Georg Friedrich Händel: Pièces Célèbres Vol.2: Alto Saxophone: Instrumental

SKU: BT.DHP-1115103-400

9x12 inches.

In The Art of Baroque flutists can get acquainted with the music from the Baroque period and also learn about composers, the era and the technique of playing baroque music. The basso continuo part means that the pieces can be performed with live accompaniment or with the play-along CD. Includes pieces by J. S. Bach, G. F. Handel, G. Ph. Telemann. G. Platti, P. Locatelli, M. Blavet and J. Stanley.

In The Art of Baroque kunnen gevorderde fluitisten zich verder verdiepen in de muziek uit de barokperiode. De geselecteerde werken worden aangevuld met speeltips en informatie over het tijdperk en de componisten. Vertegenwoordigdzijn Johann Sebastian Bach, Georg Friedrich Händel, Georg Philipp Telemann, Giovanni Platti, Pietro Locatelli, Michel Blavet en John Stanley. Dankzij het basso continuo kunnen de stukken ook met begeleiding worden gespeeld

In The Art of Baroque (die Kunst des Barocks) können Flötisten die Musik der Barockzeit und mehr kennen lernen: Die ausgewählten Werke werden von kurzen Texten über die Komponisten, die Epoche und Spielanweisungen sinnvoll ergänzt. Dank des Basso continuo können die Stücke auch mit Begleitung gespielt werden. Vertreten sind die Komponisten J. S.Bach, G. F. Händel, G. Ph. Telemann, Giovanni Platti, Pietro Locatelli, Michel Blavet und John Stanley.

Ce recueil permettra tout fl tiste d‘un niveau avancé, d‘aborder l‘art de la musique baroque. Les oeuvres sélectionnées sont agrémentées de textes courts sur les compositeur et leur époque et des annotations d‘interprétations viennent compléter cet excellent ouvrage. La version d‘accompagnement la basse continue de chaque pièce est enregistrée sur le CD. Retrouvez sans attendre Bach, Haendel, Telemann, Platti, Locatelli, Stanley et Blavet.

Ne L‘arte del barocco“ viene data ai flautisti la possibilit di esplorare e conoscere questo periodo storico. I brani sono infatti corredati di brevi testi con informazioni sui compositori e sull‘epoca del barocco, come anche istruzioni su come eseguire i brani. Grazie al basso continuo i brani possono essere suonati anche con l‘accompagnamento. Nella pubblicazione sono proposte opere di J.S. Bach, G.F. Haendel, G. Ph. Telemann, Giovanni Platti, Pietro Locatelli, Michel Blavet e John Stanley.

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��.