Israel In Egypt (Vocal Score)

Handel originally wrote Israel in Egypt in the late 1730s but this the well-known version was not written until twenty years later when he discarded the old one as out-of-date. The 'new' version is a two-act oratorio where the chorus is far more prominent and serves much greater variety of expressive purposes than one finds almost anywhere else in Handel's output. Notably there is extensive use of the double-chorus. It did not take long for this 1756 version of Israel in Egypt to assume a place alongside the Messiah as one of England's favorite choral treasures. Part I tells of the Israelites' deliverance from their Egyptian captivity at the hands of Moses; thetwelve choruses that describe the miracles leading to the Israelites' freedom are among the most stunning and colorful ever written -- images of hailstones pestilence and even the glorious parting of the Red Sea are achieved without once resorting to the kind of pictorialism that a lesser composer would relish. Part II Moses' Song recounts the Israelites' victory. This is the Schirmer Edition of the Vocal Score and hence contains a piano reduction of the original orchestral accompaniment.The full score is also available order code DP16788.

George Frideric Handel's sacred oratorio Israel In Egypt written in 1738 for SSATBB and Orchestra. Full score. A corresponding Vocal Score is available under the code NOV070126.

CD Sheet Music is the revolutionary series of masterworks on CD- or DVD-ROM that transforms a PC or MAC computer into a virtual music library. Now you can quickly locate view and print the great works of the classical repertoire. Compared to traditional printed sheet music or music downloads it is incredibly inexpensive. Original sources are out-of-copyright standard editions from publishers such as Breitkopf and Härtel C.F. Peters G. Schirmer Carl Fischer G. Ricordi Durand and many others. The discs also include biographical and analytical information from Grove's Dictionary of Music and Musicians 1911 Edition.This 2-disk set contains the vocalscores of 16 oratorios and odes (including Messiah Israel in Egypt Judas Maccabaeus Ode to St. Cecelia's Day) all the Coronation and Chandos anthems Dettingen Te Deum Utrecht Jubilate and Te Deum. Modern clef editions only.

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes