SKU: TI.TR00819
ISBN 9790692046639.
SKU: BA.BA04033
ISBN 9790006443406. 33.1 x 26 cm inches. Text Language: Italian. Giacomo Rossi.
This was Handel’s first opera for London, first performed at the theatre in the Haymarket in February 1711. It was strong in both music (including recomposed versions of some movements that Handel had previously written for his operas in Italy) and staging: a contemporary described the opera as ‘filled with Thunder and Lightening, Illuminations and Fireworks’.
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
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
SKU: PR.11640342S
UPC: 680160687749.
The Body Electric draws its inspiration from great American poet, Walt Whitman's work I Sing the Body Electric. Two years earlier, while writing a setting of Whitman's Crossing Brooklyn Ferry for baritone and chamber orchestra, I became enamored with many of the poems from his collection, The Leaves of Grass. I had not revisited Whitman's poetry since high school and that distance provided a fresh look at Whitman's poetry. In the spring of 2009, I came back to this collection and decided to write another work inspired by Whitman's poetry, this time for chamber orchestra alone. Writing a work that attempted to capture the mood of this epic poem seemed impossible. Because of the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blow of the poem seemed equally impossible. For me, the solution was to take three fragments of the poem and focus on conveying their particular moods. In the score, I have included the following lines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Body at auction. the Body Electric was written for the 2009 Wellesley College Composers Conference and was premiered on the final concert of the conference with Jim Baker conducting. Clint Needham.the Body Electric draws its inspiration from great American poet, Walt Whitman’s work I Sing theBody Electric. Two years earlier, while writing a setting of Whitman’s Crossing Brooklyn Ferry forbaritone and chamber orchestra, I became enamored with many of the poems from his collection,The Leaves of Grass. I had not revisited Whitman’s poetry since high school and that distanceprovided a fresh look at Whitman’s poetry. In the spring of 2009, I came back to this collectionand decided to write another work inspired by Whitman’s poetry, this time for chamber orchestraalone.Writing a work that attempted to capture the mood of this epic poem seemed impossible. Becauseof the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blowof the poem seemed equally impossible. For me, the solution was to take three fragments of thepoem and focus on conveying their particular moods. In the score, I have included the followinglines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Bodyat auction.the Body Electric was written for the 2009 Wellesley College Composers Conference and waspremiered on the final concert of the conference with Jim Baker conducting.Clint Needham.
SKU: PR.446413400
UPC: 680160667406. 9 x 12 inches.
Tightrope Walker is my first piece for full orchestra. Given the large forces available to me, I wanted to write something exciting, colorful and visceral. I remembered back to when I was a kid going to see the Cirque du Soleil. That trip made a big impression on me, especially the high wire performers. These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending. This idea of danger, of risking one's life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience. The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds. These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker. The tempo slows and the atmosphere becomes tense. The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns. The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored. We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms. The anticipation builds until we hear a solo drum roll - the main act is about to begin. The second half of the piece depicts the Tightrope Walker performing for his audience. But from the outset, as in the beginning of the piece, we hear there are problems. The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.Tightrope Walker is my first piece for full orchestra. Given the large forces available to me, I wanted to write something exciting, colorful and visceral. I remembered back to when I was a kid going to see the Cirque du Soleil. That trip made a big impression on me, especially the high wire performers. These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending. This idea of danger, of risking one’s life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience.The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds. These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker. The tempo slows and the atmosphere becomes tense. The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns. The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored.We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms.  The anticipation builds until we hear a solo drum roll - the main act is about to begin. The second half of the piece depicts the Tightrope Walker performing for his audience. But from the outset, as in the beginning of the piece, we hear there are problems. The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.
SKU: PR.11640342L
UPC: 680160687756.
SKU: PR.44641340L
UPC: 680160667413. 11 x 17 inches.
SKU: CF.CPS204F
ISBN 9781491148303. UPC: 680160905805. 9 x 12 inches.
Use this piece to celebrate someone's birthday or just for fun in a concert setting. Happy Birthday Theme and Variations is a novelty arrangement that incorporates traditional melodic variation techniques along with familiar classical-music themes to entertain your audience. Challenge your students and audience to identify these melodic fragments.
SKU: CA.4016911
ISBN 9790007063535. Language: German/English.
Men delssohns unfinished 3rd oratorio in its first critical edition. The parts Die Geburt Christi and Das Leiden Christi are presented with full orchestration. In 1852, five years after Mendelsohn's death, two independently-performable fragments of an unfinished oratorio were published under the title Christus. The second fragment, The Suffering of Jesus, comes from the middle of the Passion story: the scene Jesus before Pilot is presented with rapid, dramatic alternation between the recitatives of the evangelist (tenor) and choruses of the people. A contemplative choral movement closes the fragment.
SKU: CA.4017015
ISBN 9790007063665. Language: German/English.
SKU: CA.4016919
ISBN 9790007133122. Language: German/English.
SKU: CA.4017012
ISBN 9790007063634. Language: German/English.
SKU: CA.4016915
ISBN 9790007063573. Language: German/English.
SKU: PR.11640976L
UPC: 680160682775. Das Stundenbuch.
This cycle of orchestral songs sets four poems from an early collection by Rilke entitled Das Stundenbuch, or in English, Book of Hours. Although the title refers to a medieval book of prayers for the various times of day and seasons of the liturgical year, Rilke's texts occupy a position some distance from conventional piety. There is a melancholy to the spirituality expressed here, which speaks of an experience of God that is fragmentary, imperfect, and unattainable. The solitude evoked in the second song (as layers of busy activity are gradually peeled away) offers some solace, but the third song is very dark and fierce, filled with a desperate, even manic desire for God. The last song returns to the mood of the first, but now in a global rather than individual context. This song, like the set as a whole, speaks of our world's brokenness, yet strives to stammer fragments of God's name.
SKU: CA.4016909
ISBN 9790007063528. Language: German/English.
SKU: CA.4017013
ISBN 9790007063641. Language: German/English.
SKU: CA.4017011
ISBN 9790007063627. Language: German/English.
SKU: CA.4016914
ISBN 9790007063566. Language: German/English.
SKU: CA.4017019
ISBN 9790007133139. Language: German/English.
SKU: CA.4017009
ISBN 9790007063610. Language: German/English.
SKU: CF.CPS204
ISBN 9781491147603. UPC: 680160905102. 9 x 12 inches.
SKU: CA.4016913
ISBN 9790007063559. Language: German/English.
SKU: CA.5180109
ISBN 9790007225339. Language: Latin.
When Wolfgang Amadeus Mozart returned to Salzburg in January 1779 from his journey to Paris, his luggage contained a single church music work - an unfinished Kyrie in E flat major (KV 296a) together with sketches for the Sanctus and Benedictus (KV 296c). In 2015, at the suggestion of the late Armin Kircher, Johann Simon Kreuzpointner set about compiling a five-movement setting of the mass from this material, also drawing on an unfinished cantata in E flat major (KV 429). For the orchestration and text underlay, Kreuzpointner took his cue from Mozart's church music works. With this edition Kreuzpointner, an experienced church musician and composer, created a convincing and stylistically assured work, which he tried out in several performances. The result is a concise setting of the mass, good to sing, which does not present any great difficulties for soloists, chorus, or orchestra. The title Missa brevissima does not come from Mozart, but was chosen because of the brevity of the mass setting with its missing Credo. It also underlines the special status of this setting of the mass. Score and parts available separately - see item CA.5180100.
SKU: CA.4017014
ISBN 9790007063658. Language: German/English.