Voice and Piano. By Claudio Monteverdi. Arranged by Gian Francesco Malipiero, Fritz Zobeley. Vocal Collection. Size 9x12 inches. 28 pages. Published by Ricordi.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506100

Composed by George Frideric Handel. Edited by Felix Loy. Stuttgart Urtext Edition: Handel. Sacred vocal music, Oratorios. Full Score. HWV 61. Duration 170 minutes. Carus Verlag #CV 55.061/00. Published by Carus Verlag (CA.5506100).

ISBN 9790007243005. Language: English/German. Text: Jennens, Charles.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people. The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known. * First Urtext edition * For the first time all three performable versions of the work in one edition * Based throughout on Handel's conductor's score * Includes the aria Lament not thus which was cut before the first performance.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506112

Composed by George Frideric Handel. Edited by Felix Loy. Single Part, Violin 2 and 3. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506112).

ISBN 9790007262082. English/German. Text: Charles Jennens.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.

The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.

* First Urtext edition
* For the first time all three performable versions of the work in one edition
* Based throughout on Handel's conductor's score
* Includes the aria Lament not thus which was cut before the first performance
. Score and part available separately - see item CA.5506100.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506109

Composed by George Frideric Handel. Edited by Felix Loy. Set of Orchestra Parts. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506109).

ISBN 9790007243043. English/German. Text: Charles Jennens.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.

The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.

* First Urtext edition
* For the first time all three performable versions of the work in one edition
* Based throughout on Handel's conductor's score
* Includes the aria Lament not thus which was cut before the first performance
. Score and parts available separately - see item CA.5506100.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506149

Composed by George Frideric Handel. Edited by Felix Loy. Single Part, organ. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506149).

ISBN 9790007243128. English/German. Text: Charles Jennens.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.

The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.

* First Urtext edition
* For the first time all three performable versions of the work in one edition
* Based throughout on Handel's conductor's score
* Includes the aria Lament not thus which was cut before the first performance
. Score and part available separately - see item CA.5506100.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506114

Composed by George Frideric Handel. Edited by Felix Loy. Single Part, basso continuo. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506114).

ISBN 9790007243074. English/German. Text: Charles Jennens.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.

The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.

* First Urtext edition
* For the first time all three performable versions of the work in one edition
* Based throughout on Handel's conductor's score
* Includes the aria Lament not thus which was cut before the first performance
. Score and part available separately - see item CA.5506100.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506113

Composed by George Frideric Handel. Edited by Felix Loy. Single Part, viola. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506113).

ISBN 9790007243067. English/German. Text: Charles Jennens.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.

The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.

* First Urtext edition
* For the first time all three performable versions of the work in one edition
* Based throughout on Handel's conductor's score
* Includes the aria Lament not thus which was cut before the first performance
. Score and part available separately - see item CA.5506100.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506111

Composed by George Frideric Handel. Edited by Felix Loy. Single Part, violin 1. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506111).

ISBN 9790007243050. English/German. Text: Charles Jennens.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.

The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.

* First Urtext edition
* For the first time all three performable versions of the work in one edition
* Based throughout on Handel's conductor's score
* Includes the aria Lament not thus which was cut before the first performance
. Score and part available separately - see item CA.5506100.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506119

Composed by George Frideric Handel. Edited by Felix Loy. Set of Orchestra Parts. HWV 61. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506119).

ISBN 9790007243036. English/German. Text: Charles Jennens.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.

The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.

* First Urtext edition
* For the first time all three performable versions of the work in one edition
* Based throughout on Handel's conductor's score
* Includes the aria Lament not thus which was cut before the first performance
. Score and parts available separately - see item CA.5506100.

Soli SMsATB (1751: SAATB), Coro S(S)AT(T)B, 2 Ob, 2 Tr, Timp, (1758+ 2 Cor, 2 Fl dolce) 3 Vl, Va, Bc - Level 4

SKU: CA.5506105

Composed by George Frideric Handel. Edited by Felix Loy. Choral Score. HWV 61. 68 pages. Duration 170 minutes. Carus Verlag #5506100. Published by Carus Verlag (CA.5506105).

ISBN 9790007243029. English/German. Text: Charles Jennens.

Belshazzar , with its detailed stage instructions and many short forms such as accompagnato recitatives and ariosi, is the most dramatic of George Frideric Handel's oratorios. It is de facto a sacred opera, but because of the ban on biblical plots on the stage in England at that time, it had to be composed in the form of an oratorio, i. e. for non-staged performance. For this work Handel chose one of the most enthralling subjects in world and religious history: the fall of Babylon and the liberation of the Jewish people.

The new Carus Urtext edition brings together all three performable versions of the work: the one from the first performance of 1745, as well as the reworkings of 1751 and 1758. For the first time, this edition consistently follows Handel's conductor's score, which provides clarity about the numbers which Handel actually performed. Additionally, the edition includes the aria Lament not thus which was cut before the first performance. Thus all the choruses and arias composed by Handel for Belshazzar are available together, including the late arias Wise men and Fain would I know which are hardly known.

* First Urtext edition
* For the first time all three performable versions of the work in one edition
* Based throughout on Handel's conductor's score
* Includes the aria Lament not thus which was cut before the first performance
. Score available separately - see item CA.5506100.

Composed by Franz Liszt. Edited by Rena C. Mueller. Piano Solo, Piano and Keyboard, Repertoire, Solos. Three Concert Etudes. Classical, Romantic. Softcover Book. 44 pages. G. Henle #HN481. Published by G. Henle

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507549

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Organ. Innovative practice aids, Sacred vocal music, Oratorios. Single Part, Organ. Composed 1736/1751. HWV 75. 60 pages. Duration 85 minutes. Carus Verlag #CV 55.075/49. Published by Carus Verlag (CA.5507549).

ISBN 9790007171315. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score and part available separately - see item CA.5507500.

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507519

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Complete orchestral parts. Innovative practice aids, Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1736/1751. HWV 75. Duration 85 minutes. Carus Verlag #CV 55.075/19. Published by Carus Verlag (CA.5507519).

ISBN 9790007171438. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score and parts available separately - see item CA.5507500.

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507509

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. 2x 55.075/21 2 flutes, 1x 55.075/22 oboe 1, 1x 55.075/23 oboe 2, 3x 55.075/24 3 bassoons, 2x 55.075/31 2 horns, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets. Stuttgart Urtext Edition: Handel. Harmony parts. Innovative practice aids, Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1736/1751. HWV 75. Duration 85 minutes. Carus Verlag #CV 55.075/09. Published by Carus Verlag (CA.5507509).

ISBN 9790007226794. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score and parts available separately - see item CA.5507500.

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507505

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Innovative practice aids, Sacred vocal music, Oratorios. Choral Score. Composed 1736/1751. HWV 75. 40 pages. Duration 85 minutes. Carus Verlag #CV 55.075/05. Published by Carus Verlag (CA.5507505).

ISBN 9790007171230. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score available separately - see item CA.5507500.

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoon, 2 horns, 2 trumpets, timpani, 2 (3) violin, 2 violas, cello, basso continuo

SKU: CA.5507500

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Innovative practice aids, Sacred vocal music, Oratorios. Full score. Composed 1736/1751. HWV 75. 184 pages. Duration 85 minutes. Carus Verlag #CV 55.075/00. Published by Carus Verlag (CA.5507500).

ISBN 9790007167769. Language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements.

(cem,str,S solo)

SKU: TM.02802SET

Composed by Henry Purcell. Set Type: D. Set of parts. Lucks Music Library #A3003. Published by Lucks Music Library (TM.02802SET).

Cembalo in score. Includes recit: Thy hand Belinda.

(cem,str,S solo)

SKU: TM.02802SC

Composed by Henry Purcell. Score. Lucks Music Library #A3003. Published by Lucks Music Library (TM.02802SC).

Cembalo in score. Includes recit: Thy hand Belinda.

Composed by Michel Verschaeve. For mezzo-soprano voice and piano (with mezzo soprano voice duets). Michel Verschaeve. Classical. Score. 91 pages. Published by Editions Henry Lemoine

Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

By Anne Marsden Thomas. For Organ. Oxford Service Music for Organ. ABRSM Exam: Grade 6. Collection. 64 pages. Published by Oxford University Press