SKU: HH.HH390-FSP
ISBN 9781910359280.
Greene’s seven chamber arias – today, we would call them ‘concert arias’ – include a set of six that appears to have been custom-written for Faustina Bordoni, the great Venetian diva, during her visits to London in 1726–28, since (among other things) they all showcase her ‘trademark’ note: the E in the top space of the treble clef that particularly thrilled opera-goers. The obbligato violin part for all of them was probably written for the violinist and composer Mauro D’Alay, her constant companion and reputed lover. All six works are substantial and full of character and expression as well as melodiousness and contrapuntal finesse. They show a composer at the peak of his inspiration and ambition.
SKU: HH.HH391-FSP
ISBN 979 0 708146 05 N6.
SKU: BA.BA05851-90
ISBN 9790006560042. 27 x 19 cm inches. Language: German. Preface: Reipsch, Ralph-Jürgen.
A festive piece for church and concert hallComposed around 1760,Die Auferstehung und Himmelfahrt Jesuis one of Telemann's last large-scale vocal works. The libretto, by Karl Wilhelm Ramler, recounts the Biblical events from the Resurrection to the Ascension in seven sections.Alternating between recitative, da capo arias and festive choruses, Telemann succeeds in producing a vivid and effective musical interpretation of the libretto.Our edition of this oratorio is based on the Urtext fromGeorg Philipp Telemann Musical Works. The score contains a realisation of the continuo part. The work is ideal for performances in church and concert hall alike.
SKU: BA.BA05851-02
ISBN 9790006560059. 31 x 24.3 cm inches. Language: German. Preface: Reipsch, Ralph-Jürgen.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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: BA.BA04096
ISBN 9790006550098. 33 x 26 cm inches. Text Language: Italian. Preface: Terence Best. Text: Carlo Sigismondo Capece.
The Italian oratorio La Resurrezione (The Resurrection) was written during Handel’s time in Rome. It was performed on Easter Sunday 1708 with great splendour and extravagance by a large orchestra conducted by Arcangelo Corelli in the Palazzo Bonelli, the Roman palazzo of Handel’s patron the Marchese Francesco Maria Ruspoli. In its dramatic structure and characterisation of the protagonists, the work displays a striking affinity with Italian opera. Lucifer’s raging sixty fourth notes call to mind the demon characters in Venetian opera and Maddalena’s arias are so full of expressive power and virtuosity that Handel later incorporated one of them into his opera Agrippina. The unusual musical richness of this work and the virtuosic and masterly shaping of the arias make it a welcome addition to any concert programme.
SKU: HL.373786
ISBN 9781705149867. UPC: 196288016519. 6.75x10.5x0.631 inches.
Die Schöpfung is not only a decisive high point in Joseph Haydn's career as a composer, but also marks a turning point in the history of the oratorio in general. On the threshold of the 19th century, Haydn broke with the traditional dominance of arias, gave the chorus much greater importance and thus paved the way for a new “chororatorio†- one of the main pillars of the up-and-coming bourgeois concert life. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound†to create the portmanteau word “sound together†or “harmony.†The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
SKU: CA.3321591
Latin.
C. P. E. Bach's nine-movement Magnificat (1749), the first great vocal work from his Berlin years, is among the most magnificent sounding, in which the solo vocal parts are also among the most ambitious settings of the Hymn to the Virgin Mary (Luke 1). The work fulfills all the criteria required for a larger sacred composition: grandeur, dignity, polyphonic and concertante choral movements, sensitive (empfindsam) and expressive arias, a long concluding double fugue. This richly scored Magnificat (with 3 trumpets and timp. ad. lib.), which is almost one hour in duration, would be well suited, for example, as the central work on every Christmas or pre-Christmas concert programme. Also available in carus music, the choir app! Score available separately - see item CA.3321500.
SKU: BA.BA10722
ISBN 9790006567713. 31 x 24.3 cm inches. Text Language: English.
Following upon “Alexander’s Feast†(1736), in 1739 Handel produced a second setting of the “Ode to St Cecilia†(“Song for St Cecilia’s Dayâ€). At its première it was combined with “Alexander’s Feastâ€. Rather than a dramatic plot presentable in the theatre, the Ode, in its seven sections, offers a general hymn of praise to music and its impact. Accordingly, it largely consists of emotion-laden arias and festive orchestration.This edition, based on the Urtext from the “Halle Handel Editionâ€, offers the version heard at the first performance – the version preferred in today’s concert life. The foreword (Ger/Eng) provides many detailed notes on performance practice with regard to orchestration.
