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HARMONICA
Soli, Mixted choir and accompaniment
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So Soli, Mixted choir and accompaniment
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As Pants The Hart / So Wie Der Hirsch Nach Wasser Schreit
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
/ Soli, Choeur Mixte, Et Orchestre
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As Pants The Hart / So Wie Der Hirsch Nach Wasser Schreit
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
/ Soli, Choeur Mixte, Et Orchestre
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Christnacht Op. 85 (HAAS JOSEPH)
Soli, Mixted choir and accompaniment
satb (soli), SATB (chorus), Keyboard
[Sheet music]
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Easy
Schott
Ein Deutsches Weihnachtsliederspiel Nach Oberbayerischen und Tiroler Weisen. Par...
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Ein Deutsches Weihnachtsliederspiel Nach Oberbayerischen und Tiroler Weisen. Par HAAS JOSEPH. Das Weihnachtsliederspiel Christnacht des Komponisten und Pädagogen Joseph Haas gehört zu den Klassikern des geistlichen Spiels. Haas hatte den Mangel an für Laien spielund singbarer weihnachtlicher Oratorienliteratur beklagt. ?Nichts lag näher, als die altbekannten lieben weihnachtlichen Volksweisen zu einem einheitlichen Liederspiel zu vereinigen. Als ich den Plan durchdachte, wurde es mir klar, dass sich nur solche Melodien, die der gleichen deutschen Landschaft angehören, zu einem stilistisch einwandfreien Organismus verbinden können. Der mir befreundete Münchener Gesangspädagoge Professor Anton Schiegg, ein gründlicher Kenner süddeutscher Volkskunst, machte mich auf den kostbaren Schatz der bezaubernden oberbayerischen und Tiroler Krippenlieder aufmerksam?, so beschreibt Joseph Haas die Anregung zu seinem Spiel, das für Kinder ab 10 Jehren und für Jugendliche geeignet ist. Eine Aufnahme des Werkes ist bei TYXart erschienen und kann hier bestellt werden. / Niveau : 2 / Répertoire / Solistes, Ch?ur Mixte SATB et Orgue
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MeSSA Da Requiem
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
In spite of the most enthusiastic reception at the work's premiere, the famous p...
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In spite of the most enthusiastic reception at the work's premiere, the famous pianist and conductor Hans von Bülow criticized Verdi's Messa da Requiem as 'an opera in ecclesiastical robes?. Nonetheless, or maybe precisely for this quality, the work has conquered concert podiums worldwide.For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem - some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the 'Liber scriptus?, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the 'Liber scriptus? for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.- Verdi's monumental work in a Bärenreiter Urtext edition- Trilingual preface (Ital/Eng/Ger)- Critical Commentary (Eng) in the score- Idiomatic well-presented piano reduction / Violon I
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Elijah (Elias) Opus 70 (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Peters
Par MENDELSSOHN-BARTHOLDY FELIX. Felix Mendelssohn’s oratorio Elijah caused a ...
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Par MENDELSSOHN-BARTHOLDY FELIX. Felix Mendelssohn’s oratorio Elijah caused a sensation at its world première performance, sung in English, in Birmingham UK in August 1846. The huge forces marshalled for the occasion delighted the audience, who demanded no fewer than eight encores and loudly acclaimed the composer despite an injunction to observe the solemnity of the occasion by refraining from applause. Elijah has been an essential repertoire work for choral societies ever since. Published on the 175th anniversary of that famous premiere, Edition Peters is proud to present a new English-language Urtext edition of the vocal score containing the original libretto by William Bartholomew. Edited and with a preface by the highly respected musicologist Klaus Burmeister, the edition also includes a foreword ‘Mendelssohn and Birmingham’ by Simon Halsey, one of the world’s foremost choral directors (Chorus Director City of Birmingham Symphony Orchestra Choruses; Artistic Director, Orfeó Català Choirs and Artistic Adviser, Palau de la Música, Barcelona; Choral Director, London Symphony Orchestra and Chorus; Artistic Director, Berliner Philharmoniker ‘Vokalhelden’ Programme). The edition complements and is designed to be used in conjunction with the existing German/English full score (EP11345) and orchestral parts. An associated German language vocal score is also available (EP11347). Edition Peters Vocal Scores are the choice of the world’s leading choirs and chorus masters. They are practical, reliable, high-quality editions containing expert piano reductions. / Date parution : 2022-07-20/ Répertoire / Solistes, Choeur et Orchestre
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Johann Sebastian Bach: Cantata BWV 68 Also hat Gott die Welt geliebt: SATB:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Cantata for Whit Monday-Also hat Gott die Welt geliebt BWV 68 Cantata for Whit M...
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Cantata for Whit Monday-Also hat Gott die Welt geliebt BWV 68 Cantata for Whit MondayThe cantata Also hat Gott die Welt geliebt was written for the second day of Whitsun in the year 1725 and is one of nine cantatas to texts by Mariane von Ziegler which chronologically speaking close the 1724/1725 cycle of chorale cantatas. The work is not really a chorale cantata at all but its spacious opening chorale movement induced Bach to keep it among the chorale cantatas when he later revised the order of the cycle.Urtext of the New Bach EditionFull score & performance material (BA10068) vocal score (BA10068-90) available for sale
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Georg Friedrich Händel: I Will Magnify Thee: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Handel?s four anthems were all composed during his London period in the Chapel R...
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Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text was written in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket. Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the Organ.These four works (O sing unto the Lord HWV 249a I will magnify thee HWV 250b As pants the hart HWV 251e Let God arise HWV 256b) with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems arepresented in clearly laid out Vocal scores with easy-to-play Piano reductions based on the Urtext from the ?Halle Handel Edition?. Their winningly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and the equally festive solo numbers. Today they sound as splendid as ever before. The full scores and Vocal scores also contain a German translation along with the original English.Scoring:- HWV 249a: soloists (AB) chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo.- HWV 250b: soloists (SATB) chorus (SATB) Oboe Strings Continuo.- HWV 251e: soloists (SAATBB) chorus (SAATBB) 2 Oboes Strings Continuo.- HWV 256b: soloists (AB) chorus (SATB) Oboe Strings Continuo.- Urtext from the ?Halle Handel Edition? at the forefront of musical scholarship.- First separate editions for performance purposes.- Clear and easy-to-play Piano reductions.- Original English text with underlaid German translation.- Full scores vocal scores and performance material available for sale.
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Claudio Monteverdi: LOrfeo: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Favola in musica in un prologo e cinque atti-Monteverdi’s opera “L&r...
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Favola in musica in un prologo e cinque atti-Monteverdi’s opera “L’Orfeo” based on the legend of Thracian singer Orpheus and his love of Eurydice is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources this certainly does not mean that it is not also practical to use as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants not only between the two editions but also amongst the eight surviving copies are listed in the critical commentary.This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should however feel free to follow his own judgment. The notation has been when necessary adapted to suit modern practice for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower.Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practiceComprehensive critical commentary (Eng) in the scoreIdiomatic piano reduction
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Georg Friedrich Händel: Anthem For The Funeral Of Queen Caroline HWV 264: Mixed
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
When Queen Caroline the wife of King George II of England died on 20 November ...
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When Queen Caroline the wife of King George II of England died on 20 November 1737 Handel was commissioned to write an anthem for her funeral service. She was buried in King Henry VII?s Chapel Westminster Abbey on the evening of 17 December 1737 with Handel?s work performed after the funeral service.To emphasize the solemnity of the occasion he used a roughly 100-piece Orchestra and 80 Choristers. The piece is a so-called ?full anthem? consisting of an instrumental Introduction (?Symphony?) and thirteen interlinked choruses. The words were written by Edward Willes the Sub-Dean of Westminster at that time using passages from the King James Bible and theBook of Common Prayer albeit sometimes departing from the original wording.The absence of sections for solo voice has made this anthem a favourite among ambitious choruses and a highlight of any concert programme. Our edition contains the original unabridged version with English text. Martin Focke?s Piano reduction follows the Urtext of the Halle Handel Edition.Original unabridged version.Urtext from the Halle Handel Edition.Straightforward easy-to-play Piano reduction.Full score performance material (BA4267) and Vocal score (BA4267-90) based on the Urtext Halle Handel Edition available for sale.
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Georg Friedrich Händel: Anthem For The Funeral Of Queen Caroline HWV 264: Mixed
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
When Queen Caroline the wife of King George II of England died on 20 November ...
(+)
When Queen Caroline the wife of King George II of England died on 20 November 1737 Handel was commissioned to write an anthem for her funeral service. She was buried in King Henry VII?s Chapel Westminster Abbey on the evening of 17 December 1737 with Handel?s work performed after the funeral service.To emphasize the solemnity of the occasion he used a roughly 100-piece Orchestra and 80 Choristers. The piece is a so-called ?full anthem? consisting of an instrumental Introduction (?Symphony?) and thirteen interlinked choruses. The words were written by Edward Willes the Sub-Dean of Westminster at that time using passages from the King James Bible and theBook of Common Prayer albeit sometimes departing from the original wording.The absence of sections for solo voice has made this anthem a favourite among ambitious choruses and a highlight of any concert programme. Our edition contains the original unabridged version with English text. Martin Focke?s Piano reduction follows the Urtext of the Halle Handel Edition.Original unabridged version.Urtext from the Halle Handel Edition.Straightforward easy-to-play Piano reduction.Full score performance material (BA4267) and Vocal score (BA4267-90) based on the Urtext Halle Handel Edition available for sale.
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Benjamin Britten: The World Of The Spirit (Full Score): SATB: Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Score]
Chester
This concert version has been prepared by Donald Mitchell for Soprano Alto Ten...
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This concert version has been prepared by Donald Mitchell for Soprano Alto Tenor and Baritone soloists 1 or 2 speakers SATB choir and Orchestra. The text has been compiled by R. Ellis Roberts.The first performance ofthis concert version was given on 27th June 1998 in the Snape Maltings Concert Hall as part of the Aldeburgh Festival by Janice Watson (Soprano) Catherine Wyn-Rogers (Mezzo-Soprano) Timothy Robinson (Tenor) Neal Davies(Baritone) and David Evans (Speaker) with the Joyful Company of Singers and the City of London Sinfonia conducted by Steuart Bedford.Orchestration is for 2 Flutes2 Oboes2 Clarinets in B flat2Bassoons4 Horns in F2 Trumpets in C3 TrombonesTubaTimppaniSuspended CymbalClashed CymbalsGongSide DrumBass DrumTambourineHarpOrganStrings
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John Tavener: A New Beginning (Children's Choir Part): Soprano & SATB: Vocal
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Chester
A New Beginning was commissioned by the New Millennium Experience Company and w...
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A New Beginning was commissioned by the New Millennium Experience Company and will be performed in the Millennium Dome London in the closing minutes of 1999 to herald the New Millennium.For solo treble children's chorus SATB chorus and small orchestra. Duration c. 7 minutes.
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Antonín Dvo?ák: Rusalka Op.114 (Vocal Score): Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
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Performance material available for hire.With ?Rusalka? one of the best-loved an...
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Performance material available for hire.With ?Rusalka? one of the best-loved and most frequently performed works in the Czech operatic repertoire Dvorak reached an exceptional level of lyrical depth and dramatic effectiveness. The opera portrays the fairy tale-like drama around the unhappy love of the nymph Rusalka for a human.So that she can love and be loved she has to renounce her watery kingdom. Through the magical powers of a witch she is transformed into a human at the price of losing her speech.The Prince soon grows tired of her silent cold beauty and his heart turns towards a foreign princess. The despairing Rusalkawants to return to her watery kingdom. The disappointed Prince once more feels attracted to Rusalka?s magic. He returns to her by the forest lake. Rusalka?s deathly kiss brings him the release he longs for.The vocal score by Karel Solc based on the Complete Edition is published for the first time with a German singing translation of the text by Eberhard Schmidt. One of the best-known Czech operas Vocal score by Karel Solc Newly underlaid with German singing translation by Eberhard Schmidt
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Vesperae Solennes De Confessore
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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/ Soli (SATB), Choeur Mixte (SATB), Orchestre Et Orgue
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Dido and Aeneas (PURCELL HENRY)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Score]
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Par PURCELL HENRY. Purcell Dido and Aeneas (Full Score, paperback) The opera ?Di...
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Par PURCELL HENRY. Purcell Dido and Aeneas (Full Score, paperback) The opera ?Dido and Aeneas?, a recount of the well-known story from Book IV of Virgil's Aeneid, has established itself as a favourite with the public. This is due to the skill of composer Henry Purcell and his librettist Nahum Tate, who combined an overriding tragic theme with masterfully inserted comic episodes. Long believed to have been conceived in 1689 for a performance at a ?School for Young Gentlewomen?, scholars have debated the origins of ?Dido? in recent decades, a process hampered by the lack of early musical sources. This edition addresses these challenges and evaluates the earliest sources that reproduce the opera in its surviving form. Surprisingly, these date from the 1770s and 80s, some ninety years after the work was written. Three key manuscripts ? now held at the Bodleian Library in Oxford (UK), at Tatton Park Library which is a National Trust property near Manchester (UK), and at the Wakayama Prefectural Library (Japan) - were all copied from the same original, most likely a handwritten score from 1704 which reappeared in the early 1770s, only to disappear again. This is the first 'Dido' edition based on the Tatton Park manuscript as the main source. It was produced during the second half of the 18th century by Philip Hayes, one of England's most prominent musicians. He was known in musicology for his meticulous copies of Purcell's music, often from the autograph manuscripts. The Bodleian and Wakayama manuscripts are presented in a new light and their role in this edition has been reassessed accordingly. - Urtext edition based for the first time on the Tatton Park manuscript as the main source - Informative Foreword (Eng/Ger) on the genesis, transmission, reception and performance practice - Complete facsimile reproduction of the Chelsea libretto / Date parution : 2023-06-01/ Répertoire / Solistes, Choeur Mixte et Orchestre
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Giovanni Battista Pergolesi: Il prigionier superbo: Mixed Choir
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Ricordi
Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIO...
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Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIOVANNI BATTISTA PERGOLESI (Casa Ricordi in collaborazione con la Fondazione Pergolesi Spontini di Jesi) Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705) Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeo in Naples. With this opera ? his second dramma serio for San Bartolomeo in less than two years ? the young composer (who had already acquired considerable professional stature in the city?s theatres churches and aristocratic circles) reprised a perennially popular subject centered aroundthe dramatic conflict between filial piety and devotion to one?s betrothed. Inserted between the opera?s three acts were the intermezzi of La serva padrona which would soon go on to take all of Europe by storm. The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica ?San Pietro a Majella? in Naples and prepared by Giuseppe Sigismondo who was quite probably working from the now-lost autograph. Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted along with a number of manuscript copies of individual arias. The edition is furnished with a historical introduction which traces the libretto?s complicated literary lineage and illustrates the circumstances of the opera?s commission genesis premiere and subsequent history: and a critical apparatus containing detailed source descriptions and critical notes for both the text and the music. An earlier version of the last movement of the Sinfonia and an aria for the third act whose text does not appear in the original printed libretto are provided as appendices.
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My Song Shall Be Alway / Mein Lied Sing' Auf Ewig
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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/ Soli, Choeur Mixte, Et Orchestre
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O Sing Unto The Lord A New Song / O Singet Unserm Herrn Ein Neues Lied
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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/ Soli, Choeur Mixte, Et Orchestre
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My Song Shall Be Alway / Mein Lied Sing' Auf Ewig
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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My Song Shall Be Alway / Mein Lied Sing' Auf Ewig
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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O Sing Unto The Lord A New Song / O Singet Unserm Herrn Ein Neues Lied
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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/ Soli, Choeur Mixte, Et Orchestre
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My Song Shall Be Alway / Mein Lied Sing' Auf Ewig
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
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/ Soli, Choeur Mixte, Et Orchestre / Partition
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O Sing Unto The Lord A New Song / O Singet Unserm Herrn Ein Neues Lied
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
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/ Soli, Choeur Mixte, Et Orchestre
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