listeners
but often for the
performers themselves.
The mass combines an
acute fascination with
sacred liturgy typical of
Schumannâs time with
the pragmatism of its
intended use by a local
choral society. The
composer employs his
considerable skills to
create a captivating and
varied score that is
almost ethereal in the
Kyrie, leading to
passages of an intimate
and lyrical piano that
alternate with fortissimo
for words of praise,
while always displaying
the utmost sensitivity
and a delight in
dissonance. The composer
declared his setting to
be âfashioned with
great loveâ. The
demanding orchestral mass
can be realized with
limited means. The solo
parts can be filled from
the choir. The work,
which the composer
himself did not have
published, is here
reissued on the basis of
Schumannâs partial
autograph score.
Carus has also
produced an arrangement
of the work for choir and
organ, enabling
performances without
orchestra in smaller
venues (Carus
40.687/45).
.
Score and parts available
separately - see item
CA.4068700.
Semele, HWV 58 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Soloists, Mixed choir, Orchestra SKU: BA.BA04025-01 Composed by George Fr...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA04025-01
Composed by George
Frideric Handel. Edited
by
Georg-Friedrich-Händel
-Gesellschaft e. V.
Risinger and Mark. This
edition: Complete
edition. Linen. Complete
edition, Score. HWV 58.
Baerenreiter Verlag
#BA04025-01. Published by
Baerenreiter Verlag
(BA.BA04025-01).
ISBN
9790006443222. 33 x 26 cm
inches. Text Language:
English.
Handelâ??
s â??Semeleâ?, which
premiered in February
1744, is based on an
adapted version of
William Congreveâ??s
opera libretto titled
â??The Story of
Semeleâ?, originally
published in 1706.
However, neither Handel
nor his librettist
referred to
â??Semeleâ? as an
opera or an oratorio,
which, according to the
understanding at the
time, would have required
a biblical and/or
Christian subject matter.
Contemporary audiences
also disagreed on the
genre. The problematic
classification as an
oratorio has persisted
into the present day,
likely due to the edition
labeled as such by
Chrysander. The â??Halle
Handel Editionâ? (HHA)
distances itself from
this classification and,
considering the available
sources, refrains from
assigning a genre
label.
Congreve
deviates from the
mythological source
multiple times in order
to create tensions among
the characters. The
desired marriage between
Semele and Athamas, whom
she does not love, is an
addition by Congreve to
provoke the envy of her
sister Ino, who desires
Athamas herself.
Therefore, Ino sees her
own advantage in
Semeleâ??s abduction by
Jupiter. While
Jupiterâ??s wife Juno
decides to destroy Semele
out of jealousy for his
relationship with her,
Jupiter brings Ino to his
palace to console Semele.
The vengeful Juno takes
advantage of Inoâ??s
presence and transforms
into her likeness,
persuading Semele to
carry out a plan that
later proves fatal. In
the end, Ino emerges as
the winner, as she is
able to convince their
father, Cadmus, to marry
her to Athamas. The
appearance of Apollo in
the final scene to
announce that Semeleâ??s
immortal son Bacchus was
saved from her ashes
provides little
consolation. However,
this twist allows the
drama to conclude with
exuberant joy and a
magnificent final chorus
after the tragic scenes
in the third act,
culminating in the death
of the
protagonist.
Hande
lâ??s autograph score
shows significant
deviations from and
numerous revisions of the
original version
premiered. All surviving
early versions, the
musical movements deleted
before the premiere, and
the version of the
December 1744, are given
in the appendix to the
HHA.
Serenade in three
parts. Composed by
George Frideric Handel.
Edited by Artie Heinrich.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) I, 9.2. 2nd
version. Complete
edition, Score. HWV 49.
Duration 1 hour, 20
minutes. Baerenreiter
Verlag #BA10700_00.
Published by Baerenreiter
Verlag (BA.BA10700).
ISBN 9790006550135. 33
x 26 cm inches. Text
Language: English,
Italian. Preface:
Heinrich, Artie. Text:
Gay, John / Hughes, John
/ Pope, Alexander /
Giuvo,
Nicola.
Handel set
the myth about the love
of the shepherd Acis for
the sea nymph Galatea
from Ovid’s
“Metamorphosesâ€
a total of three
times: in the cantata
“Aci, Galatea e
Polifemo†HWV 72
(1708), the masque
“Acis and
Galatea†HWV 49a
(1718) and finally the
pasticcio-like serenata
“Acis and
Galatea†HWV 49b
(1732) of which the
original version is now
made available in its
complete form for the
first time.
A
particular charm is
provided by the use of
two languages in the
serenata. The work was
originally conceived in
English, as was required
for the first
performance. However,
Handel’s Italian
singers were criticised
for their poor command of
English, – so in
the end, many numbers
were sung in Italian.
The extensive
appendix to the vocal
score includes the
additional arias and
newly composed movements
for the versions used in
the 1734 and 1736
performances.
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
WithL'Etoil
e, Chabrier composed a
light-hearted opera which
has increasingly enjoyed
revivals in recent
years.
The plot
is introduced by King Ouf
I who offers his subjects
an execution every year
on his birthday.
Unfortunately the problem
now arises that no crime
has recently been
committed which might
serve as a reason for an
execution. Finally, he
finds a would-be victim
in the young Lazuli.
However, according to
predictions by the
astrologer Siroco,
Lazuli's fate is closely
linked to the king's own
life. The comic opera is
further bolstered by a
story of mistaken
identities which involves
a great deal of
diplomacy, a love story
and a large number of
refined, yet catchy
melodies. Chabrier was
a master of the sensitive
and complicated art of
musical comedy, a field
where he can be compared
in equal measure to
Offenbach, Rossini and
Mozart.
This vocal
score is based on the
full score edited by Hugh
Macdonald which is
published as part of the
seriesL'Opera
francais.
-
Authoritative Urtext
edition based on the
seriesL'Opera
francais - Original
French text with a German
singing translation -
Comprehensive foreword
(Ger/Eng/Fr)
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
Fairest Lord Jesus, We Love You Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur et Parties séparées + CD] - Intermédiaire Lillenas Publishing Co.
By David Clydesdale. Arranged by David Clydesdale. For SATB choir with vocal sol...(+)
By David Clydesdale.
Arranged by David
Clydesdale. For SATB
choir with vocal solo
(flute 1and2, oboe,
clarinet 1and2, bassoon,
F horn 1/2and3, trumpet
1/2and3, trombone 1and2,
trombone 3/tuba,
percussion 1and2/3and4,
rhythm, harp, violin
1and2, viola, cello,
string bass)
Missa Sancti Gabrielis Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Conducteur] Carus Verlag
By Michael Haydn (1737-1806). Edited by Biba, Otto. For SATB Soli, SATB Choir, 2...(+)
By Michael Haydn
(1737-1806). Edited by
Biba, Otto. For SATB
Soli, SATB Choir, 2
Violin, 2 Trumpet,
[Timpani], Basso
Continuo. Full score
available separately -
see item CA.9100900.
Church music of the
Viennese Classical.
Choral score. Language:
Latin. Composed
1760/1768. 16 pages
Composed by Alexander
Borodin. Score. Published
by Lucks Music Library
(TM.05189SC).
Transposed:
cl1&2, tpt1&2, tbn1&2,
hns orig in F; VS1= chs
in Eng, VS2= edited by
John Rutter, chs in
English and phonetic
Russian. See #13203 for
vocal score in Russian
(Cerullic)/French/German.
