Praeludium On The Name George Frideric Handel was commissioned by the Royal Society of Musicians of Great Britain (of which Handel was a founder member in 1738) and first performed by the Navarra String Quartet as part of the RSM?s Jacqueline du Pré Charity Concert at London?s Wigmore Hall on 3rd March 2015.

The CD edition of The Easy Piano Collection: Handel Gold features a fine selection of the most famous masterpieces by George Frideric Handel. Every piece has been composed for or arranged for easy Piano and allaccompanied by high quality demonstration performances on a specially commissioned music CD.Learning to play these classic compositions has never been easier to do.These books use the same notation as CarolBarratt’s Classic Piano Course and are presented in a brand new easy-to-read style complete with fingerings and detailed composer biographies.Suitable for pianists between Grade 1-3 standard.

Beginning pianists of all ages can have the pleasure and satisfaction of playing one of classical music's best-known compositions with this edition of George Frideric Handel's Messiah. Based on the Book of Psalms from the King James Bible, the 1741 oratorio was originally an Easter offering and is now a Christmas tradition and features the rousing Hallelujah! chorus.This easy-to-play arrangement offers highlights from all three parts of the choral work, which tells of the birth of Jesus Christ, the Crucifixion, and Resurrection. The thirty-one pieces include For unto Us a Child Is Born, Glory to God, Lift Up Your Heads, O Ye Gates, and I Know That My Redeemer Liveth. The editor has provided simple fingerings and a brief description of each movement. All selections are available as downloadable MP3 files.

A terrific introduction to the delights and designs of George Frideric Handel! Including many of his finest works including extracts from his Water Music Firework Music and Messiah this is a fantastic and fascinating compendium by one of the greatest English composers of all time. These pieces have been wonderfully arranged here by Walter Bergmann for Recorder ensemble with a Piano accompaniment.

Par HAENDEL GEORG FRIEDRICH. In terms of layout and musical text, this scholarly-critical performing edition of George Frideric Handels Complete Organ Works is based on the complete edition volumes of the composers keyboard music edited by Terence Best as part of the HalleHandel Edition (HHA). The HHA Critical Commentary forms the basis of this edition, which however differs from the HHA volumes in two respects. Firstly, it gathers together, for the first time, all of Handel works for which it can be solidly argued that they were composedfor the organ. The centre piece is a set of twelve handwritten fugues deriving directly from his immediate surroundings and published here, for the first time, as a unified cycle. Secondly, our edition presents plausible alternative readings fromvarious sources in the main body of the music. In the HHA these readings, all of which definitely or presumably stem from the composer, are merely listed in the critical commentary. - A detailed Foreword contains a description of the sources, followed by comments on the individual works. In addition this edition includes contemporary organ dispositions and a Critical Commentary. - Scholarly-critical edition based on the Urtext of the Halle Handel Edition (HHA) - First single-volume edition of Handels organ works - Includes all variant readings from the sources which have previously only been available in the Critical Commentary of the HHA - Detailed Foreword (Ger/Eng) with short descriptions of each source and a Critical Commentary (Ger/Eng) - With contemporary organ dispositionsContents:Fuga I in C minor HWV 610Fuga II in G minor HWV 605Fuga III in B-flat major HWV 607Fuga IV in F minor HWV 433/2Fuga V in E minor HWV 429/1Fuga VI in G major HWV 606Fuga VII in D minor HWV 428/2Fuga VIII in A minor HWV 609Fuga IX in B minor HWV 608Fuga X in F-sharp minor HWV 431/3Fuga XI in F major HWV 427/4Fuga XII in F major HWV 611“Fuga in E major” HWV 612“O the pleasure of the plains” in G major HWV 474“Jesu meine Freude” in G minor HWV 480 A scholarly-critical performing edition of George Frideric Handel 's Complete Organ Works based on the Halle Handel Edition (HHA). First single-volume edition of Handel 's Organ works Includes all variant readings from the sources which have previously only been available in the Critical Commentary of the HHA Detailed Foreword (Ger/Eng) with short descriptions of each source and a Critical Commentary (Ger/Eng) With contemporary Organ dispositions In terms of layout and musical text, this Barenreiter edition is based on the complete volumes of the composer's Keyboard music edited by TerenceBest as part of the HHA. The Halle Handel Edition's Critical Commentary forms the basis of this edition, which however differs from the HHA volumes in two respects. Firstly, it gathers together, for the first time, all of Handel 's works for which it can be solidly argued that they were composed for the Organ. The centre piece is a set of twelve handwritten fugues deriving directly from the composer's immediate surroundings and published here, for the first time, as a unified cycle. Secondly, this Barenreiter edition presents plausible alternative readings from various sources in the main body of the music. In the HHA these readings, all of which definitely or presumably stem from the composer, are merely listed in the critical commentary. Contents: Fuga I in C minor HWV 610 Fuga II in G minor HWV 605 Fuga III in B-flat major HWV 607 Fuga IV in F minor HWV 433/2 Fuga V in E minor HWV 429/1 Fuga VI in G major HWV 606 Fuga VII in D minor HWV 428/2 Fuga VIII in A minor HWV 609 Fuga IX in B minor HWV 608 Fuga X in F-sharp minor HWV 431/3 Fuga XI in F major HWV 427/4 Fuga XII in F major HWV 611 Fuga in E major HWV 612 O the pleasure of the plains in G major HWV 474 Jesu meine Freude in G minor HWV 480/ Répertoire / Orgue

The first performance of George Frideric Handel’s oratorio “Messiah” on 13 April 1742 in Dublin aroused unqualified rapture. A newspaper report a few days later declared that it combined “the Sublime, the Grand, and the Tender”. Its success has remained undiminished ever since, and the “Messiah” has taken its place in musical life.

In 2009, to mark the 250th anniversary of Handel’s death, the British Library and Bärenreiter joined forces and made the autograph score of the “Messiah” available to the public in a meticulously reproduced, lavishly published facsimile.

The renowned Handel scholar Donald Burrows introduces the characteristics of Handel’s manuscript, describes the history of the work’s composition, and explains the differences between later versions of the “Messiah”, as reflected in the conducting scores. A two-page sketch from the Fitzwilliam Museum Cambridge completes the publication. / [Le Messie HWV 56] / Classique / Fac-similé /

22 Pieces by 15 Composers-Some of the most often taught original piano literature by dozens of master composers of the past has been carefully selected and compiled by difficulty level. The Upper Elementary edition features 21 pieces by 17 composers including: Anonynmous (18th century): Musette from The Notebook for Anna Magdalena Bach ??? Carl Philipp Emanuel Bach: Allegretto scherzando ??? Carl Philipp Emanuel Bach: March from The Notebook for Anna Magdalena Bach ??? Wilhelm Friedemann Bach: Air in A minor ??? B?la Bart?k: Walking from The First Term at the Piano ??? Ludwig van Beethoven: Ecossaise in G Major WoO 23 ??? M?lanie Bonis: Meow! Purr! ??? Muzio Clementi: Sonatina in C Major Op. 36 No. 1 first movement ??? William Duncombe: The Chase ??? Cornelius Gurlitt: To School from The First Lessons Op. 117 No. 4 ??? Cornelius Gurlitt: Cradle Song from The First Lessons Op. 117 No. 17 ??? Georg Frideric Handel: Bour?e in G minor ???Impertinence??? HWV 494 ??? George Frideric Handel: Gavotte in C Major ??? Wolfgang Amadeus Mozart: Minuet in C Major K.6 ??? Wolfgang Amadeus Mozart: Minuet in B-flat Major K. 15pp ??? August Eberhard M?ller: The Cuckoo ??? Christian Petzold: Minuet in G from The Notebook for Anna Magdalena Bach ??? Henry Purcell: Minuet in A minor Z. 649 ??? Jean-Philippe Rameau: Menuet en Rondeau ??? Robert Schumann: Melody from Album for the Young ??? Charles Henry Wilton: Amabile from Sonatina in C Major.

Opera in three acts-“Almira” Handel’s first opera was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser who remarkably had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language resulting in a delightful mixture of German and Italian.The opera which after sundry entangled romances ends in the wedding of three couples is characterised by exuberant scenes: the procession at Almira’scrowning ceremony a duel a prison scene and a masked-ball involving the three continents Europe Africa and Asia.The vocal score to “Almira” by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732 Georg Philipp Telemann removed the Aria no. 28 “Ingrato spietato” from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Edition”.Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträge”.Now the aria can be performed again. Furthermore with the help of this new source missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition” volume could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar” (no. 71).- Urtext edition based on the “Halle Handel Edition”- Original German and Italian text with a German translation of the Italian arias

Samson , an oratorio for soloists, mixed chorus and orchestra by George Frideric Handel, libretto by Newburgh Hamilton after Milton's Samson Agonistes . Edited by Donald Burrows. This latest addition to the Novello Handel Edition is the first complete, modern edition of the composer's longest oratorio, prepared after examination of all known contemporary sources, both music and word-books. The publication embodies the complete text known to have been performed at the Covent Garden premiere in 1743, as well as identifying the later shorter versions and additions performed regularly by Handel, and an Appendix of all further variants created by him and performed during his lifetime. It is thus a comprehensive and flexible edition for between four and eight soloists, with an abundance of choral writing and some of Handel's most sublime writing for voices. Includes an historical preface, extensive notes on the performance of the different versions and useful practical notes on the interpretation of Handel. / Chant Et Piano

Arrangeur: Siegfried Petrenz. Par HAENDEL GEORG FRIEDRICH. George Frideric Handel is considered England’s first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759. In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions. Handel's Messiah Messias) for SATB and Piano./ Répertoire / Choeur Mixte et Instrument Divers

The magnificent interweaving of harmonies and dialogue-like Voices in Handel’s For Unto Us A Child Is Born make it a perfect addition to the festive choral repertoire. German-born British Baroque composer George Frideric Handel originally composed this piece in 1741 for the English-language oratorio Messiah which eventually became one of the best-known and most frequently performed choral works in Western music. As the last song of Scene 3 of Part I of the oratorio which addresses Isaiah's specific prophecy about the virgin birth of a Messiah For Unto Us A Child Is Born tells the news of Christmas thebirth of a son in Isaiah’s words as found in the Scripture (Isaiah 9:6). The delicate familiar theme is introduced by the Sopranos and taken up by their counter-voices the Tenors later the same dialog is given over to the Altos and Basses. The tutti culminates in 'Wonderful' 'Counselor' 'The Mighty God' 'The Everlasting Father' and 'The Prince of Peace'.

The magnificent interweaving of harmonies and dialogue-like Voices in Handel’s For Unto Us A Child Is Born make it a perfect addition to the festive choral repertoire. German-born British Baroque composer George Frideric Handel originally composed this piece in 1741 for the English-language oratorio Messiah which eventually became one of the best-known and most frequently performed choral works in Western music. As the last song of Scene 3 of Part I of the oratorio which addresses Isaiah's specific prophecy about the virgin birth of a Messiah For Unto Us A Child Is Born tells the news of Christmas thebirth of a son in Isaiah’s words as found in the Scripture (Isaiah 9:6). The delicate familiar theme is introduced by the Sopranos and taken up by their counter-voices the Tenors later the same dialog is given over to the Altos and Basses. The tutti culminates in 'Wonderful' 'Counselor' 'The Mighty God' 'The Everlasting Father' and 'The Prince of Peace'.