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BIBLIOTHÈQUE
Haendel, Georg Friedrich Georg Friedrich Haendel
Allemagne Allemagne
(1685 - 1759)

2195 Partitions
3052 MP3
521 MIDI





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Haendel, Georg Friedrich: "Fammi Combattere" for Oboe & Strings

"Fammi Combattere" for Oboe & Strings
HWV 31
Georg Friedrich Haendel




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Compositeur :Georg Friedrich HaendelHaendel, Georg Friedrich (1685 - 1759)
Instrumentation :

Hautbois, Orchestre à cordes

Genre :

Baroque

Arrangeur :
Editeur :
Georg Friedrich HaendelMagatagan, Mike (1960 - )
Date :1719
Droit d'auteur :Public Domain
Most music lovers have encountered George Frederick Handel through holiday-time renditions of the Messiah's "Hallelujah" chorus. And many of them know and love that oratorio on Christ's life, death, and resurrection, as well as a few other greatest hits like the orchestral Water Music and Royal Fireworks Music, and perhaps Judas Maccabeus or one of the other English oratorios. Yet his operas, for which he was widely known in his own time, are the province mainly of specialists in Baroque music, and the events of his life, even though they reflected some of the most important musical issues of the day, have never become as familiar as the careers of Bach or Mozart. Perhaps the single word that best describes his life and music is "cosmopolitan": he was a German composer, trained in Italy, who spent most of his life in England.

Handel was born in the German city of Halle on February 23, 1685. His father noted but did not nurture his musical talent, and he had to sneak a small keyboard instrument into his attic to practice. As a child he studied music with Friedrich Wilhelm Zachow, organist at the Liebfrauenkirche, and for a time he seemed destined for a career as a church organist himself. After studying law briefly at the University of Halle, Handel began serving as organist on March 13, 1702, at the Domkirche there. Dissatisfied, he took a post as violinist in the Hamburg opera orchestra in 1703, and his frustration with musically provincial northern Germany was perhaps shown when he fought a duel the following year with the composer Matheson over the accompaniment to one of Matheson's operas. In 1706 Handel took off for Italy, then the font of operatic innovation, and mastered contemporary trends in Italian serious opera. He returned to Germany to become court composer in Hannover, whose rulers were linked by family ties with the British throne; his patron there, the Elector of Hannover, became King George I of England. English audiences took to his 1711 opera Rinaldo, and several years later Handel jumped at the chance to move to England permanently. He impressed King George early on with the Water Music of 1716, written as entertainment for a royal boat outing.

Through the 1720s Handel composed Italian operatic masterpieces for London stages: Ottone, Serse (Xerxes), and other works often based on classical stories. His popularity was dented, though, by new English-language works of a less formal character, and in the 1730s and 1740s Handel turned to the oratorio, a grand form that attracted England's new middle-class audiences. Not only Messiah but also Israel in Egypt, Samson, Saul, and many other works established him as a venerated elder of English music. The oratorios displayed to maximum effect Handel's melodic gift and the sense of timing he brought to big choral numbers. Among the most popular of all the oratorios was Judas Maccabeus, composed in 32 days in 1746. Handel presented the oratorio six times during its first season and about 40 times before his death 12 years later, conducting it 30 times himself. In 1737, Handel suffered a stroke, which caused both temporary paralysis in his right arm and some loss of his mental faculties, but he recovered sufficiently to carry on most normal activity. He was urged to write an autobiography, but never did. Blind in old age, he continued to compose. He died in London on April 14, 1759. Beethoven thought Handel the greatest of all his predecessors; he once said, "I would bare my head and kneel at his grave."

Orlando (HWV 31) is an opera seria in three acts by George Frideric Handel written for the second Royal Academy of Music. The Italian-language libretto was adapted from Carlo Sigismondo Capece's L'Orlando after Ludovico Ariosto's Orlando Furioso, which was also the source of Handel's operas Alcina and Ariodante.

The opera was first given at the King's Theatre in London on 27 January 1733. There were 10 performances and it was not revived. The first modern production was at the Unicorn Theatre, Abingdon, on 6 May 1959. A further production staged by the Barber Institute in Birmingham in 1966, conducted by Anthony Lewis, with Janet Baker in the title role, brought the opera back to London for the first time in over two centuries with performances later the same year at Sadler's Wells. The United States premiere of the opera was presented by the Handel Society of New York (HSNY) in a concert version on 18 January 1971 at Carnegie Hall. Stephen Simon conducted the performance with Rosalind Elias in the title role, Camilla Williams as Angelica, Betty Allen as Medoro, Carole Bogard as Dorinda, and Justino Díaz as Zoroastro. The HSNY had made the first recording of the opera in 1970 in Vienna with a mostly different cast for RCA Red Seal Records. Peter Sellars directed the first staged production of the work in the United States at the American Repertory Theater on 19 December 1981. Countertenor Jeffrey Gall sang the title role and Craig Smith conducted.

"Fammi combattere" (Send me into battle) is from Act I, Scene 1 and although originally written for voice(s) & orchestra, I created this arrangement for Oboe & Strings (2 Violins, Viola & Cello).
Source / Web :MuseScore
Ajoutée par magataganm le 2014-06-28
Partition centrale :Orlando, 31 (2 partitions)



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Cette partition est associée à la collection de magataganm :
bois
bois
arrangements à vent
Liste des partitions :
› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Haubois et basson
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Hautbois, Cor anglais, Basson
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings
› "Amen Chorus" for Oboes & Strings






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