Instrument : mixed choir (SATB), soloists (TBar) and orchestra Type : choral score Nombre de Pages : 22

Written for the reconsecration of Coventry Cathedral Benjamin Britten's War Requiem Op.66 was first performed there on the 30th May 1962. The War Requiem was not meant to be a pro-British piece or a glorification of British soldiers but a public statement of Britten's anti-war convictions. This a Vocal Score for SATB chorus arranged by Imogen Holst. The full score for SATB and Orchestra can be found here .

HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale

Oratorio in three parts-In quite characteristic fashion for the times Handel’s opera “Alessandro” looks at various episodes in the life and rule of Alexander the Great (356 323 BC). This legendary warrior and military commander conquered large parts of the world before meeting an untimely end at the age of 32. A central conflict in Handel’s opera is Alessandro being in love with two women Lisaura and Rossane who compete for his favour. In addition his claim to be of divine parentage is underlined occasioning him to demand the subservience of his followers which meets with vigorous disapproval.Handel composed “Alessandro” for the Royal Academyof Music to a libretto by Paolo Antonio Rolli in the 1725/26 season. The work was premiered at the King’s Theatre in London on 5 May 1726. “Alessandro” was the first of five operas for the Royal Academy operas which saw Handel compose for three of the most famous singers of his time: Francesco Bernardi (called Senesino) Francesca Cuzzoni and Faustina Bordoni.Ortensio Mauro’s libretto “La superbia d’Alessandro ” which was performed for the first time in Hanover in 1690 in a musical setting by Agostino Steffani and staged again in the city the following year under the title “Il zelo di Leonato” but with numerous alterations served as the source text for Handel’s “Alessandro”. One of the main aspects Rolli had to consider when preparing the libretto for the London performances was to keep the roles of the famous singers of the Royal Academy well balanced yet at the same time to engineer a musical contest between the prima donnas Cuzzoni and Bordoni (Lisaura and Rossane) as well. From a business point of view it made good sense for such rivalry would surely increase public interest in the opera.It is no longer possible to ascertain which changes Handel made during the following performance series of the 1727/28 season. For the performance series of 1732/33 Handel made substantial revisions to the opera: six numbers were deleted in their entirety the finale in part as well and the recitatives were made much shorter with the parts of Cleone and Leonato omitted

Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.

Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.

Ode for St. Cecilia's Day-Alexander's Feast or The Power of Musick HWV 75Ode for St. Cecilia's DayIn 1736 Handel composed ?Alexander?s Feast? or ?The Power of Musick? a two-part cantata based on John Dryden?s poem of the same name.Now in a revised edition. For the new edition of Handel?s ?Alexander?s Feast? the dynamic markings have been thoroughly revised. The three movements which Handel had added are published for the first time in the Vocal score. The readability of the edition has been much improved and the writing of the Piano part has become more idiomatic.- Clear straightforward Piano reduction in the Vocal score- Urtext of the Halle Handel Edition- Full score (BA4001) & Vocal score (BA400192) available for sale- Performance material available for hire

Opera in three acts. Par STRAWINSKY IGOR. New edition of Stravinsky?s largest work, his only full-length work for the theatre, and his first major work in English. It also represents the culmination of his neoclassical years, after which he started to rethink his musical language. Inspired by an exhibition in Chicago in 1947 of a series of Hogarth prints, the depiction of the ironic progress of the spendthrift heir of a miser from wealth via debt to madness and death is, in essence, retained in the opera. Auden and Kallman's 'fable' wittily grafts onto Hogarth?s quest narrative aspects of, among other sources, Classical pastoral, the Faust legend, fairy tale, circus, the Bible and opera in many different manifestations. This is brilliantly matched by Stravinsky?s music, which takes as its source the whole of operatic history from Monteverdi to Verdi via Rossini and Donizetti and large doses of Mozart, yet it is neither parody nor pastiche. The Rake?s Progress can be appreciated on many levels, which might explain why it is still one of only a handful of 20th-century operas never to have been out of the repertoire. / Date parution : 2023-10-31/ Répertoire / Solistes, Choeur et Orchestre

Cantata in two parts-In 1736 Handel composed ?Alexander?s Feast? or ?The Power of Musick? a two-part cantata based on John Dryden?s poem of the same name.In 1790 at the suggestion of Baron Gottfried van Swieten Mozart arranged this work using a German translation of the poem made by Karl Wilhelm Ramler in 1770. As in other arrangements of Handelian works Mozart?s re-instrumentation leads to a change in the sound character of the work placing the composition in the tradition of the Viennese Classic.Urtext of the New Mozart EditionFull score (BA4527-01) vocal score (BA4527-90) available for salePerformance material available for hire (BA4527-72)

Oratorio in three parts-Oratorio in three parts The oratorio “Athalia” tells the Old Testament story of the Queen Athalia. Handel composed it in 1733 for Oxford University where it was first performed later that year during the celebrations for the awarding of honorary degrees. The great success of this performance is generally regarded as a reason for Handel’s renewed interest in the oratorio form. As was frequently the case Handel also carried on composing this work after the first performance. Thus for the version which was performed in London in 1735 he introduced numbers in Italian for the Italian singer Carestini in the roleof Joad. He also ended the work with an organ concerto. For the performance in 1756 he drew on other works for the third act. Conversely large parts of the music to Athalia form the basis for other works by Handel such as “Parnasso in festa” (HWV 73) and the Wedding Anthem (HWV 262). The Piano reduction by Andreas Köhs (BA4082-90) based on the Urtext of the “Halle Handel” Edition includes the main version of 1733 together with an appendix containing the versions of 1735 and 1756 as well as the outline of a planned version of 1743 which was not performed. - Based on the Urtext of the “Halle Handel” Edition - Includes all versions - Detailed foreword (Ger/Eng) - Full score (BA4082) and Vocal score (BA4082-90) available for sale - Performance material (BA4082-72) available for hire

Vocal score and performance material available for sale.Lavishly scored oratorio of a festive nature.Based on the New Bach Edition.Bilingual foreword by Andreas Glöckner (Ger/Eng).Bach composed his oratorio for the Feast of the Ascension in Leipzig in 1735. Though this work has the duration of a cantata the choice of text places it among the oratorios. It combines the biblical account of the Ascension with chorales and free madrigal poems. As in other works which were composed during this same year (e.g. the Christmas Oratorio) Bach reveals a special fondness for colourful orchestration with two Flutes two Oboes threeTrumpets Timpani and Strings creating a splendid Baroque sound with a strikingly festive character.This edition is based on the thoroughly researched musical text from the New Bach Edition.