Format : Vocal Score
from Judas Maccabaeus-From Part III of the oratorio Judas Maccabaeus this joyful chorus dances with Baroque jubilation now in an excellent performing edition with historical notes and background.
SKU: HF.FH-3576
ISBN 9790203435761. 9 x 12 inches.
Die Ausgabe enthalt zwei Klavierstimmen: eine fur die Orchester- und eine Stimme fur die Solo-Stimmung1. Antonin Dvorak: Songs my mother taught me, op. 55; 2. Zdenek Fibich: Poeme; 3. Georg Friedrich Handel: Largo from Xerxes ; 4. Frederic Chopin: Etude, op 10, 3; 5. Manuel de Falla: Nana.
SKU: BA.BVK01458
ISBN 9783761814581. 21 x 15 cm inches. Preface: Landgraf, Annette / Hirschmann, Wolfgang.
Toccata and Lamentwas composed on commission in 2008 to inaugurate the large new organ in the Christ Church Cathedral, Rochester, NY, USA. This instrument is a detailed reconstruction of a late Baroque organ of 1776 from Vilnius in Lithuania. The point of departure - a clash of contrasting eras and musical cultures on two continents - already bodes excitement. Martin Herchenroder, a composer and professor of music theory, has incorporated these contrasts in his roughly eight-minute composition. The result is a musical idiom of rare distinction, universal in its musical resources and alternating between tonal triads and extremely dissonant clusters. The heart of the piece is a dirge which, using the Baroque doctrine of the affections, relates to Eastern European cultural history in and around Vilnius, a history marked by the predations of 20th-Century war.
SKU: HL.48009794
UPC: 073999175349. 8.5x11.5x0.427 inches.
Contents: As cheers the sun * And shall my sin-stain'd soul * Author of Peace * Ah! Think what ills * Alas! Erastea * Banish love from thy breast * Beneath the Vine * Bless'd the day * Capricious man * Daughter of Gods * Endless pleasure, endless love * Faithful cares in vain extended * Guardian Angels * Hide me from day's garish eye * My heart with tender pity swells * Me, when the sun begins to shine * No more shall armed bands * No, no, I'll take no less * Oft on a plat of rising ground * O killing shock of unexpected pain * O lovely youth * Sinners, lifts your eyes and tremble * Straight mine eye hath caught new pleasures * Together lovely innocents.
SKU: BA.BA04050
ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.
“Almira”, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian.The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to “Almira” by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato” from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Edition”. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträge”.Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition” volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar” (no. 71).
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: BR.DV-7969-02
World premiere: Netzeband, July 12, 1997
ISBN 9790200471618. 7.5 x 10.5 inches.
Duration: full evening Text by the composer using a text by Walter Jens Place and time: Chamber of the King Philip V. of Spain, Middle of the 18th Century Characters: Farinelli (Countertenor/alto) - King Philip V. of Spain (baritone) - Nicola Porpora (baritone) - The Kings Personal Physician, also Barber (tenor) - The Kings Confessor, also Impresario and Priest (bass) - Maria (Bellino), later Anna Maria Strada (soprano) - Georg Friedrich Handel (baritone) - Jenny, Jim, John, English Opera Troupe (soprano, tenor, baritone) - The young Carlo Broschi (boy treble) The dramaturgical constellation of the subject forced me to use multifaceted and stylistic means. I have used melodic segments from the Farinelli arias that are still extant today, as well as other Baroque vocal and formal elements, models inspired by the Singspiel and the musical, and even a rap piece over a techno rhythm. The musical center of the opera consists of song and the human voice. Farinelli is a bel canto opera. (Siegfried Matthus) Carlo Broschi, known as Farinelli, was the brightest star among the castrato tenors of the 18th century. Handels enemies brought him to London so that he could outshine Handels singers. Here, Matthus depicts Farinelli at the Spanish court, ruled by the pathologically melancholy King Philip V. In a review of his life, we relive important stages in the career of the singer, who lived outside of the norm and found his home in the fascinating twilight world between art and artificiality.World premiere: Netzeband, July 12, 1997.
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?.