Matériel : Partition + CD
Cette superbe collection nouvelle permet de chanteurs chanter avec les hits mêmes la McKinley High enfants de ceinture sur l'émission de télévision FOX Smash. Le livre comprend des parties SATB et le CD propose des spectacles complets. Tourner sur le CD, ouvrez le livre, choisissez votre partie, et chanter en même temps! / SATB / 64 pages / Partition Cd
SKU: BA.BA04590-01
ISBN 9790006451296. 33 x 26 cm inches. Text Language: Italian. Text: Giovanni de Gamerra.
On 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate, K.87 (74a), for the 1770-71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770, and the premiere duly took place on the Feast of St. Stephen (26 December) in 1770. The second, Lucio Silla (K. 135), again commissioned for the 1771-72 Carneval season in Milan, doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona, where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand, the third son of Maria Theresia, scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba, K. 111.)
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: CA.3124899
ISBN 9790007085421. Language: German/English.
Wit h the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. The basis for this publication are Bach's autograph score and the original parts. The conducting score contains an appendix with a concise Critical Report which provides information about the sources and their readings; when necessary, the latter are discussed in more detail, especially with regard to how the editor arrived at solutions for questions of articulation which differ from those found in previous editions. The representative, clothbound volume is supplemented by a study score as well as a choral score, a vocal score and complete orchestral material. In the orchestral material short excerpts containing the conclusions of the secco recitatives are rendered with cue notes in separate vocal systems printed above the score where the instrumentalists pause, thus enabling them make their entrances in the movements which follow these recitatives. This work is also available in carus music, the choir app! Score and part available separately - see item CA.3124800.
SKU: BA.BA05862
ISBN 9790006498048. 33 x 26 cm inches.
SKU: BA.BA10726-01
ISBN 9790006575596. 33 x 26 cm inches. Text Language: Italian. Preface: Pacholke, Michael.
In the brief half-year period from August 14, 1736, to January 27, 1737, Georg Friedrich Handel achieved an unprecedented level of productivity in his opera compositions, creating three operas. Additionally, in March 1737, he also composed a largely new oratorio titled ??Il trionfo del Tempo e della Verità? (??The Triumph of Time and Truth?) HWV 46b. The libretto of this oratorio closely corresponds to that of the oratorio ??La Bellezza ravveduta nel trionfo del Tempo e del Disinganno? (??Beauty Reconciled in the Triumph of Time and Enlightenment?) HWV 46a written in 1707. With ??La Bellezza ravveduta?, Handel composed an allegorical and particularly dramatic oratorio right at the beginning of his oratorio compositions. In this work, there is no chorus inclined towards reflection. Not only do the four allegorical figures, Bellezza (Beauty), Piacere (Pleasure), Tempo (Time), and Disinganno (Enlightenment), listen to each other and react to the ideas presented by the others, but this prevailing dramatic principle of dispute is also found in the recitatives.In 1737, when reworking the oratorio material as ??Il trionfo del Tempo e della Verità?, Handel approached the task pragmatically. He needed a new non-dramatic work to fulfill the evening??s program for his audience at the Covent Garden Theatre during the fasting season when theatrical performances were prohibited. Although he had excellent Italian vocal soloists, notorious for their pronunciation in Handel??s English oratorios and who naturally preferred singing in Italian, Handel found a solution. It was evident to Handel that, in response to the ban on performances of his Italian operas during the fasting season of 1737, he should promptly create a new oratorio in the Italian language but following the three-part ??English? oratorio form that he had developed in ??Esther? HWV 50b in 1732. Unlike in Rome in 1707, he had access to a chorus in London in 1737, and the English oratorio, with its substantial choral sections, a preference for concert-like rather than dramatic composition, and frequent inclusion of organ concertos loosely related to the narrative, was already established.The new volume of the HHA includes the original version of the 1737 premiere as well as all the surviving early and later versions (the latter being exceptional highlights) of individual musical pieces from ??Il trionfo del Tempo e della Verità?.
SKU: HL.8749443
ISBN 9781423464396. UPC: 884088276874. 6.75x10.5x0.202 inches.
Sing on Sight is a comprehensive sight-singing method by Audrey Snyder. Volume Two builds on the skills established in Volume One and moves step by step to full, choral sight-singing. The recorded accompaniments include a wide variety of styles, from classical to contemporary, and folk music to pop and jazz. Exercises are written so that two or more lines may be sung simultaneously, so students gain sight-singing independence and develop their part-singing skills. With just a few minutes a day Sing on Sight can help your choirs learn to read music and have fun in the process! Student and Teacher Editions available separately: both Unison/2-Part Treble and 2-Part/3-Part Mixed. Accompaniment CD (coincides with both voicings) also available. Classroom Kits include 25 Student Books, 1 Teacher Edition and 1 Accompaniment CD.
SKU: 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.
SKU: BA.BA04014
ISBN 9790006442935. 33 x 26 cm inches. Text Language: English. Preface: Nott, Kenneth. Text: Thomas Morell.
“Jephtha is Handel’s last oratorio. Handel had to break off from composing several times because of his increasing blindness in 1751. The first performance at the Covent Garden Theatre in February 1752 was the last performance he conducted before he went completely blind.In “Jephtha”, Handel succeeded in achieving the perfect fusion between a biblical plot and the spirit of classical tragedy. With great intensity and dramatic expression he highlighted in particular the fates of Jephtha and Iphis , thereby portraying convincing and complex characters.The chorus “How Dark, O Lord, are Thy Decrees” at the end of part two is of crucial importance in the work and is regarded as the dramatic high point of the oratorio.The vocal score is based on volume I/30 of the “Halle Handel Edition” (BA 4014), which contains the complete critical version of the music of the oratorio for the first time.
SKU: 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.
