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Georg Friedrich Händel: Worthy Is The Lamb That Was Slain (from Messiah): SATB:
11.25 £GBP
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Instrumentation :
Choral SATB
Publisher :
Schirmer
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Georg Friedrich Händel: Worthy Is The Lamb That Was Slain (from Messiah): SATB:
11.25 GBP
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Georg Friedrich Händel: Keyboard Works For Solo Instruments: Piano: Instrumental
Piano solo
Dover Publications
Here for the first time in a popularly accessible edition are 35 of his finest...
(+)
Here for the first time in a popularly accessible edition are 35 of his finest keyboard works for solo instruments reproduced from the monumental Deutsche Handelgesellschaft edition including eight 'Great Suites' and 'Fugue In A Minor'. For this new edition the pieces have been rearranged and retitled according to the latest scholarly sequences found in The New Grove Dictionary of Music and Musicians. Students and scholars will find many of the ideas Handel sketched here expanded and reworked in later chamber and orchestral works and in the opera dance movements; musicians and every Baroque music lover will see in these neglected pieces 'a Protean Fluidity' (New Grove) worthyof the great composer and more than worthy of any musical library.
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Georg Friedrich Händel: Worthy Is The Lamb And Amen: SATB: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
Novello & Co Ltd.
From Messiah. Edited by H. Watkins Shaw.
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Georg Friedrich Händel: Alleluia: Mixed Choir a Cappella: Vocal Score
Choral SATB
[Vocal Score]
Pavane Publishing
from the Oratorio Deborah-It is always refreshing and grounding to sing a Handel...
(+)
from the Oratorio Deborah-It is always refreshing and grounding to sing a Handel anthem. This Alleluia from the oratorio Deborah was first used by Handel in the Coronation Anthem No. 3 Let Thy Hand Be Strengthened. Robert Sieving has arranged the piece for SAATB choir and organ. Energetic and majestic aptly describe this worthy anthem for both church and school.
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Georg Friedrich Händel: Easy Piano Pieces And Dances: Piano: Instrumental Album
Piano solo
-
Easy
Barenreiter
This performing edition offers a selection of the easiest keyboard pieces and da...
(+)
This performing edition offers a selection of the easiest keyboard pieces and dances by George Frideric Handel. Although Handel’s keyboard works occupy a modest place in his extensive compositional output they include many pieces of outstanding significance. Himself a virtuoso keyboard player Handel wrote not only difficult music for his instrument but also a considerable number of easy pieces from various stages in his career. Alongside wellknown pieces such as the Sarabande in D minor this edition includes pieces which bring discoveries and surprises. It is particularly in his dance numbers that Handel reveals himself as a true master of the easybut euphonious keyboard piece. Many minuets airs and marches appear here for the first time in a printed collection a clear indication of the editorial value of this edition. The reliable fingering and the notes on ornamentation make the collection very practical to use. A varied and unusual range of pieces for piano lessons with valuable notes on the works and a spacious appearance on the page. The ideal introduction to Handel's keyboard music Varied selection of Handel's easiest keyboard pieces Trustworthy edition with explanatory notes and reliable fingering Readily affordable collection
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Georg Friedrich Händel: O come let us sing HWV 253 - Chandos Anthem No.8: Voice:
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
O come let us sing HWV 253 Chandos Anthem No.8Handel’s three anthems (My s...
(+)
O come let us sing HWV 253 Chandos Anthem No.8Handel’s three anthems (My song shall be alway HWV 252 O come let us sing HWV 253 O praise the Lord HWV 254) were composed in 1717 and 1718 for Cannons a country estate near to London. They take their nickname the “Chandos Anthems” from the owner of the estate the First Duke of Chandos.The three pieces are noteworthy for their festive character and their varied orchestral accompaniment. Handel borrows older material from his Italian period and his earlier works for the Chapel Royal in London – a standard procedure for this composer who reusedparticularly successful pieces as starting points for his later works. The scoring for solo voices chorus oboe strings and continuo was tailored to the musical resources of the small country estate. Two additional recorders are needed for “O come let us sing unto the Lord”.The anthems present the Urtext from the “Halle Handel Edition” and include uncomplicated and easy-to-play Piano reductions. In addition to the original English words the full scores and vocal scores also include a singing translation in German.- Full score & parts (BA4293) and vocal score (BA4293-90) available for sale
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Georg Friedrich Händel: Overture To The Occasional Oratorio: Organ: Instrumental
Organ
Bosworth
The Occasional Overture is a piece of two parts the first meditative and singin...
(+)
The Occasional Overture is a piece of two parts the first meditative and singing with the dotted rhythms that denote grandeur while the march is confident of victory.Handel composed the Occasional Oratorio or cobbled it together as some sources would have it in the winter of 1746 and performed it almost immediately. The oratorio contained some new music and some borrowings from earlier music and it was meant to express musical support for the Hanoverian side in the second Jacobite rebellion. It was certainly not his greatest work but just as certainly contains some movements among its forty-four in total that have music worthy of preservation and performance.
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Matthäus Nikolaus Stulick: Oboe Concerto in C minor: Oboe: Score and Parts
Oboe and Orchestra
[Sheet music]
Spartan Press
Concerto In C Minor for Oboe Strings and Basso Continuo composed by Matthäus...
(+)
Concerto In C Minor for Oboe Strings and Basso Continuo composed by Matthäus Nikolaus Stulick [or Georg Friedrich Händel or Johann David Heinichen]. Additional parts are available from the publisher separately quickly and cheaply. A 'Piano Reduction' for Oboe and Piano is available separately. There are three versions of this concerto with different assignments: Source A: In the library Schwerin [D-SWl] as „de Sing. Stulick' [Mus.5337]. Source B: In the collection Rheda[D-RH] as „Del Sing. Heinichen' [Ms 389]. Source C: In the univesity library Upsala [S-Uu]als „Dell Sing. Hendell' [i hs. 19:28]. The distribution of a baroque composition under various composers names was not uncommon and usually meant that it was a worthy work of high compositional quality. This Concerto for Oboe Strings and Basso continuo can serve in any case as evidence for this thesis. The question which of the three composers mentioned was the creator of the concert can not be answered conclusively. Two arguments suggest however that Matthäus Nikolaus Stulick (c.1700-1732) is the most likely of the three candidates: - The Schwerin manuscript [Source A] that names Stulick as the composer is the best by far; it contains far fewer errors and inconsistencies than the other two. - The designation of a work by a foreign composer name makes only sense if an unknown composer publishes under a name of a much more prominent composer not vice versa. Why should a work of Handel or at his time well-known Heinichen be played under the name of someone less known? We do not know much about the life of Matthäus Nikolaus Stulick. He
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Georg Friedrich Händel: Giulio Cesare in Egitto HVW 17: Vocal Solo: Score
Soli, Mixted choir and accompaniment
Barenreiter
Opera in three acts. ?Giulio Cesare in Egitto? is by far Handel?s most frequentl...
(+)
Opera in three acts. ?Giulio Cesare in Egitto? is by far Handel?s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel?s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations ? essentially four versions ? on the basis of a meticulous study of the sources within the framework of the ?Halle Handel Edition?. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini. The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically. In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in ?Giulio Cesare?. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel?s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions.
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Georg Friedrich Händel: O Praise The Lord With One Consent HWV 254: Mixed Choir:
Klavierauszug - Soli (STTB), Gemischter Chor (SA²TB) und Klavier
[Sheet music]
Barenreiter
Handel?s three anthems (My song shall be alway HWV 252 O come let us sing HWV 2...
(+)
Handel?s three anthems (My song shall be alway HWV 252 O come let us sing HWV 253 O praise the Lord HWV 254) were composed in 1717 and 1718 for Cannons a country estate near to London. They take their nickname the ? Chandos Anthems? from the owner of the estate the First Duke of Chandos .The three pieces are noteworthy for their festive character and their varied orchestral accompaniment. Handel borrows older material from his Italian period and his earlier works for the Chapel Royal in London a standard procedure for this composer who reused particularly successful pieces as starting points for his later works. The scoring for solo voices chorus oboe strings and continuo was tailored to the musical resources of the small country estate. Two additional recorders are needed for ?O come let us sing unto the Lord?.The anthems present the Urtext from the ?Halle Handel Edition? and include uncomplicated and easy-to-play piano reductions. In addition to the original English words the full scores and vocal scores also include a singing translation in German.?The clarity found in these Bärenreiter scores and the excellent keyboard reductions make them very attractive for performers.?(Church Music Quarterly Sept. 2008)
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Georg Friedrich Händel: The Lord Is My Light HWV 255: Mixed Choir: Vocal Score
Klavierauszug - Soli (STT), Gemischter Chor (SATTB) und Klavier
[Sheet music]
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The Lord Is My Light (HWV 255) Chandos Anthem No.10From 1717 to 1718 Handel was ...
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The Lord Is My Light (HWV 255) Chandos Anthem No.10From 1717 to 1718 Handel was resident composer at Cannons a country estate to the north of London. During this time he wrote the so-called Chandos Anthems a set of eleven “Anglican cantatas” with instrumental accompaniment.“The Lord is my light” (HWV 255) with its eleven movements is not only the longest composition in the set it also has the largest proportion of newly composed material.This anthem published with the Urtext of the Halle Handel Edition is especially noteworthy for its varied and self-sufficient orchestralaccompaniment which lends a fitting backdrop to the festive chorus and equally festive solo numbers.Both the full score and the vocal score contain a German translation alongside the original English.Scoring: Soloists (STT) chorus (SATTB) 2 recorders oboe strings continuo- Full score & parts (BA4268) and vocal score (BA4268-90) available for sale- Urtext at the forefront of musical scholarship- First separate edition for performance purposes- Based on the Urtext from the Halle Handel Edition- Straightforward and easy-to-play Piano reduction
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Georg Friedrich Händel: O Praise The Lord With One Consent HWV 254: SATB: Score
Soli (STTB), Gemischter Chor (SATB), Orchester
[Sheet music]
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Handel?s three anthems (My Song Shall Be Alway HWV 252 O Come Let Us Sing HWV 2...
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Handel?s three anthems (My Song Shall Be Alway HWV 252 O Come Let Us Sing HWV 253 O Praise The Lord HWV 254) were composed in 1717 and 1718 for Cannons a country estate near to London. They take their nickname the ?Chandos Anthems? from the owner of the estate the First Duke of Chandos.The three pieces are noteworthy for their festive character and their varied orchestral accompaniment. Handel borrows older material from his Italian period and his earlier works for the Chapel Royal in London a standard procedure for this composer who reused particularly successful pieces as starting points for his later works. The scoringfor solo Voices Chorus Oboe Strings and Continuo was tailored to the musical resources of the small country estate. Two additional recorders are needed for ?O Come Let Us Sing Unto The Lord?.The anthems present the Urtext from the ?Halle Handel Edition? and include uncomplicated and easy-to-play Piano reductions. In addition to the original English words the full scores and vocal scores also include a singing translation in German.
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Matthäus Nikolaus Stulick: Oboe Concerto in C minor: Oboe: Instrumental Album
Oboe, Piano (duet)
[Reduction]
Spartan Press
Concerto In C Minor for Oboe Strings and Basso Continuo composed by Matthäus ...
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Concerto In C Minor for Oboe Strings and Basso Continuo composed by Matthäus Nikolaus Stulick [or Georg Friedrich Händel or Johann David Heinichen]. Piano reduction. There are three versions of this concerto with different assignments: Source A: In the library Schwerin [D-SWl] as „de Sing. Stulick' [Mus.5337]. Source B: In the collection Rheda [D-RH] as „Del Sing. Heinichen' [Ms 389]. Source C: In the univesity library Upsala [S-Uu]als „Dell Sing. Hendell' [i hs. 19:28]. The distribution of a baroque composition under various composers names was not uncommon and usually meant that it was aworthy work of high compositional quality. This Concerto for Oboe Strings and Basso continuo can serve in any case as evidence for this thesis. The question which of the three composers mentioned was the creator of the concert can not be answered conclusively. Two arguments suggest however that Matthäus Nikolaus Stulick (c.1700-1732) is the most likely of the three candidates: - The Schwerin manuscript [Source A] that names Stulick as the composer is the best by far; it contains far fewer errors and inconsistencies than the other two. - The designation of a work by a foreign composer name makes only sense if an unknown composer publishes under a name of a much more prominent composer not vice versa. Why should a work of Handel or at his time well-known Heinichen be played under the name of someone less known? We do not know much about the life of Matthäus Nikolaus Stulick. He was born around 1700 in Bohemia and worked in the 1730s as concertmaster at the court in Mainz where he died in 1732. Besides two Oboe concertos he composed a concerti à 4 for three wind instruments and BC.
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Georg Friedrich Händel: Worthy Is The Lamb That Was Slain (from Messiah): SATB:
Choral SATB
Schirmer
Does NOT include 'Amen'
11.25 GBP - Sold by Musicroom UK
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