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

This album for mixed choir and piano contains a selection of richly varied choruses from Italian, French, German, English and Russian operas from the 17th to 19th centuries, illuminating the great diversity of the genre. Included are opera choruses from the following works: · Claudio Monteverdi: L'Orfeo · George Frideric Handel: Acis and Galatea HWV 49b · Christoph Willibald Gluck: Alceste (Vienna Version 1767) · Wolfgang Amadeus Mozart: Idomeneo K 366 · Franz Schubert: Fierabras D 796 · Vincenzo Bellini: Norma · Camille Saint-Saens: Samson et Dalila · Georges Bizet: Carmen · Pyotr Ilyich Tchaikovsky: Eugen Onegin (Cyrillic script with transliteration) / Choeur Mixte (SATB)

Par BACH JOHANN SEBASTIAN. Study score format 22. 5 x 16. 5 cm; With an introduction in English and German by Alfred Dürr. The 2nd version with the 4 inserts from the E-flat major version (transposed into D major). Barenreiter Urtext: In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account, thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter, “Urtext” ismore than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research, enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions, and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye./ Répertoire / Partition de Poche

Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum? in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum?. Here it is called 'Te Deum for Cannons? after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea?, the masque which was composed at almost the same time. Though in many respects this 'Te Deum? is reminiscent of the 'Utrecht Te Deum?, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition? (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum?./ Répertoire / SSATB et Orchestre

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

Par MOZART WOLFGANG AMADEUS. Ausgaben Für Die Praxis Nach Der Neuen Mozart-Ausgabe. Urtext/ Répertoire / Solistes (SSATB), 2 Choeurs Mixtes (SATB+SATB), Or

Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition Te Deum laudamus tout le talent de Mozart. Cette partition a été composée pour Choeur Mixte (SATB), Orchestre Et Orgue. C'est l'éditeur Bärenreiter qui a publiée cette oeuvre. / Choeur Mixte (SATB), Orchestre Et Orgue / Partition

Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Missa brevis écrite et composée pour Soprano et plus précisément pour 2 Sopranos, Choeur Mixte (SATB) Et Orchestre vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Bärenreiter qui ont eu le privilège d'imprimer cette oeuvre. / 2 Sopranos, Choeur Mixte (SATB) Et Orchestre / Partition

Le style de Frank Martin de composition est caractérisée par des éléments de l'impressionnisme français, la tonalité moderne et langage musical expressif. Son double choeur a cappella une masse a été composé entre 1922 et 1926, mais il n'a pas été réalisée jusqu'en 1963 à Hambourg. Il a été un grand favori avec des choeurs capables depuis sa première publication par Bärenreiter en 1972 (BA 5419). Elle peut être réalisée aussi bien dans la salle de concert et de l'église. Cette première édition Urtext est basé sur la partition autographe, ainsi que sur des études préliminaires déjà écartés. La préface et commentaires critiques donnent un aperçu de la genèse et l'histoire du travail. Le plus grand format assure une lisibilité nettement améliorée. - Première édition Urtext de chef d'oeuvre de Frank Martin - Nouveaux gravé dans un format plus grand (23 x 30 cm) - Préface (Ger / Eng) et Commentaire critique (Eng) / Choeur Mixte (SATB)

Par MOZART WOLFGANG AMADEUS. Ausgaben Für Die Praxis Nach Der Neuen Mozart-Ausgabe. Urtext/ Répertoire / Solistes (SATB), Choeur Mixte (SATB), Orchestre et

Par HAYDN FRANZ JOSEF. German/English Urtext Edition, edited A. Oppermann. The oratorio The Creation represents not only a crucial point in Joseph Haydn's compositional output, but at the same time, marks the beginning of a new chapter in the history of the oratorio. At the turn of the 19th century, Haydn broke with the traditional dominance of the arias, giving the chorus a distinctly greater significance. This opened the way for a new kind of choral oratorio which became one of the standard features of developing bourgeois concert life. The text, translated from the English original by Baron van Swieten, Prefect of the imperial court library in Vienna, combinesprose texts of the creation story in Luther's translation of the Bible with complementary excerpts from John Milton's Paradise Lost. Instrumentation: Soprano solo, Tenor solo, Bass solo, Mixed Choir-SATB, Piano reduction accompaniment/ Répertoire / Solistes (STB), Choeur Mixte (SATB) et Orchestre

Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition Regina coeli tout le talent de Mozart. Cette partition a été composée pour Soprano, Choeur Mixte (SATB), Orchestre Et Orgue. C'est l'éditeur Bärenreiter qui a publiée cette oeuvre. / Soprano, Choeur Mixte (SATB), Orchestre Et Orgue / Partition