SKU: FZ.5799
ISBN 9790230657990. 24.00 x 32.00 cm inches.
This facsimile of the manuscript by Georg Friedrich Haendel is part of our Dominantes collection. Facsimile edition in six volumes of the holographs of Handel's Italian cantatas. This publication at last makes these very fine works available to all. Presentation by Philippe Lescat: Comprehension of the score - corrections and suggestions - the revisions of the cantatas - restoration - index to this volume. Cantatas for solo voice and continuo. Facsimile of Handel's autograph manuscript. Volume II. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the British Library of London (England). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: FZ.5751
ISBN 9790230657518. 24.00 x 32.00 cm inches.
This facsimile of the manuscript by Georg Friedrich Haendel is part of our Dominantes collection. Presentation by Philippe Lescat: Georg Friedrich Handel's Italian sojourn - bibliography - comprehension of the score - corrections and suggestions - restoration - index. Cantatas for solo voice and continuo bass. Autograph manuscript. Manuscript R. M. 20. d. 11. The manuscript R. M. 20. d. 12 is published by Fuzeau under the reference 5799. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the British Library of London (England). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: CA.3105415
ISBN 9790007206413. Text language: German/English. Text: Lehms, Georg Christian.
The cantata Widerstehe doch der Sunde BWV 54 is now one of Johann Sebastian Bach's most popular solo cantatas. The short text, which comprises three movements, comes from a 1711 collection of cantata texts by the Darmstadt court poet Christian Lehms, and warns in drastic terms that no sinner will inherit the kingdom of God. It is certainly no coincidence that Bach allocated this text to an alto voice, then often regarded as a symbol for the repentant sinner. The cantata comes from Bach's Weimar period and only survives in a fair copy of the score by Johann Gottfried Walther (music text ) and Johann Tobias Krebs (vocal text underlay). This didn't 't present any difficulties in preparing an edition. In Lehms' word book the cantata is allocated to Oculi Sunday (the third Sunday in Lent), but can also readily be sung on other occasions in the church year. Score and part available separately - see item CA.3105400.
SKU: CA.3103514
ISBN 9790007205669. Language: German/English.
The alto cantata Geist und Seele wird verwirret has seven movements; in the opening movements of the two parts of the cantata, a lost concerto by Bach survives in its original form, which he had arranged for organ. There is also an obbligato organ part in all the three arias, sometimes including virtuosic writing. Lehms takes the Gospel reading for the 12th Sunday after Trinity, which deals with the healing of a deaf and dumb person, and makes it apply more universally: God wants to open the ears of the faithful soul and loosen its tongue, so that it can praise his wonderful works. Unlike most of the other cantatas, in line with the text model Bach avoids the use of a choir for the concluding movement of the work. The cantata was written for the 12th Sunday after Trinity which fell on 8 September 1726 in the year of its first performance. The text comes from the collection Gottgefalliges Kirchen-Opffer by Georg Christian Lehms, who was court poet and court librarian in Darmstadt. From his Weimar period onwards, Bach set several texts from this collection. Score and part available separately - see item CA.3103500.
SKU: CA.3114914
ISBN 9790007208592. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score and part available separately - see item CA.3114900.
SKU: CA.3114919
ISBN 9790007141233. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score and parts available separately - see item CA.3114900.
SKU: CA.3114912
ISBN 9790007208578. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3114949
ISBN 9790007208608. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3114905
ISBN 9790007161958. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score available separately - see item CA.3114900.
SKU: CA.3114911
ISBN 9790007208561. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3114909
ISBN 9790007208554. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3114913
ISBN 9790007208585. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
SKU: CA.3105419
ISBN 9790007145880. Language: German/English. Text: Lehms, Georg Christian. Text by Georg Christian Lehms.
The cantata Widerstehe doch der Sunde BWV 54 is now one of Johann Sebastian Bach's most popular solo cantatas. The short text, which comprises three movements, comes from a 1711 collection of cantata texts by the Darmstadt court poet Christian Lehms, and warns in drastic terms that no sinner will inherit the kingdom of God. It is certainly no coincidence that Bach allocated this text to an alto voice, then often regarded as a symbol for the repentant sinner. The cantata comes from Bach's Weimar period and only survives in a fair copy of the score by Johann Gottfried Walther (music text ) and Johann Tobias Krebs (vocal text underlay). This didn't 't present any difficulties in preparing an edition. In Lehms' word book the cantata is allocated to Oculi Sunday (the third Sunday in Lent), but can also readily be sung on other occasions in the church year. Score and parts available separately - see item CA.3105400.
SKU: CA.3105449
ISBN 9790007145897. Language: German/English. Text: Lehms, Georg Christian. Text by Georg Christian Lehms.
SKU: HH.HH485-FSP
ISBN 9790708146964.
Nine of Vitali’s cantatas were written for meetings of the Accademia dei Dissonanti, an intellectual talking shop centered around Duke Francesco II's Modenese court. Many of these works are described as ‘accademia’, suggesting that the works were a distinct sub-genre of cantata at this time. Six of these cantatas survive in a single source held in the Biblioteca Estense e Universitaria, Modena (Mus. F. 1261 (1)). The source is a fair copy score from which, presumably, parts were made for the performance. Although the manuscript is undated, the last of the six, ‘Donde avvien che tutt’ebro di vera gioia l’universo’ was written to celebrate the coronation of Maria Beatrice as queen of England in 1685.
SKU: CA.3105412
ISBN 9790007206383. Text language: German/English. Text: Lehms, Georg Christian.
SKU: CA.3105413
ISBN 9790007206390. Text language: German/English. Text: Lehms, Georg Christian.
SKU: CA.3105403
ISBN 9790007145873. Text language: German/English. Text: Lehms, Georg Christian.
The cantata Widerstehe doch der Sunde BWV 54 is now one of Johann Sebastian Bach's most popular solo cantatas. The short text, which comprises three movements, comes from a 1711 collection of cantata texts by the Darmstadt court poet Christian Lehms, and warns in drastic terms that no sinner will inherit the kingdom of God. It is certainly no coincidence that Bach allocated this text to an alto voice, then often regarded as a symbol for the repentant sinner. The cantata comes from Bach's Weimar period and only survives in a fair copy of the score by Johann Gottfried Walther (music text ) and Johann Tobias Krebs (vocal text underlay). This didn't 't present any difficulties in preparing an edition. In Lehms' word book the cantata is allocated to Oculi Sunday (the third Sunday in Lent), but can also readily be sung on other occasions in the church year. Score available separately - see item CA.3105400.
SKU: CA.3105414
ISBN 9790007206406. Text language: German/English. Text: Lehms, Georg Christian.
SKU: CA.3105411
ISBN 9790007206376. Text language: German/English. Text: Lehms, Georg Christian.
SKU: BA.BA05858
ISBN 9790006497973. 33 x 27 cm inches. Language: German. Preface: Ute Poetzsch.
Continuo- Aussetzung von Andreas Kohs.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY 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
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY 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: CA.3103513
ISBN 9790007205652. Language: German/English.
SKU: CA.3103511
ISBN 9790007205638. Language: German/English.
SKU: CA.3103549
ISBN 9790007205676. Language: German/English.
SKU: CA.3103512
ISBN 9790007205645. Language: German/English.
SKU: CA.3103519
ISBN 9790007187255. Language: German/English.
The alto cantata Geist und Seele wird verwirret has seven movements; in the opening movements of the two parts of the cantata, a lost concerto by Bach survives in its original form, which he had arranged for organ. There is also an obbligato organ part in all the three arias, sometimes including virtuosic writing. Lehms takes the Gospel reading for the 12th Sunday after Trinity, which deals with the healing of a deaf and dumb person, and makes it apply more universally: God wants to open the ears of the faithful soul and loosen its tongue, so that it can praise his wonderful works. Unlike most of the other cantatas, in line with the text model Bach avoids the use of a choir for the concluding movement of the work. The cantata was written for the 12th Sunday after Trinity which fell on 8 September 1726 in the year of its first performance. The text comes from the collection Gottgefalliges Kirchen-Opffer by Georg Christian Lehms, who was court poet and court librarian in Darmstadt. From his Weimar period onwards, Bach set several texts from this collection. Score and parts available separately - see item CA.3103500.