Georg Friedrich Händel: Organ Concerto In B Flat Major Op. 7 No. 1 HWV 306:

SKU: BR.EB-6310

ISBN 9790004166444. 12 x 9 inches.

Im Gegensatz zu seinem Zeitgenossen Joh. Seb. Bach hinterliess Georg Friedrich Handel kaum Werke fur die Orgel. Ausser den bekannten Konzerten fur Orgel und Orchester schrieb er 6 Fugen, die diese Ausgabe der Praxis erschliessen mochte. Der Grund, dass Handel sich in seinem kompositorischen Schaffen in so geringem Masse der Orgel zuwandte, ist nicht in erster Linie in seinem kunstlerischen Aufgabenkreis zu suchen, sondern liegt wohl hauptsachlich an der primitiven Beschaffenheit der englischen Orgeln seiner Zeit. Weithin fand man das Pedal entbehrlich und liess es weg. Fr. Chrysander berichtet: (,,G. Fr. Handel III, S. 218) ,,Handel, dessen Ohr an die deutschen Orgelbasse gewohnt war, nahm zu einem Stuck Blei Zuflucht, um einen tiefen Ton fortklingen zu lassen und beide Hande frei zu haben..

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 Verit�� (�??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 Verit��, 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 Verit��.

SKU: FH.WS7

ISBN 978-1-55440-556-5.

Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.
Eb Saxophone:

Mainly Transcriptions:
Sonata, op. 2, no. 6 (La bouget) - Michel Blavet
- [Complete]
Minuet and Dance of the Blessed Spirits (from Orphee et Euridice) - Christoph Willibald Gluck, arr. Stephen Chatman
Mainly Original Repertoire for Saxophone:
Dance with Sticks - Bela Bartok
Hornpipe Dance - Bela Bartok
Ragtime Waltz - Richard Rodney Bennett
Sonata - Phil Woods
- First Movement

Bb Saxophone:

Mainly Transcriptions:
Sonata in G minor, H 542.5 - attr. Carl Philipp Emanuel Bach
- Third Movement
Sonata in G minor, HWV 364a - George Frideric Handel, arr. Harold Birston
- [Complete]
Mainly Original Repertoire for Saxophone:
Souvenir - Robert Walker
Sonata - Walter S. Hartley
- First Movement
I Got Unhappy - Neil Currie

Eb Saxophone or Bb Saxophone:

Unaccompanied Repertoire:
Fantasia no. 6 in D minor, TWV 40:7 - Georg Philipp Telemann
- [Complete]
In the Company of My Soul - Kelly-Marie Murphy
- First Movement
Sketch - Ronald L. Caravan.