(Festspiel in zwei Teilen (Italienisch), mit Anhang: Ballo.). By Wolfgang Amadeus Mozart (1756-1791). Edited by Luigi Ferdinando Tagliavini. For Soprano Solo (3), Mezzo-Soprano Solo, Tenor Solo, Mixed Choir, Ball, Flute (2), Oboe 1, Oboe 2/English Horn, Bassoon (2), Horn (4), Trumpet (2), Kettledrum, Strings, Basso Continuo. Neue Mozart-Ausgabe. Serie II, Werkgruppe 5/5. Musiktheater, Tanz, Klassik (Concert Music, Dance, Classical). Score; Urtext Edition; Complete Edition (cloth bound). KV 111. Duration 150'

By Benjamin Britten. (Vocal Score). Boosey and Hawkes Large Choral. Size 7.25x10.25 inches. 45 pages. Published by Boosey and Hawkes.

Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc - Grade 3

SKU: CA.1025000

Composed by Henry Purcell. Edited by Julia Rosemeyer. Carus digital: Extra digital products. Full Score. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025000. Published by Carus Verlag (CA.1025000).

ISBN 9790007251826. Key: D major. English.

â??Hail! bright Cecilia, hail to thee. Great patroness of us and harmony!â? â?? this exclamation opens the final chorus of Henry Purcellâ??s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Ceciliaâ??s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexanderâ??s Feast, HWV 75 (Carus 55.075), and his Ode for St. Ceciliaâ??s Day, HWV 76 (Carus 55.076).Purcellâ ??s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the â??Orpheus Britannicusâ?, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century

Solo voices, choir, orchestra (2 Soprano Voice Solo, Alto Voice Solo, Tenor Voice Solo, Bass Voice Solo, SATB Choir , Fl, 2 recorder, 2 Ob, bassoon, 2 Trp, trombone, 4V, Va, Vagb, Bassi (Vc, double bass, Erzlaute, Lt-B, harpisc.))

SKU: BA.BA04096

Oratorio in two parts. Composed by George Frideric Handel. Edited by Terence Best. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Series I, Volume 3. Complete edition, Score. HWV 47. Duration 1 hour, 50 minutes. Baerenreiter Verlag #BA04096_00. Published by Baerenreiter Verlag (BA.BA04096).

ISBN 9790006550098. 33 x 26 cm inches. Text Language: Italian. Preface: Terence Best. Text: Carlo Sigismondo Capece.

The Italian oratorio La Resurrezione (The Resurrection) was written during Handel’s time in Rome. It was performed on Easter Sunday 1708 with great splendour and extravagance by a large orchestra conducted by Arcangelo Corelli in the Palazzo Bonelli, the Roman palazzo of Handel’s patron the Marchese Francesco Maria Ruspoli.
In its dramatic structure and characterisation of the protagonists, the work displays a striking affinity with Italian opera. Lucifer’s raging sixty fourth notes call to mind the demon characters in Venetian opera and Maddalena’s arias are so full of expressive power and virtuosity that Handel later incorporated one of them into his opera Agrippina. The unusual musical richness of this work and the virtuosic and masterly shaping of the arias make it a welcome addition to any concert programme.

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

(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - Grade 3

SKU: CA.1025014

Composed by Henry Purcell. Edited by Julia Rosemeyer. Single Part, basso continuo. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025014. Published by Carus Verlag (CA.1025014).

ISBN 9790007329792. Key: D major. English.

�Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!� � this exclamation opens the final chorus of Henry Purcell�s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time.

A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Cecilia�s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexander�s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia�s Day, HWV 76 (Carus 55.076).

Purcellï ¿½s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the �Orpheus Britannicus�, as Purcell was admiringly called by contemporaries.

- Festive, rousing ode to music
- Highlight of the choral ode genre in the 17th century
. Score and part available separately - see item CA.1025000.

Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165203

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Vocal score. KV 626. Duration 50 minutes. Carus Verlag #5165203. Published by Carus Verlag (CA.5165203).

ISBN 9790007294243. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.

Armanâ? ?s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Sü�mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Solo A, Coro TTBB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Vl, Va, Vc, Cb

SKU: CA.1039700

(Alto Rhapsody). Composed by Johannes Brahms. Edited by Rainer Boss. Secular choral music. Full score. Op. 53. 32 pages. Duration 14 minutes. Carus Verlag #CV 10.397/00. Published by Carus Verlag (CA.1039700).

ISBN 9790007187590. Language: German.

Johannes Brahms's Alto Rhapsody is published here in a new Urtext edition, modernised for present-day performance practice. It is based on the 2nd impression of the first printed edition, as this is regarded as the authentic musical text following the last revisions made by the composer. The musical setting of Goethe's poem Harzreise im Winter opens with a somber beginning, then by turning to divine powers, it arrives at a hopeful new level. The work - which was composed in connection with the marriage of Julie, the daughter of Brahms's revered Clara Schumann, in 1869 - impresses above all with its personal touch as well as its pioneering progressive harmonies and enormous compositional power, which still entice listeners into the concert hall.

Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in F, Piano, Organ (or digital keyboard), Double String Quartet, Double Bass) - Early Intermediate

SKU: MN.56-0109

Composed by Howard Goodall. Holy Week, Triduum/Three Days, Tenebrae, 21st Century. Score & instrument parts. Duration 6 minutes, 57 seconds. MorningStar Music Publishers #56-0109. Published by MorningStar Music Publishers (MN.56-0109).

UPC: 688670221262. English, Latin. John 20:1.

Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This excerpt is scored for soprano solo, tenor solo, SATB choir and piano. The text is by Christina Georgina Rossetti, Isaac Watts (“When I survey the wondrous cross,”) and drawn from John 20:1 (this text in Latin). The music is serene, acknowledging the grief of those who are left to mourn. Duration 6:57.

Orchestra SATB vocal soli, SATB choir, 2 oboes/2 oboe d'amore, oboe d'caccia, [3 trumpets, timpani], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3108013

Cantata for Reformation Day. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal; Hymns by Martin Luther: Ein feste Burg ist unser Gott. German title: Ein feste Burg. Innovative practice aids, Sacred vocal music, Cantatas, Reformation day. Single Part, Viola. BWV 80. 12 pages. Duration 30 minutes. Carus Verlag #CV 31.080/13. Published by Carus Verlag (CA.3108013).

ISBN 9790007045371. Key: D major. Language: German/English. Text: Luther, Martin. Text: Martin Luther, Salomo Franck.

Bach's Reformation cantata, based on what is probably Martin Luther's most famous hymn, evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716, now missing, which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730, Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on, in the 1730s or 1740s, Bach replaced the introductory chorale movement with a chorale setting which was unique, spacious and motet-like in its style; this - uniquely in this respect - incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas, one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets, timpani as playing score) by Wilhelm Friedemann Bach are available (Carus 3108089). Score and part available separately - see item CA.3108000.

Orchestra SATB vocal soli, SATB choir, 2 oboes/2 oboes d'amore, oboe da caccia, 2 violins, viola, basso continuo - Grade 3

SKU: CA.3108089

Cantata for Reformation Day. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal; Hymns by Martin Luther: Ein feste Burg ist unser Gott. Harmony parts. Innovative practice aids, Sacred vocal music, Cantatas, Reformation day. Set of Orchestra Parts. BWV 80. 12 pages. Duration 30 minutes. Carus Verlag #CV 31.080/89. Published by Carus Verlag (CA.3108089).

ISBN 9790007206840. Key: D major. Text language: German/English. Text: Luther, Martin.

Bach's Reformation cantata, based on what is probably Martin Luther's most famous hymn, evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716, now missing, which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730, Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on, in the 1730s or 1740s, Bach replaced the introductory chorale movement with a chorale setting which was unique, spacious and motet-like in its style; this - uniquely in this respect - incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas, one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets, timpani as playing score) by Wilhelm Friedemann Bach are available (Carus 3108089). Score and parts available separately - see item CA.3108000.

Composed by Howard Goodall (1958-). Multi-Movement/Large Choral Work. Holy Week, Lent, Triduum/Three Days, Tenebrae, 21st Century. Vocal/choral score. Published by MorningStar Music Publishers

Oratorio. Composed by George Frideric Handel (1685-1759). Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Oratorios. Vocal score. Composed 1739. HWV 53. 216 pages. Published by Carus Verlag (CA.5505303).

Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in F, Piano, Organ (or digital keyboard), Double String Quartet, Double Bass) - Beginning

SKU: MN.56-0106

Composed by Howard Goodall. Lent, Holy Week, Triduum/Three Days, Tenebrae, 21st Century. Score & instrument parts. Duration 6 minutes, 47 seconds. MorningStar Music Publishers #56-0106. Published by MorningStar Music Publishers (MN.56-0106).

UPC: 688670221231. English, Latin.

Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This movement, scored for soprano solo, SATB choir and piano, expresses the unimaginable pain felt by a mother seeing her child torn away from her at a slave auction. To this harrowing account are appended the words of William Wilberforce, spoken in the House of Commons on 18th April 1791, “You may choose to look the other way but you can never say again that you did not know.” Duration 6:47.

Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in F, Piano, Organ (or digital keyboard), Double String Quartet, Double Bass) - Early Intermediate

SKU: MN.56-0108

Composed by Howard Goodall. Lent, Holy Week, Triduum/Three Days, Tenebrae, 21st Century. Score & instrument parts. Duration 6 minutes, 19 seconds. MorningStar Music Publishers #56-0108. Published by MorningStar Music Publishers (MN.56-0108).

UPC: 688670221255. English, Latin. Psalms 142; Jeremiah 3:48, 52, 56.

Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This excerpt is scored for soprano solo, SATB choir and piano. This fourth movement of the larger work is inspired by the extraordinary story of Irena Sendler née Krzyżanowska, a Polish nurse and head of Żegota, the Polish Council to Aid Jews in the Second World War, whose personal interventions saved the lives of approximately 2,500 Jewish children in the Warsaw Ghetto, smuggling them to safety, acts of humanitarian bravery that eventually caused her arrest and torture by the Gestapo. She is honoured as Righteous Amongst the Nations at Yad Vashem, Jerusalem. The Latin texts of this movement are taken from the Book of Lamentations (“My eye hath run down with streams of water, for the destruction of the daughter of my people. My enemies have chased me and caught me like a bird, without cause…”) and from Psalm 142, the Old Testament being the meeting-point of Sendler’s Catholicism and the Jewish tradition of those whose lives she saved. Duration 6:19.