Arrangeur: Andrea Campora. Par BEETHOVEN LUDWIG VAN. Beethoven’s sacred works include two settings of the Mass. The “Mass in C major”, completed and premiered in 1807, has been unjustly described as a preliminary step towards the great “Missa solemnis”. Yet it is a self-contained and, for its time, decidedly modern piece of church music. Drawing on the rich body of sources, Beethoven specialist Barry Cooper suggests practical solutions to the work’s musical and interpretative problems. His deep study of the sources convinced him to include a fully realized organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. Rounding off this Urtext edition are a Foreword on the work’s genesis and a detailed Critical Commentary. - Score with realization of the organ part - Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) - Idiomatic piano reduction Features of the Barenreiter Urtext edition of Beethoven 's Mass In C Major : Score with realisation of the Organ part Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) Straight-forward Piano reduction Full score and performance material (BA9039) and Vocal score (BA9039-90) available for sale Amongst Beethoven ’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and, for its time, distinctly modernpiece of sacred music. Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the original sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary. / Messe / Répertoire / Solistes, Choeur Mixte et Orchestre

Hwv 283. Par HAENDEL GEORG FRIEDRICH. The “Dettinger Te Deum” was written to celebrate England’s victory over the French at the Battle of Dettingen. It is Handel’s last and most successful setting of the “Te Deum” and reveals a deep understanding of the English church music tradition. The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the “Messiah” which Handel had just completed. This edition, edited by Baroque specialist Amanda Babington, is based on the Urtext from the “Halle Handel Edition”. - First Urtext edition - Includes a Foreword (Eng/Ger) - Idiomatic, well-presented piano reduction (Eng) Handel 's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel ’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition. The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed. This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition. First Urtext edition Includes a Foreword (Eng/Ger) Straight-forward, well-presented Piano reduction (Eng) Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale/ Répertoire / Alto Solo, Ténor Solo, Basse Solo, Choeur Mixte et

Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigénie en Aulide (Vocal Score) Tragedy - Opera in three acts Iphigénie en Aulide is the first of six operas that Gluck composed for the Académie Royale de Musique. In keeping with his plans for operatic reform, he sought to create noble, expressive and natural melodies that did justice to every language and every national spirit while eliminating the “ridiculous distinction” between national styles of music. Although the première was coolly received at first by the contemporary press, “Iphigénie” developed into a tremendous success. The onrush of listeners was said to have been so great that the management of the Paris Opéra considered placing guards in front of the theatre. Now Bärenreiter is issuing the carefully revised and corrected vocal score in a new engraving adapted to meet their current standards. - Revised and newly engraved - Detailed foreword (Ger/Fr/Eng) on the work’s genesis and reception history, together with a summary of the plot - Practical, straight-forward piano reduction - Performance material available for hire (BA5849-72) / Date parution : 2022-07-20/ Répertoire / Solistes, Choeur et Orchestre

Par KRAUS JOSEPH MARTIN. Joseph Martin Kraus [1756 1792] composed his Requiem in 1775at the age of 19 for the parish church in his hometown of Buchen, Odenwald. This followed the Miserere of 1773, and is the second of his surviving sacred compositions. Already in this early work Kraus shows that he was a representative of the musical ?Sturm und Drang.? With all its youthful unconcern towards compositional technique, this music displays his seriousness and strength of expression, together with a dark instrumental timbre, as well as an abruptness or at times brusqueness. The publication of the Requiem in the Complete Edition is the first historical and critical edition of the work/ Répertoire / Solistes SAB, Ch?ur SATB, 2 Cors, 2 Violons, Alto