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Instrumentations
Barenreiter
PIANO & CLAVIERS
1 Piano, 4 mains
65
1 Piano, 6 mains
1
2 Pianos, 3 mains
1
2 Pianos, 4 mains
71
3 Pianos
2
Accompagnement Piano
2
Clavecin
86
Clavecin et Cordes
8
Clavier
56
Flûte, Harpe et Piano
1
Instrument seul et Orgue
12
Orgue
938
Orgue et Orchestre
35
Orgue, Percussion
2
Orgue, Piano (duo)
6
Piano et Orchestre
253
Piano Quatuor: piano, violon, alto, violoncelle
13
Piano Quintette: Instruments de chambre mixtes
1
Piano Quintette: piano, 2 violons, alto, violoncelle
14
Piano Quintette: piano, violon, alto, violoncelle, contre basse
2
Piano seul
1037
Piano Trio: Instruments de chambre mixtes
2
Piano Trio: piano, violon, violoncelle
51
Piano Trio: Violon, Alto, Piano
1
Piano, Voix
161
Piano, Voix et Guitare
2
GUITARE
2 Guitares (duo)
26
3 Guitares (trio)
13
4 Guitares (Quatuor)
9
Alto, Guitare (duo)
2
Basse electrique
1
Ensemble de guitares
3
Flûte et Guitare
12
Guitare
139
Guitare, Quatuor à cordes
1
Mandoline, Guitare (duo)
1
Piano, Voix et Guitare
2
Violon, Guitare (duo)
1
Voix, Guitare
2
VOIX
Chorale
235
Chorale 2 parties
7
Chorale 3 parties
53
Chorale SATB
757
Chorale SATTBB A Cappella
1
Chorale Soprano seul, SATB, Clavier
2
Chorale SSAA
17
Chorale SSAATB A Cappella
1
Chorale SSAATBB, Orgue
2
Chorale SSAATTBB
23
Chorale SSAB a cappella
1
Chorale SSATB
48
Chorale SSATBB
8
Chorale SSATTB
2
Chorale SSATTBB
2
Chorale TTBB
108
Chorale, Orchestre
60
Chorale, Orgue
4
Libretto
1
Opéra
77
Orchestre d'harmonie, Chorale-Voix
16
Orgue, choeur mixte et orchestre
3
Orgue, Voix
3
Piano, Voix
161
Soli et Orchestre
22
Voix Baryton
2
Voix Baryton, Piano
17
Voix basse
1
Voix basse, Orgue
1
Voix basse, Piano
23
Voix d'Enfants, Instruments
1
Voix d'Enfants, Piano
2
Voix duo
2
Voix duo, Piano
1
Voix et basse continue
1
Voix et Orchestre
14
Voix haute, Piano
54
Voix Mezzo-Soprano, Piano
5
Voix Moyenne
8
Voix moyenne, Piano
49
Voix seule
20
Voix Soprano
3
Voix Soprano, Orchestre
1
Voix Soprano, Piano
27
Voix Tenor, Piano
21
Voix, Clarinette, Piano
2
Voix, Guitare
2
Voix, Orgue
15
VENTS
2 Clarinettes (duo)
10
2 clarinettes, 2 bassons
1
2 Flûte à bec (duo)
30
2 Flûtes à bec, Basse continue (trio)
7
2 Flûtes à bec, Piano
1
2 Flûtes traversières (duo)
31
2 Flûtes traversières, Piano
6
2 Flûtes traversières, Violoncelle
1
2 Flûtes, Basse continue
3
2 Hautbois et Basson
1
2 Hautbois, 2 Cors et 2 Bassons
1
2 Hautbois, Piano
1
2 Saxophones, Piano
1
3 Clarinettes (trio)
6
3 Flûtes à bec (trio)
5
4 Hautbois
2
5 Flûtes à bec
1
Basson
13
Basson, Piano (duo)
9
Clarinette
23
Clarinette Basse
3
Clarinette et Cordes
2
Clarinette et Piano
33
Clarinette, Alto et Piano (trio)
1
Clarinette, Orchestre
12
Clarinette, Violoncelle, Piano (trio)
3
Cor Anglais
4
Ensemble De Flûte à bec
4
Flûte à Bec
16
Flûte à bec Alto
14
Flûte à bec Alto, Basse continue
9
Flûte à bec Alto, Piano
4
Flûte à bec Soprano
11
Flûte à bec Soprano, Basse continue
4
Flûte à bec Soprano, Piano
7
Flûte à bec Tenor
1
Flûte à bec, Basse continue
2
Flûte à Bec, Piano
8
Flûte et Guitare
12
Flûte et Trio à cordes
1
Flûte traversière
103
Flûte traversière et Piano
68
Flûte traversière, Basse continue
24
Flûte traversière, Clavecin
1
Flûte traversière, Orchestre
25
Flûte traversière, Orgue (duo)
1
Flûte, Alto et Violoncelle
1
Flûte, Clarinette (duo)
7
Flûte, Harpe et Piano
1
Flûte, Hautbois, Basson
1
Flûte, Hautbois, Violon, Violoncelle, basse continue (Quatuor)
1
Flûte, Violon
2
Flûte, Violon et Violoncelle
4
Flûte, Violon, Alto
1
Flûte, Violon, Clavier (basse continue)
10
Flûte, Violon, Piano
2
Flûte, Violon, Violoncelle et Piano
4
Flûte, Violoncelle
2
Flûte, Violoncelle, Piano (trio)
2
Hautbois
44
Hautbois et Orchestre
8
Hautbois, Basse continue
6
Hautbois, Clarinette, Basson (trio d'anches)
1
Hautbois, Clarinette, Basson et Piano
1
Hautbois, Cor, Piano (trio)
1
Hautbois, Orgue
2
Hautbois, Piano (duo)
11
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Hautbois, Violon, Piano
2
Quatuor de Clarinettes: 4 clarinettes
1
Quatuor de Flûtes : 4 flûtes
8
Quatuor de Flûtes : Flûte, Violon, Alto, Violoncelle
7
Quatuor de Flûtes à bec
23
Quintette à Vent
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
20
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Quintette de Clarinettes: 5 clarinettes
1
Saxophone
7
Saxophone Alto
6
Saxophone Alto et Piano
4
Saxophone et Orchestre
2
Saxophone et Orgue
2
Saxophone et Piano
1
Soli, choeur mixte et accompagnement
623
Trio de Flûtes: 3 flûtes
9
Violon, Clarinette, Piano (trio)
1
Violon, Cor et Piano
3
Voix, Clarinette, Piano
2
CUIVRES
2 Cors (duo)
1
3 Cors (trio)
1
Cor
10
Cor et Piano
10
Cor, Orchestre
25
Cor, Violon, 2 Altos, Violoncelle
1
Ensemble de cuivres, Orgue
2
Orgue et Quatuor de cuivre
1
Orgue, Trompette (duo)
6
Quatuor de cuivres: 4 trombones
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
5
Trombone
8
Trombone et orchestre
2
Trombone et Piano
2
Trompette
12
Trompette, Orchestre
3
Trompette, Piano
10
Tuba
4
PERCUSSIONS
Batterie
7
Batterie et Piano
1
Ensemble de Percussions
2
Percussion
6
Vibraphone, Marimba et Violoncelle
1
CORDES
2 Altos (duo)
1
2 Altos, Piano
1
2 Violoncelles (duo)
21
2 Violoncelles, Piano
3
2 Violons (duo)
24
2 Violons et Basse continue
24
2 Violons, Piano
6
4 Violoncelles
2
Accordéon, Corde(s)
1
Alto (partie séparée)
1
Alto et orchestre
4
Alto seul
268
Alto, Guitare (duo)
2
Alto, Orgue
3
Alto, Piano
55
Alto, Violoncelle (duo)
2
Clarinette et Cordes
2
Clarinette, Alto et Piano (trio)
1
Clarinette, Violoncelle, Piano (trio)
3
Clavecin et Cordes
8
Contre Basse
72
Contrebasse (partie séparée)
1
Contrebasse, Piano (duo)
8
Cor, Violon, 2 Altos, Violoncelle
1
Flûte et Trio à cordes
1
Flûte, Alto et Violoncelle
1
Flûte, Hautbois, Violon, Violoncelle, basse continue (Quatuor)
1
Flûte, Violon
2
Flûte, Violon et Violoncelle
4
Flûte, Violon, Alto
1
Flûte, Violon, Clavier (basse continue)
10
Flûte, Violon, Piano
2
Flûte, Violon, Violoncelle et Piano
4
Flûte, Violoncelle
2
Flûte, Violoncelle, Piano (trio)
2
Guitare, Quatuor à cordes
1
Harpe
24
Harpe et Piano
1
Harpe, Orchestre
5
Harpe, Violoncelle (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Hautbois, Violon, Piano
2
Orchestre à Cordes
58
Orchestre de chambre
23
Piano Quatuor: piano, violon, alto, violoncelle
13
Piano Quintette: piano, 2 violons, alto, violoncelle
14
Piano Quintette: piano, violon, alto, violoncelle, contre basse
2
Piano Trio: piano, violon, violoncelle
51
Piano Trio: Violon, Alto, Piano
1
Quatuor à cordes: 2 violons, alto, violoncelle
338
Quatuor à cordes: 4 violons
1
Quatuor de Flûtes : Flûte, Violon, Alto, Violoncelle
7
Quintet à cordes
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Trio à cordes
4
Trio à Cordes: 2 violons, alto
4
Trio à Cordes: 2 violons, violoncelle
6
Trio à cordes: 3 violins
5
Trio à Cordes: violon, alto, violoncelle
20
Vibraphone, Marimba et Violoncelle
1
Viole de Gambe
3
Viole de Gambe, Basse continue
2
Viole de Gambe, Clavecin
1
Violon
387
Violon (partie séparée)
4
Violon et Piano
280
Violon, Alto (duo)
10
Violon, Alto et Orchestre
2
Violon, Basse continue
19
Violon, Clarinette, Piano (trio)
1
Violon, Cor et Piano
3
Violon, Guitare (duo)
1
Violon, Orgue
6
Violon, Violoncelle (duo)
15
Violon, Violoncelle et Contrebasse
1
Violon, Violoncelle, Orgue
1
Violoncelle
184
Violoncelle (partie séparée)
1
Violoncelle et Clavecin
1
Violoncelle, Basse continue
14
Violoncelle, Batterie (duo)
1
Violoncelle, Contrebasse (duo)
14
Violoncelle, Orchestre
58
Violoncelle, Orgue
2
Violoncelle, Piano
116
FOLK
2 Accordéons
1
Accordéon
21
Accordéon, Corde(s)
1
Guitare, Orchestre
2
Luth
4
Mandoline
3
Mandoline, Guitare (duo)
1
ENSEMBLE
2 Hautbois, 2 Cors et 2 Bassons
1
Alto (partie séparée)
1
Alto et orchestre
4
Basson, Orchestre
7
Chorale, Orchestre
60
Clarinette, Orchestre
12
Conducteur de poche, d'étude
66
Contrebasse (partie séparée)
1
Cor, Orchestre
25
Ensemble à vent
12
Ensemble d'École
1
Ensemble de cuivres, Orgue
2
Ensemble De Flûte à bec
4
Ensemble de guitares
3
Ensemble Jazz
1
Flûte traversière, Orchestre
25
Guitare, Orchestre
2
Harpe, Orchestre
5
Hautbois et Orchestre
8
Hautbois, Clarinette, Basson et Piano
1
Instrumentation Flexible
2
Orchestre
1393
Orchestre à Cordes
58
Orchestre d'harmonie
5
Orchestre d'harmonie, Chorale-Voix
16
Orchestre de chambre
23
Orchestre Symphonique
99
Orchestre, Violon
126
Orgue et Orchestre
35
Orgue, choeur mixte et orchestre
3
Piano et Orchestre
253
Piano Quintette: Instruments de chambre mixtes
1
Piano Trio: Instruments de chambre mixtes
2
Quintet à cordes
5
Saxophone et Orchestre
2
Soli et Orchestre
22
Soli, choeur mixte et accompagnement
623
Trombone et orchestre
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Instrument
Tous
ACCORDEON
ALTO
AUTOHARPE
BAJO SEXTO - QUINTO
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHORALE - CHANT
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
CORNEMUSE
CORNET
DIDGERIDOO
DOBRO - RESONATEUR
DULCIMER
EUPHONIUM
FANFARE - BANDA
FLUTE A BEC
FLUTE DE PAN
FLUTE IRLANDAISE
FLUTE TRAVERSIERE
FORMATION MUSICALE
GUITARE
GUITARE LAP STEEL
HARMONICA
HARPE
HAUTBOIS
INSTRUMENTS TRADITIONNELS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
OUD
PERCU. ORCHESTRE
PERCUSSION
PIANO
SAXHORN
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIDEOS DE MUSIQUE
VIOLE DE GAMBE
VIOLON
VIOLONCELLE
XYLOPHONE
Reset
Genre
Tous
AFRICAIN
AMERICANA
ASIE
BARBERSHOP
BLUES
CELTIQUE - IRISH - SCOTTISH
CHANSON ALLEMANDE
CHANSON FRANÇAISE
CHANSON ITALIENNE
CHRISTIAN (contemporain)
CLASSIQUE - BAROQUE - ROMANTIQ…
COMEDIES MUSICALES - CABARETS
CONTEMPORAIN - 20-21EME SIECLE
CONTEMPORAIN - NEW AGE
COUNTRY
EGLISE - SACRE
ENFANTS : COMEDIES MUSICALES -…
ENFANTS : EVEIL - INITIATION M…
EXAMENS
FILM - TV
FILM WALT DISNEY
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITIONNEL
GOSPEL - SPIRITUEL - INSPIRANT
HALLOWEEN
JAZZ
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORLD
MARIAGE - AMOUR - BALLADES
MEDIEVAL - RENAISSANCE
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROCK
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLASSIQUE
POP ROCK - ROCK MODERNE - ALTE…
PROFANE
RAGTIME
REGGAE
SOUL - R&B - HIP HOP - URBAIN
SPORT
TANGO
THANKSGIVING
Instrumentation
Tous
Piano seul [ 116863 ]
Chorale SATB [ 94746 ]
Piano, Voix [ 35301 ]
Orchestre [ 32149 ]
Guitare [ 27832 ]
Chorale 3 parties [ 23550 ]
Orgue [ 23120 ]
Piano, Voix et Guitare [ 19669 ]
Soli, choeur mixte et accompagnement [ 15092 ]
Chorale [ 12895 ]
Chorale 2 parties [ 12185 ]
CD Chorale [ 7664 ]
Chorale TTBB [ 7161 ]
Formation musicale - Solfège [ 4796 ]
Chorale Unison [ 4639 ]
Voix seule [ 4637 ]
Orchestre de chambre [ 4451 ]
Ensemble à vent [ 3685 ]
Chorale SSAA [ 3424 ]
Alto, Piano [ 3074 ]
Harpe [ 2705 ]
Partie séparée [ 2129 ]
Voix haute, Piano [ 1821 ]
Opéra [ 1732 ]
Chorale SSATB [ 1497 ]
Voix moyenne, Piano [ 1448 ]
Voix Soprano, Piano [ 1302 ]
Chorale SSAATTBB [ 1277 ]
Voix d'Enfants [ 1199 ]
Voix basse, Piano [ 1115 ]
Paroles et Accords [ 877 ]
Voix, Guitare [ 632 ]
Tous Les Instruments [ 629 ]
Ligne De Mélodie, (Paroles) et Accords [ 588 ]
Voix Baryton, Piano [ 568 ]
Voix Tenor, Piano [ 517 ]
CD [ 513 ]
Voix Mezzo-Soprano, Piano [ 507 ]
Ensemble d'École [ 464 ]
Orgue, Trompette (duo) [ 446 ]
Accompagnement Piano [ 435 ]
Orchestre d'harmonie, Chorale-Voix [ 425 ]
Eveil Musical [ 402 ]
Chorale SSATBB [ 340 ]
Voix Soprano [ 299 ]
Chorale SSATTB [ 284 ]
Voix Soprano, Orchestre [ 268 ]
Voix haute [ 232 ]
Chorale, Orchestre [ 230 ]
Voix et Orchestre [ 229 ]
Voix Mezzo-Soprano [ 220 ]
Alto et orchestre [ 215 ]
Voix basse [ 211 ]
Voix duo, Piano [ 197 ]
Voix Baryton [ 166 ]
Voix Tenor [ 157 ]
Voix d'Enfants, Piano [ 153 ]
Voix Moyenne [ 128 ]
Hautbois et Orchestre [ 127 ]
Voix duo [ 125 ]
Karaoke CD [ 124 ]
Chorale SATBB [ 120 ]
Fake Book [ 109 ]
Voix, Orgue [ 94 ]
Libretto [ 87 ]
Paroles Seulement [ 80 ]
Chant, Piano facile [ 70 ]
Chorale SATTBB A Cappella [ 68 ]
Chorale SSAB, Piano [ 67 ]
Chorale SSAATB [ 65 ]
Lecture à vue [ 64 ]
Chorale SSAB a cappella [ 63 ]
Chorale SSATTBB [ 46 ]
Chorale SATTB [ 44 ]
Soli et Orchestre [ 42 ]
Chorale Soprano seul, SATB, Clavier [ 36 ]
Chorale SAATTBB A Cappella [ 36 ]
Chorale, Orgue [ 34 ]
Chorale SSAATB A Cappella [ 28 ]
Voix d'Enfants, Instruments [ 24 ]
Chorale SAATB A Cappella [ 23 ]
Voix Alto, Piano [ 23 ]
Voix, Quatuor à cordes [ 22 ]
Voix Soprano, Orgue [ 22 ]
Voix et Big Band [ 21 ]
Orgue, Voix [ 20 ]
Voix duo, Orgue [ 20 ]
Voix Masculines, Piano [ 18 ]
Voix Mezzo-Soprano, Orchestre [ 18 ]
Harpe, Voix [ 16 ]
Chorale SSAATBB, Orgue [ 15 ]
Voix, Clarinette, Piano [ 14 ]
Chorale Tenor seul, SATB, Clavier [ 12 ]
Chorale SATTBB, Clavier [ 12 ]
Voix Soprano, Violoncelle [ 11 ]
Voix et Violon [ 10 ]
Chorale SATBBB A Cappella [ 10 ]
Voix haute, Orgue [ 9 ]
Chorale SAATB, Orgue [ 9 ]
Voix, Violoncelle et Piano [ 9 ]
Voix et basse continue [ 7 ]
Chorale SATTB, Clavier [ 6 ]
Voix et Flûte [ 6 ]
Voix moyenne, Orgue [ 6 ]
Orgue, choeur mixte et orchestre [ 5 ]
Voix Contralto et Piano [ 5 ]
Hautbois, Voix [ 4 ]
Voix basse, Orgue [ 4 ]
Voix, Violon et Piano [ 4 ]
Voix d'Enfants, Percussion [ 4 ]
Chorale SATB, Flûte, Hautbois, Bassoon [ 4 ]
Voix duo, Piano et accords Guitare [ 4 ]
Voix (avec Boîtes d'Accords) [ 3 ]
Voix Mezzo Soprano, Guitare [ 3 ]
Voix, Clarinette, Quintette à cordes [ 3 ]
Chorale SSAT, Orgue [ 3 ]
Voix, Quatuor à cordes, Piano [ 3 ]
Voix d'Enfants, Flûte(s) à bec [ 1 ]
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Der Herr Ist Mit Mir
23.80 €
Der Herr Ist Mit Mir
Chorale SATB
SATB, Cordes
[Conducteur et Parties séparées]
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/ 4 Parties Mixtes, Instruments A Cordes Et Basse Continue / Partition
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Antonio Vivaldi: Gloria RV 589 (Vocal Score): Mixed Choir: Vocal Score
7.50 €
Antonio Vivaldi: Gloria RV 589 (Vocal Score): Mixed Choir: Vocal Score
Soli, choeur mixte et accompagnement
Soli, chÂœur mixte et piano
[Partition]
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Today the Gloria RV 589 (BA 7674) is one of Vivaldi?s best-known compositions an...
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Today the Gloria RV 589 (BA 7674) is one of Vivaldi?s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the ?Gloria? as a self-contained work in the style of a concertante mass. However it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period at the Ospedale della Piet around 1716. In the twelve movements of the ?Gloria? Vivaldi displays the whole range of his mastery from festive sublime outer movements to tender transparently scored solopassages.The same mastery has also been applied to the ? Kyrie? RV 587 (BA 8950) scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral work without solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward clearly presented and preserve the character of the works.- Attractive choral pieces which can be combined to form a short mass.- Vocal score as well as choral score available for the ?Gloria?.- Informative foreword (Ger/Eng).
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By The Rivers of Babylon
11.54 €
By The Rivers of Babylon
Chorale SATB
[Conducteur]
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Par SAINT-SAENS CAMILLE. Psalm 137 'Super flumina Babylonis' also known as 'By t...
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Par SAINT-SAENS CAMILLE. Psalm 137 'Super flumina Babylonis' also known as 'By the rivers of Babylon' was an inspiration for many composers including Camille Saint-Saëns. He repeatedly occupied himself with his psalm motet for solo soprano, mixed choir, saxophone quartet, string orchestra and organ, originally composed in 1854. Two of the four versions ? the first version in Latin and a much later version in English for alto solo, SATB choir and piano ? are now available for the first time in Urtext performing editions taking a meticulous account of all the sources. / Date parution : 2023-07-31/ Répertoire / Alto, SATB et Piano
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Super Flumina Babylonis
9.22 €
Super Flumina Babylonis
Chorale SATB
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Par SAINT-SAENS CAMILLE. Psalm 137 'Super flumina Babylonis' also known as 'By t...
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Par SAINT-SAENS CAMILLE. Psalm 137 'Super flumina Babylonis' also known as 'By the rivers of Babylon' was an inspiration for many composers including Camille Saint-Saëns. He repeatedly occupied himself with his psalm motet for solo soprano, mixed choir, saxophone quartet, string orchestra and organ, originally composed in 1854. Two of the four versions ? the first version in Latin and a much later version in English for alto solo, SATB choir and piano ? are now available for the first time in Urtext performing editions taking a meticulous account of all the sources. Saint-Saëns lived up to his reputation as an innovative composer by exploring the use of the saxophone family in sacred music just a few years after the invention of these instruments. The successful combination of voice and saxophone creates a special sound experience. / Date parution : 2023-07-31/ Répertoire / Soprano, SATB et Ensemble
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Io RCT 45 (RAMEAU JEAN-PHILIPPE)
21.99 €
Io RCT 45 (RAMEAU JEAN-PHILIPPE)
Opéra
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Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rame...
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Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra
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CASTOR ET POLLUX (RAMEAU JEAN-PHILIPPE) (RAMEAU JEAN-PHILIPPE)
60.32 €
CASTOR ET POLLUX (RAMEAU JEAN-PHILIPPE) (RAMEAU JEAN-PHILIPPE)
Piano, Voix
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Par RAMEAU JEAN-PHILIPPE. Amongst Rameau?s stage works which have come down to u...
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Par RAMEAU JEAN-PHILIPPE. Amongst Rameau?s stage works which have come down to us in two main versions, such as ?Dardanus? (1739, 1744), ?Platée? (1745, 1749) and ?Zoroastre? (1749, 1756), none fell into oblivion for as long a period as ?Castor et Pollux?. After the work had been premiered in 1737, not until 1754 did Rameau decide to revise it. He asked his librettist ?Gentil-Bernard? to add an act to the tragedy and to give more weight to the brotherly friendship between Castor and Pollux. The main plot remains very similar to the one of 1737, aside from the fact that the sisters Télaïre and Phébé no longer are in love - the one with Castor the other with Pollux - but rather both with Castor which is the reason why Phébé is jealous of Télaïre. Already at the beginning of the first act Pollux relinquishes his love of Télaïre to the benefit of Castor. Castor, however, is killed by Linceus and finds himself in Hades. Pollux commits to saving his brother, sacrifices his immortality and declares his willingness to take Castor?s place in Hades so that his brother and Télaïre may be reunited. Jupiter, moved by this sacrifice, frees Pollux and bestows the couple immortality by giving them a place in the zodiac. Following the editorial principles of the ?Opera omnia Rameau? (and in contrast to the 1903 edition by August Chapuis issued within the old Rameau series), both versions of ?Castor et Pollux?, the version of 1737 (OOR IV.3) and the present version of 1754 (OOR IV.23), are published in two separate volumes in their entirety. Owing to the discovery of the original performance material, today preserved at the Gesellschaft der Musikfreunde in Vienna, the second version of 1754, which up until today was in the shadow of the 1737 version, can now be presented with its more tightly woven plot in all its vigor and dramatic momentum. This edition is enriched with twelve additions which enable the performance of the 1763-1764 version when the work was restaged. / Date parution : 2023-06-16/ Répertoire / Chant et Piano
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HANDELG.F. - ZADOK THE PRIEST HWV 258 - VOCAL SCORE
5.95 €
HANDELG.F. - ZADOK THE PRIEST HWV 258 - VOCAL SCORE
Piano, Voix
[Vocal Score]
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HANDELG.F. - ZADOK THE PRIEST HWV 258 - VOCAL SCORE / Choeur et ensemble vocal ...
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HANDELG.F. - ZADOK THE PRIEST HWV 258 - VOCAL SCORE / Choeur et ensemble vocal / Barenreiter
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MOZART W.A. - MASS IN C MINOR KV 427 - VOCAL SCORE
18.50 €
MOZART W.A. - MASS IN C MINOR KV 427 - VOCAL SCORE
Piano, Voix
[Vocal Score]
Barenreiter
MOZART W.A. - MASS IN C MINOR KV 427 - VOCAL SCORE / Choeur et ensemble vocal /...
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MOZART W.A. - MASS IN C MINOR KV 427 - VOCAL SCORE / Choeur et ensemble vocal / Barenreiter
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Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
522.00 €
Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
Opéra
Barenreiter
Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Ra...
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Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano
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Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
64.96 €
Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
Piano, Voix
Barenreiter
Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Ra...
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Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano
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Requiem (MOZART WOLFGANG AMADEUS)
17.34 €
Requiem (MOZART WOLFGANG AMADEUS)
Choeur Mixte SATB et Piano
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Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Vocal...
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Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Vocal Score) This publication offers a source-critical edition of Mozart’s fragmentary “Requiem” as well as an alternative to the traditional Süssmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart’s idiom taking into account historical additions by Süssmayr and Eybler. When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süssmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions: the “Lacrimosa” may end with or without “Amen” fugue, and the “Sanctus” may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major “Hosanna” from Süssmayr’s autograph, a movement which, until now, has not been appreciated as compositionally flawless. - Scholarly-critical edition of the “Requiem” fragment - With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozart’s musical idiom - Missing sections were completed by drawing from other fragmentary sacred works by Mozart - Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment - Alternative performance options for the “Lacrimosa”, “Sanctus” and “Benedictus” - Straight-forward piano reduction - Extensive foreword (Ger/Eng) on the work’s history, reception and modern completions, with analytical stylistic critique - Detailed Critical Commentary (Eng), partly available on the Bärenreiter website - Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (“Le Disque classique du jour” from francemusique.fr and three nominations for Opus Klassik 2021 in the categories “Ensemble”, “Choral Recording” and “Editorial Achievement”) - Full Score (BA11310), Vocal Score (BA11310-90) and performance material (BA11310) available for sale / Date parution : 2022-07-20/ Répertoire / Choeur Mixte SATB et Piano
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Ighigenie auf Tauris (GLUCK CHRISTOPH WILLIBALD)
57.94 €
Ighigenie auf Tauris (GLUCK CHRISTOPH WILLIBALD)
Soli, choeur mixte et accompagnement
Soli, chÂœur mixte et orchestre
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Vienna version 1781. Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigenie auf Tauris (...
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Vienna version 1781. Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigenie auf Tauris (Vienna version 1781) (Vocal Score) Music drama in four acts Following upon the great success of “Iphigénie en Tauride”, Gluck arranged the popular drama of human passions, guilt and unconditional friendship once again for Vienna’s Burgtheater, where it was premièred in 1781. Especially remarkable is the masterly orchestration, which, among other things, turns the forces of Nature into a character in the drama and projects a striking contrast between civilization and savagery. Now Bärenreiter is issuing the carefully revised and corrected vocal score in a new engraving adapted to meet current standards. - Revised and newly engraved - Detailed foreword (Ger/Eng) on the work’s genesis and reception history, together with a summary of the plot - Practical, easy-to-play piano reduction - Performance material available for hire BA05843-72 - Full Score, hardback, available for sale BA02281 / Date parution : 2022-07-20/ Répertoire / Solistes, Choeur et Orchestre
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Ighigénie en Aulide (GLUCK CHRISTOPH WILLIBALD)
90.48 €
Ighigénie en Aulide (GLUCK CHRISTOPH WILLIBALD)
Soli, choeur mixte et accompagnement
Soli, chÂœur mixte et orchestre
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Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigénie en Aulide (Vocal Score) Tragedy ...
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Par GLUCK CHRISTOPH WILLIBALD. Gluck Iphigénie en Aulide (Vocal Score) Tragedy - Opera in three acts Iphigénie en Aulide is the first of six operas that Gluck composed for the Académie Royale de Musique. In keeping with his plans for operatic reform, he sought to create noble, expressive and natural melodies that did justice to every language and every national spirit while eliminating the “ridiculous distinction” between national styles of music. Although the première was coolly received at first by the contemporary press, “Iphigénie” developed into a tremendous success. The onrush of listeners was said to have been so great that the management of the Paris Opéra considered placing guards in front of the theatre. Now Bärenreiter is issuing the carefully revised and corrected vocal score in a new engraving adapted to meet their current standards. - Revised and newly engraved - Detailed foreword (Ger/Fr/Eng) on the work’s genesis and reception history, together with a summary of the plot - Practical, straight-forward piano reduction - Performance material available for hire (BA5849-72) / Date parution : 2022-07-20/ Répertoire / Solistes, Choeur et Orchestre
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Five Moravian Duets (DVORAK ANTONIN)
13.86 €
Five Moravian Duets (DVORAK ANTONIN)
Choeur SSAA a Cappella
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Par DVORAK ANTONIN. / Date parution : 2022-06-08/ Répertoire / Choeur SSAA a C...
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Par DVORAK ANTONIN. / Date parution : 2022-06-08/ Répertoire / Choeur SSAA a Cappella
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Song For St. Cecilia?s Day (HAENDEL GEORG FRIEDRICH)
20.30 €
Song For St. Cecilia?s Day (HAENDEL GEORG FRIEDRICH)
Soli, choeur mixte et accompagnement
Barenreiter
Par HAENDEL GEORG FRIEDRICH. Handel Song for St Cecilia´s Day (HWV 76) (Vocal S...
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Par HAENDEL GEORG FRIEDRICH. Handel Song for St Cecilia´s Day (HWV 76) (Vocal Score) Following ?Alexander?s Feast? (1736), in 1739 Handel produced a second setting of the ?Ode to St Cecilia? (?Song for St Cecilia?s Day?). At its première it was combined with ?Alexander?s Feast?. 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 Edition?, 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. - Urtext from the ?Halle Handel Edition? - Detailed notes on performance practice in the text section (Ger/Eng) - Straightforward piano reduction - Full Score (BA10722), vocal score (BA10722-90) and parts (BA10722) available for sale / Date parution : 2022-07-20/ Répertoire / Solistes, SATB et Orchestre
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MENDELSSOHN F. - LOBGESANG OP.52 -VOCAL SCORE
15.80 €
MENDELSSOHN F. - LOBGESANG OP.52 -VOCAL SCORE
Opéra
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Mendelssohn Bartholdy, Felix
Lobgesang / Hymn of Praise op. 52 MWV A 18
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Mendelssohn Bartholdy, Felix
Lobgesang / Hymn of Praise op. 52 MWV A 18
A Symphony-Cantata after Texts from the Holy Scriptures
- Urtext edition taking all sources into account
- Piano reduction by the composer including his piano version of the ?Sinfonia?
- Extensive Foreword (Ger/Eng) and detailed Critical Commentary (Eng)
Mendelssohn?s contemporaries frequently mentioned his ?Hymn of Praise? in the same breath as Beethoven?s Ninth ? and often enough viewed it as an imitation. Mendelssohn authority John Michael Cooper, in his extensive Introduction to this new Urtext edition, shows that the comparison is completely unfounded: with this work Mendelssohn created a new genre to which he gave the name ?symphony-cantata?. Later he added a secular counterpart with ?Die Erste Walpurgisnacht?.
Drawing on all relevant sources, Cooper provides a detailed account of the genesis and structure of this monumental work. Rounding off his scholarly performing edition are notes on the work?s performance, e.g. tempo, articulation and dynamics.
For the first time the piano reduction includes Mendelssohn?s authorised version of the ?Sinfonia?, based on the first edition of No. 1 for piano solo. / Partitions classique / Vocale - chorale / Choeur et ensemble vocal / BARENREITER
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St. John Passion BWV 245 (BACH JOHANN SEBASTIAN)
12.70 €
St. John Passion BWV 245 (BACH JOHANN SEBASTIAN)
Chorale SATB
SATB A Cappella
Barenreiter
Par BACH JOHANN SEBASTIAN. This choral score BA 5037-91 completes the already av...
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Par BACH JOHANN SEBASTIAN. This choral score BA 5037-91 completes the already available performance material for Johann Sebastian Bach?s St. John Passion. The choral score contains no solo parts or piano reduction. For a full vocal score see BA05037-90 / Date parution : 2022-02-10/ Répertoire / SATB sans Accompagnement
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Camille Saint-Saëns: Samson et Dalila: Mixed Choir A Cappella: Vocal Score
41.00 €
Camille Saint-Saëns: Samson et Dalila: Mixed Choir A Cappella: Vocal Score
Soli, choeur mixte et accompagnement
-
Avancé
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Oper in drei Akten
41.00 GBP - vendu par Musicroom GB
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Thomas Daniel Schlee: Psalm 128: Vocal and Other Accompaniment: Vocal Score
13.50 €
Thomas Daniel Schlee: Psalm 128: Vocal and Other Accompaniment: Vocal Score
Voix haute, Orgue
Barenreiter
Psalm 128
13.50 GBP - vendu par Musicroom GB
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Thomas Daniel Schlee: Trois Poemes Op. 66: Vocal and Piano: Vocal Score
20.00 €
Thomas Daniel Schlee: Trois Poemes Op. 66: Vocal and Piano: Vocal Score
En Français
Piano, Voix
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Trois Poemes Op. 66
20.00 GBP - vendu par Musicroom GB
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Georg Friedrich Händel: Giulio Cesare in Egitto HVW 17: Vocal Solo: Score
711.00 €
Georg Friedrich Händel: Giulio Cesare in Egitto HVW 17: Vocal Solo: Score
Soli, choeur mixte et accompagnement
Barenreiter
Opera in three acts. ?Giulio Cesare in Egitto? is by far Handel?s most frequentl...
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Opera in three acts. ?Giulio Cesare in Egitto? is by far Handel?s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel?s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations ? essentially four versions ? on the basis of a meticulous study of the sources within the framework of the ?Halle Handel Edition?. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini. The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically. In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in ?Giulio Cesare?. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel?s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions.
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Mass In B Minor Bwv 232
22.30 €
Mass In B Minor Bwv 232
Piano, Voix
[Partition]
Barenreiter
Barenreiter en liaison avec les Archives Bach de Leipzig est fière de présente...
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Barenreiter en liaison avec les Archives Bach de Leipzig est fière de présenter la nouvelle édition de la Messe en si mineur Cette nouvelle édition présente de nouvelles conclusions et de nouvelles idées.: Des renseignements précieux pour les lectures de la partition autographe de la messe ont été tirées de la section 'Pièces de Dresde''' de 1733, en grande partie écrit par Bach lui-même. Les différentes lectures des parties sont clairement différenciées à partir des lectures de la partition autographe de l'utilisation des passages imprimés en gris. Pour la première fois annotations de JS Bach et CPE Bach peuvent être différenciés en utilisant une analyse d'encre (spectrographie des rayons X de plus de 500 places dans la partition). Toutes les corrections, ajouts et modifications par le fils de Bach et des lieux qui restent douteuses (en raison de l'érosion d'encre ferro-gallique) figurent dans l'édition entre crochets. ' / Chant Et Piano / Partition
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Johannes-Passion (BACH JOHANN SEBASTIAN)
18.60 €
Johannes-Passion (BACH JOHANN SEBASTIAN)
Chorale SATB
[Partition]
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Intermédiaire/avancé
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Klavierauszug -Revised edition. Par BACH JOHANN SEBASTIAN. The St. John Passion ...
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Klavierauszug -Revised edition. Par BACH JOHANN SEBASTIAN. The St. John Passion was first performed in Leipzig on Good Friday of 1724. Written three years before the St. Matthew Passion, it was a work Bach revised during the rest of his life, in fact he did not leave us a definitive version either in print or fair copy. The sources give evidence of four different versions used at four performances - 1724, 1725, around 1730 and during the last years of Bach 's life. They often contain two or more readings for the same passage, or even different movements that on different occasions occupied the same place in the work. Barenreiter's edition uses the final version IV as its basis with alternativemovements and readings contained in the appendices. A comprehensive preface in the study score (German/English) TP197 gives full information. - Full score, performance material (BA5037), vocal score (BA5037-90) and study score (TP197) available for sale. / Niveau : 4 / Répertoire / Solistes (T (Evangelist), B (Jesus), SATB), Choeur
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Leos Janácek: The Cunning Little Vixen: Opera Vocal Scores: Vocal Album
591.00 €
Leos Janácek: The Cunning Little Vixen: Opera Vocal Scores: Vocal Album
Opéra
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Opera in three acts. Leos Janácek began composing his seventh opera, ?The Cunni...
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Opera in three acts. Leos Janácek began composing his seventh opera, ?The Cunning Little Vixen?, based on the popular feuilletons of Rudolf TesnohlÃdek, in January 1922. The first copy of the score, since lost, was completed by Václav Sedlácek in October 1923, while the second copy was prepared by Jaroslav Kulhánek in January 1924. The world premiere took place on 6 November 1924 under the direction of Ota ZÃtek and was conducted by Frantisek Neumann. The vocal score was published in Czech before the event and then again in 1925 along with the German translation by Max Brod, which is something of a separate version of the text in its own right. This volume of the complete edition reprints the critical edition by Jirà Zahrádka, which was published by Universal Edition in 2010. The present edition newly includes transcriptions of the libretto in three languages (Cz/Eng/Ger) and a detailed Critical Report (Eng). The edition draws on all extant sources and ? in consideration of Janácek?s active participation in rehearsals for the premiere production ? integrates both the dynamics of Franti?ek Neumann and the performance markings of Sir Charles Mackerras into the musical text. This is the third opera to be published in the complete edition, following ?Fate? and ?The Makropulos Affair?.
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Heinrich Schütz: Small Sacred Concertos II 1639: Vocal Solo: Vocal Score
343.50 €
Heinrich Schütz: Small Sacred Concertos II 1639: Vocal Solo: Vocal Score
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Small Sacred Concertos II. The "Kleine geistliche Konzerte" (Small Sacred Concer...
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Small Sacred Concertos II. The "Kleine geistliche Konzerte" (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in a broad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there are solo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity - especially in the compositions with German text - made Schütz a household name shortly after the "Kleine geistliche Konzerte" were published in print. As the works required no large ensembles, they could be performed for different occasions and in various locations: particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home. Unlike the 1963 edition of the "Kleine geistliche Konzerte" (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields new information regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is geared towards musicologists, as well as professional musicians and amateurs with a keen interest in early music.
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Georg Philipp Telemann: Musicalisches Lob Gottes: Orchestra: Score & Parts
482.00 €
Georg Philipp Telemann: Musicalisches Lob Gottes: Orchestra: Score & Parts
Orchestre d'harmonie, Chorale-Voix
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13 ausgewählte Kirchenmusiken zwischen 1. Advent und Michaelis. This volume rep...
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13 ausgewählte Kirchenmusiken zwischen 1. Advent und Michaelis. This volume represents the only annual cycle of sacred music of the 18th century printed in score: it was completed in 1744. The textual basis stems from Erdmann Neumeister. In contrast to the usual practice of the Telemann Edition to edit segments of the church years, here the entire course of the church year is presented. The music to be performed at the beginning of each part of the church year and at special celebrations is included. Telemann used a variety of expressive polyphonic techniques to create the introductory dicta. These, like the chorales, are written in concentrated three-part harmony. The preface provides information on the printing history of the church year and its dissemination supplemented by comments on performance practice: the critical report analyses the rich source material. Editions of Telemann's preface (with his performance notes and an explanation of his figured bass system), the preface on the printing of the texts and the texts of the compositions contained in the volume flank the edition of the music. Facsimiles from the original print and from Hamburg performance materials are included.
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Wolfgang Amadeus Mozart: La Clemenza di Tito: Mixed Choir: Vocal Score
50.00 €
Wolfgang Amadeus Mozart: La Clemenza di Tito: Mixed Choir: Vocal Score
Opéra
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Opera seria in two acts - Urtext Edition
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Gabriel Faure: Motets and Hymns: Mixed Choir: Vocal Score
229.00 €
Gabriel Faure: Motets and Hymns: Mixed Choir: Vocal Score
Chorale
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Motets and Hymns
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