Don Giovanni, K. 527 - choral score

In 1732 Giovanni Battista Pergolesi composed a setting of the Vespers in honor of St. Emidius Naples’s patron saint and protector against earthquakes. All that has survived are the introit Domine ad adjuvandum and three psalm settings: Dixit Dominus Laudate and Confitebor.Malcolm Bruno’s reconstruction consists of Pergolesi’s Hymnus Magnificat several short instrumental interpolations and the contrafactum of a secular cantata for the Salve Regina thereby presenting a full cross-section of Pergolesi’s artistic evolution. The reconstructed Vespers ranges from the early Confitebor with its allusions to Vivaldi to the late Salve Regina with its reminiscences of thefamous Stabat Mater; from contrapuntal choral writing to operatic arias; and from the magnificently scored Dixit to the almost intimate Laudate.The present edition follows the original sources as closely as possible and contains an appendix with detailed notes on performance practice.Performance material available for hireEffective reconstruction of a full-length workCross-section of Pergolesi’s sacred musicClear and easy-to-play piano reduction

Description W.A. Mozart: Don Giovanni (Vocal Score) The premiere of Don Giovanni took place to great public and critical acclaim in Prague on October 29, 1787. The Opera is in two acts, with a libretto by Lorenzo Da Ponte, based on the play by Tirso De Molina. Songlist Don Giovanni

Based on “Ritorni al nostro cor la bella pace” from Salustia by Giovanni Battista Pergolesi (1710-1736) “O Sing This Festive Day!” is a majestic opening number for school programs or churchservices. Incorporating optional hand drum and trumpet (parts are included in the choral) it is also a good supplement for music history studies. “O Sing This Festive Day!” gives singers an excellent taste of Baroquemusic without being difficult to learn.

Shortly before his death Giovanni Pergolesi moved to the Franciscan monastery in Pozzuoli where he composed his last works. Among these is his Stabat mater - based on the medieval Latin poem. The piece reveals the infusion into church composition of the operatic style. Pergolesi's Stabat mater features a lively declamation of the text and great melodic appeal and expressiveness. Underlying everything is the contrapuntal background that was expected in music composed for the church at this time. This is is the full score of the original version which was written for Soprano and Alto Solos and small String Ensemble.

A fabulous example of Giovanni Gabrieli’s multi-choir music in which he extends the notion of rhythm and expands tonal colours to create the pulse of the music. In Hodie Christus Natus Est he establishes a remarkable rhythmic counterpoint akin to the swallowing up of rhythms as they mingle and are lost. Note that this is a rather complex piece that will require skilled and disciplined performers to follow their own independent line. This is an ideal choice of material to be used for general festivals or as a rejoiceful Christmas song. This fantastic piece is set for a Double Chorus of Mixed Voices with an Organ accompaniment.

Giovanni Palestrina's Missa Brevis for four unaccompanied voices has been edited and arranged for modern usage by Henry Washington. This edition also contains a piano reduction for practice purposes.

Holy Lord I Call to You This Day-Originally scored for SSATB voices and instruments this new edition for SATB voices uses a very supportive keyboard accompaniment. Based on Psalm 70 Pergolisi wrote it for the feast day of Saint Emidius in 1732.

Scored for Solo Voices Mixed Chorus and Orchestra. This edition prepared by Virginia Stroh and Buryl Red.

German Magnificat - Meine Seele erhebt den Herren SWV 494from 'Schwanengesang' (1671)Heinrich Schütz (1858-1672) was a German composer and organist who studied in Venice with Giovanni Gabrieli. Gabrieli's influence can be heard in many of Schütz's compositions. Towards the end of his life in 1671 he wrote a large volume 'Schwanengesang' including this setting in German of the Magnifcat (My Soul Doth Magnify the Lord) for double SATB chorus.

This sacred symphony was first published in Gabrieli's Sacrae Symphoniae in 1597. The score has been transposed down a whole town from C to B flat. This work was in all probability written for some religious or civic event and is full of the pomp and splendour evident in Bellini's painting of the procession in the Piazza San Marco. An English translation of the Latin is printed above the score phrase by phrase. Edited by G. Wallace Woodworth for SSAATTBB and piano accompaniment.

The Missa in F of 1734 for two or four choirs is probably Pergolesi’s most important work for choir and orchestra. The nickname 'Missa Romana' was added later in reference to a performance given in Rome during Pergolesi’s lifetime.This Urtext edition presents the work for the first time in the four-choir version that Pergolesi wrote for the above mentioned performance in Rome. Choirs III and IV are reproduced in smaller type and are added to the version for double choir in order to intensify the overall sound. This allows the work to be performed not only with two choirs but also in the delightful enlarged version for fourchoirs. Rounding off the edition are an informative Foreword (Eng/Ger) and a Critical Commentary (Eng).First publication with choirs III and IV.Can be performed with both two or four choirs.Idiomatic well-presented Piano reduction.Full score performance material (BA8958) and vocal score (BA8958-90) available for sale.