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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
17.50 GBP - Sold by Musicroom UK
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Ludwig van Beethoven: Symphony no. 9 in D minor op. 125: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
With final chorus An die Freude (Ode to Joy)-With final chorus 'An die Freude' (...
(+)
With final chorus An die Freude (Ode to Joy)-With final chorus 'An die Freude' (Ode to Joy)Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication Del Mar's edition enjoys the unabashed praise of conductors performers and critics alike and has become the most widelyused publication of the Beethoven Symphonies which can be heard not only every day in concert halls but also on CD recordings by John Eliot Gardiner David Zinman Jos van Immerseel and Claudio Abbado.Full scores study scores and complete performance material to Beethoven?s Nine Symphonies are available for sale.Full score & performance material (BA9009) study score format 22.5 x 16.5cm (TP909) & vocal score (BA9009-90) available for sale
99.00 GBP - Sold by Musicroom UK
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
45.00 GBP - Sold by Musicroom UK
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
6.00 GBP - Sold by Musicroom UK
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Georg Friedrich Händel: Dettinger Te Deum - HWV 283: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s vi...
(+)
HWV 283-Handel's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed.This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition.First Urtext editionIncludes a Foreword (Eng/Ger)Straight-forward well-presented Piano reduction (Eng)Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale
6.00 GBP - Sold by Musicroom UK
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Franz Schubert: Rosamunde Fürstin von Cypern D 797: Orchestra: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
Romantisches Schauspiel in vier Akten mit Musikbegleitung Chören und Tänzen-R...
(+)
Romantisches Schauspiel in vier Akten mit Musikbegleitung Chören und Tänzen-Rosamunde Fürstin Von Cypern D 797Incidental music to the four-act play by Helmina von Chézy.On 20 December 1823 Helmina von Chézy?s ?great romantic drama? ?Rosamunde? received its premiere performance at Vienna?s Theater an der Wien. Unfortunately this version of the drama with ghosts shipwreck pirates attempted poisoning and other horrifying ingredients has not survived unlike Schubert?s popular incidental music which was already praised by contemporary critics. Special acknowledgment was given to ?the genius of this much-loved master? and as evidence of its popularity the overture and the ?Hunters? Chorus? had to beplayed again.Now Bärenreiter is issuing one of Schubert?s best-known compositions in a complete vocal score.The appendix includes Chézy?s draft to the play ?Rosamunde? and a reconstruction of the first version of this drama.Urtext edition based on the ?New Schubert Edition?Bilingual Foreword (Ger/Eng)Idiomatic uncluttered Piano reduction (Ger)Full score (BA5570) and vocal score (BA5570-90) available for sale performance material (BA5570-72) available for hire
19.50 GBP - Sold by Musicroom UK
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Georg Friedrich Händel: Athalia HWV 52: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Oratorio in three parts The oratorio “Athalia” tells the Old Testame...
(+)
Oratorio in three parts The oratorio “Athalia” tells the Old Testament story of the Queen Athalia. Handel composed it in 1733 for Oxford University where it was first performed later that year during the celebrations for the awarding of honorary degrees. The great success of this performance is generally regarded as a reason for Handel’s renewed interest in the oratorio form. As was frequently the case Handel also carried on composing this work after the first performance. Thus for the version which was performed in London in 1735 he introduced numbers in Italian for the Italian singer Carestini in the roleof Joad. He also ended the work with an organ concerto. For the performance in 1756 he drew on other works for the third act. Conversely large parts of the music to Athalia form the basis for other works by Handel such as “Parnasso in festa” (HWV 73) and the Wedding Anthem (HWV 262). The Piano reduction by Andreas Köhs (BA4082-90) based on the Urtext of the “Halle Handel” Edition includes the main version of 1733 together with an appendix containing the versions of 1735 and 1756 as well as the outline of a planned version of 1743 which was not performed. - Based on the Urtext of the “Halle Handel” Edition - Includes all versions - Detailed foreword (Ger/Eng) - Full score (BA4082) and Vocal score (BA4082-90) available for sale - Performance material (BA4082-72) available for hire
57.50 GBP - Sold by Musicroom UK
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Wolfgang Amadeus Mozart: Le nozze di Figaro (Die Hochzeit des Figaro) KV492:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Complete Edition hardcover Opera buffa in four acts-Premièred at the Vienna ...
(+)
Complete Edition hardcover Opera buffa in four acts-Premièred at the Vienna Hoftheater on 1 May 1786 Wolfang Amadeus Mozartâ??s and Lorenzo Da Ponteâ??s Le nozze di Figaro may be safely regarded as one of the greatest operatic successes of all times. Yet its success was not entirely due to Mozartâ??s music: on the contrary because of the extraordinary demands it placed on the orchestra (especially the woodwinds) the music even posed an obstacle to the workâ??s spread outside the German-speaking countries. At least equally responsible for the operaâ??s success was the librettist Lorenzo Da Ponte who managed to transform a topical and socio-critical stage play into an opera libretto as effective as it isamusing.Many of the sources for Mozartâ??s first opera from the Lorenzo Da Ponte trilogy only became available to scholars again after the â??New Mozart Editionâ?? volume was published. These include the autograph scores of acts 3 and 4 now held at the Biblioteka Jagiello ka in Kraków significant portions of the original sets of parts and acts 2 to 4 of the conductorâ??s copy from the first performance of 1786.These original sources now available again offer compelling solutions to several previously unresolved questions.Edition based on the Urtext of the â??New Mozart Editionâ?? reflecting the latest musicological researchWith findings from original sources now available againDetailed foreword (Ger/Eng)Full score (BA4565-01) Vocal score (BA4565-92) study score format 22.5 x 16.5cm
51.00 GBP - Sold by Musicroom UK
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Henry Purcell: King Arthur: Opera: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Vocal Score]
Novello & Co Ltd.
King Arthur was the only one of Purcell's professionally produced operas to have...
(+)
King Arthur was the only one of Purcell's professionally produced operas to have been designed as a semi-opera; the others were all adaptations of earlier plays. Dryden made a real attempt to integrate the music into the drama but since he ascribed to the dramatic conventions of the period which virtually confined music to allegorical or supernatural beings and thier worshippers or servants shepherds and similar characters the main action mostly occurs in the spoken sections and even the two singing characters Philidel and Grimbald speak more than they sing.
17.99 GBP - Sold by Musicroom UK
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Franz Schubert: Messe G D167: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
[Sheet music]
Peters
Schubert's Mass No.2 in G D167 for SATB choir and Piano accompaniment.Franz Schu...
(+)
Schubert's Mass No.2 in G D167 for SATB choir and Piano accompaniment.Franz Schubert composed his ?Mass No. 2 in G major? in less than a week (March 2 to 7 1815). Schubert was an Austrian composer who was extremely prolific during his lifetime ? despite dying at 31 his output consists of over six hundred secular Vocal works (mainly Lieder) seven complete symphonies sacred music operas incidental music and a large body of chamber and Piano music. Schubert is ranked among the greatest composers of the late Classical era and early Romantic era and is one of the mostfrequently performed composers of the early nineteenth century.
7.95 GBP - Sold by Musicroom UK
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Georg Friedrich Händel: Athalia HWV 52: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Oratorio in three parts-Oratorio in three parts The oratorio “Athalia&rdqu...
(+)
Oratorio in three parts-Oratorio in three parts The oratorio “Athalia” tells the Old Testament story of the Queen Athalia. Handel composed it in 1733 for Oxford University where it was first performed later that year during the celebrations for the awarding of honorary degrees. The great success of this performance is generally regarded as a reason for Handel’s renewed interest in the oratorio form. As was frequently the case Handel also carried on composing this work after the first performance. Thus for the version which was performed in London in 1735 he introduced numbers in Italian for the Italian singer Carestini in the roleof Joad. He also ended the work with an organ concerto. For the performance in 1756 he drew on other works for the third act. Conversely large parts of the music to Athalia form the basis for other works by Handel such as “Parnasso in festa” (HWV 73) and the Wedding Anthem (HWV 262). The Piano reduction by Andreas Köhs (BA4082-90) based on the Urtext of the “Halle Handel” Edition includes the main version of 1733 together with an appendix containing the versions of 1735 and 1756 as well as the outline of a planned version of 1743 which was not performed. - Based on the Urtext of the “Halle Handel” Edition - Includes all versions - Detailed foreword (Ger/Eng) - Full score (BA4082) and Vocal score (BA4082-90) available for sale - Performance material (BA4082-72) available for hire
516.50 GBP - Sold by Musicroom UK
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La Grande-Duchesse De Gérolstein Vol.1 (1Er Et 2ème Actes)
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Bote and Bock
Après les succès extraordinaires de Belle Hélène (1864) et Vie parisienne (1...
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Après les succès extraordinaires de Belle Hélène (1864) et Vie parisienne (1866), le triumvirat Offenbach / Meilhac / Halévy a atteint le zénith de sa gloire en 1867 avec son Grand-Duché de Gérolstein - mais seulement après des suppressions drastiques et des révisions. Aucune autre Offenbachiade tant souffert de coupures faites dans le but d'accueillir le goût populaire de l'époque. En conséquence, la grande romantique opéra-bouffe plein de gouffres et doubles sens mutées dans la parodie militaire dont il était connu jusqu'à ce que la redécouverte en 2004 de la version originale à la parisienne du Théâtre du Châlet avec les Musiciens du Louvre sous la direction de Marc Minkowski, et Felicity Lott dans le rôle titre. Le 'original' Grande Duchesse de Gérolstein, comme initialement conçu par Offenbach et ses librettistes, a été publié dans son intégralité pour la première fois dans le cadre de l'OEK critique pratique Offenbach Edition, et est également désormais disponible, après avoir résisté à l'épreuve dans de nombreuses productions scéniques, dans une partition de piano imprimé. Il documente non seulement la version de la partition autographe, mais en outre également des versions faites par Offenbach pour les premières suivantes à Vienne et à Berlin, avec toutes les modifications en termes de forme et de la musique. Tous les quatre versions livret pertinentes sont documentés dans l'annexe. / Soliste, Choeur Et Orchestre
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La Grande-Duchesse De Gérolstein Vol.2 (3ème Acte Et Livrets)
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Bote and Bock
Après les succès extraordinaires de Belle Hélène (1864) et Vie parisienne (1...
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Après les succès extraordinaires de Belle Hélène (1864) et Vie parisienne (1866), le triumvirat Offenbach / Meilhac / Halévy a atteint le zénith de sa gloire en 1867 avec son Grand-Duché de Gérolstein - mais seulement après des suppressions drastiques et des révisions. Aucune autre Offenbachiade tant souffert de coupures faites dans le but d'accueillir le goût populaire de l'époque. En conséquence, la grande romantique opéra-bouffe plein de gouffres et doubles sens mutées dans la parodie militaire dont il était connu jusqu'à ce que la redécouverte en 2004 de la version originale à la parisienne du Théâtre du Châlet avec les Musiciens du Louvre sous la direction de Marc Minkowski, et Felicity Lott dans le rôle titre. Le 'original' Grande Duchesse de Gérolstein, comme initialement conçu par Offenbach et ses librettistes, a été publié dans son intégralité pour la première fois dans le cadre de l'OEK critique pratique Offenbach Edition, et est également désormais disponible, après avoir résisté à l'épreuve dans de nombreuses productions scéniques, dans une partition de piano imprimé. Il documente non seulement la version de la partition autographe, mais en outre également des versions faites par Offenbach pour les premières suivantes à Vienne et à Berlin, avec toutes les modifications en termes de forme et de la musique. Tous les quatre versions livret pertinentes sont documentés dans l'annexe. / Soliste, Choeur Et Orchestre
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Wolfgang Amadeus Mozart: Missa in C major KV 317 Coronation Mass : SATB: Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Arranged for female choir (SMA)-The choral scene is in a state of change! On the...
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Arranged for female choir (SMA)-The choral scene is in a state of change! On the one hand more and more choirs are lacking in male voices yet at the same time more and more female choirs are looking for high-quality literature beyond folksong arrangements. Bärenreiter is responding to these general trends with the publication of arrangements for three-part female choir (SMA) of well-known frequently-performed works.The first editions to be published are Wolfgang Amadeus Mozart?s ?Coronation Mass? K. 317 (BA 5691) a much-performed work within the standard repertoire and the ?Missa brevis in D major? K. 194 (BA 5690-90) a charming alternative for use in church services. With great skill andsensitivity to the music Heribert Breuer has carefully retained the substance of the original works at the same time giving them a completely new sound quality.- Arrangements for female choir (SMA) based on the Urtext of the ?New Mozart Edition?- Idiomatic piano reductionsThe arrangerHeribert Breuer was professor of choral conducting and music theory at the Berlin University of the Arts until 2010. He is founder and director of the Berlin Bach Akademie and has made a name for himself with his numerous arrangements of works from Bach to Schubert.
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Georg Philipp Telemann: Die Auferstehung Und Himmelfahrt Jesu: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Oratorio paperback-Composed around 1760 Die Auferstehung und Himmelfahrt Jesu ...
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Oratorio paperback-Composed around 1760 Die Auferstehung und Himmelfahrt Jesu is one of Telemann’s last large-scale vocal works. The libretto by Karl Wilhelm Ramler recounts the Biblical events from the Resurrection to the Ascension in seven sections. Alternating between recitative da capo arias and festive choruses Telemann succeeds in producing a vivid and effective musical interpretation of the libretto. Our edition of this oratorio is based on the Urtext from Georg Philipp Telemann Musical Works. The score contains a realisation of the continuo part. The work is ideal for performances in church and concert hall alike. Complete scholarly-critical edition based on Georg Philipp Telemann Musical Works An attractive addition to the repertoire with a view to the Telemann Year 2017 Bilingual Foreword (Ger/Eng) Idiomatic Piano reduction Full score (BA5851) and vocal score (BA5851-90) available for sale Performance material (BA5851-72) available for hire.
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Christmas Oratorio, Part II (BACH JOHANN SEBASTIAN)
Soli, Mixted choir and accompaniment
[Score]
Carus Verlag
Und es waren Hirten in derselbigen Gegend - BWV 248.2. Par BACH JOHANN SEBASTIAN...
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Und es waren Hirten in derselbigen Gegend - BWV 248.2. Par BACH JOHANN SEBASTIAN. The Christmas Oratorio with just organ instead of orchestral accompaniment? Can this work with such a festive and colorfully orchestrated piece? This arrangement shows that it can, and surprisingly well!Carsten Klomp has carefully transcribed the orchestral writing for organ. Staying close to the original score goes hand-in-hand with a transcription brilliantly suited to the organ, with full use of the tonal and performing possibilities of the instrument.The first three parts of the Christmas Oratorio are now available from Carus in this form. So for the first time, a complete performance of Parts I?III of the work can now be given in an arrangement for soloists, choir and organ. Each of the organ parts is available to match the scores. These allow for optimal page-turns, as the choral parts are not printed and the da capo sections are always written out in full.The editions are available individually or as a set (including the three scores with the individual organ parts).The vocal parts (for soloists and choir) are identical to the original version, so that the vocal score and choral score of that version can be used.This work (original version) is also available in carus music, the choir app! / Date parution : 2022-10-12/ Répertoire / Solistes, SATB et Orgue
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Carus Verlag
Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Li...
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Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Carus Verlag
Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Li...
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Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Carus Verlag
Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Li...
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Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Carus Verlag
Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Li...
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Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Carus Verlag
Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Li...
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Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa In C (MOZART WOLFGANG AMADEUS)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Carus Verlag
Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Li...
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Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Christmas Oratorio, Part III (BACH JOHANN SEBASTIAN)
Soli, Mixted choir and accompaniment
[Score]
Carus Verlag
Herrscher des Himmels, erhöre das Lallen - BWV 248 III, BWV3 248.3. Par BACH JO...
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Herrscher des Himmels, erhöre das Lallen - BWV 248 III, BWV3 248.3. Par BACH JOHANN SEBASTIAN. The Christmas Oratorio with just organ instead of orchestral accompaniment? Can this work with such a festive and colorfully orchestrated piece? This arrangement shows that it can, and surprisingly well!Carsten Klomp has carefully transcribed the orchestral writing for organ. Staying close to the original score goes hand-in-hand with a transcription brilliantly suited to the organ, with full use of the tonal and performing possibilities of the instrument.The first three parts of the Christmas Oratorio are now available from Carus in this form. So for the first time, a complete performance of Parts I?III of the work can now be given in an arrangement for soloists, choir and organ.Each of the organ parts is available to match the scores. These allow for optimal page-turns, as the choral parts are not printed, but the da capo sections are always written out in full.The editions are available individually or as a set (including the three scores with the individual organ parts).The vocal parts (for soloists and choir) are identical to the original version, so that the vocal score and choral score of that version can be used.This work (original version) is also available in carus music, the choir app! / Date parution : 2022-10-12/ Répertoire / Solistes, SATB et Orgue
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Dimotika Parties De Choeur
Français
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Billaudot
Cette partition DIMOTIKA PARTIES DE Choeur de Markeas Alexandros a été édité...
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Cette partition DIMOTIKA PARTIES DE Choeur de Markeas Alexandros a été éditée par les éditions Billaudot. La référence de cette partition de musique est GB7349. Cette oeuvre d'une durée de 00:25:00 est idéale pour les musiciens pratiquant Chant/Vocal/Choeur. Après quelques heures de pratique, cette partition n'aura plus de secret pour vous. / Voix Solistes Et Ensemble (Ou Orchestre) / Partition
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Te Deum (BRUCKNER ANTON)
Soli, Mixted choir and accompaniment
[Vocal Score]
Carus Verlag
Par BRUCKNER ANTON. Anton Bruckner's Te Deum - a high point in the composer's ou...
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Par BRUCKNER ANTON. Anton Bruckner's Te Deum - a high point in the composer's output and one of the most important works of the sacred choral repertoire in the 19th century - is now available in a modern, scholarly edition. The Carus edition draws on both the two sources regarded as important, the autograph score and the first printed edition, with careful consideration given to variant readings. And so a music text has been prepared which reflects the composer's intentions as closely as possible. Great emphasis has been placed on a clear-to-read layout of the full score pages, as well as excellent legibility for the parts, which are available on sale. With current performance practice in mind, the clarinet parts are notated in B flat instead of A, corresponding with the first printed edition. The vocal score has been newly prepared to reflect current practical requirements. As an economical alternative, a chorus score is available. Bruckner's Te Deum is also available in carus music, the choir app. The app contains the music and a recording, as well as a coach to help with learning each choral part. In preparation: arrangement of the Te Deum for soli, choir, brass quintet and organ./ Répertoire / Choeur Mixte (SATB) et Piano
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Claudio Monteverdi: Vespro Della Beata Vergine 'Marienvesper': Vocal Ensemble:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
2 Solo Sopranos 2 Solo Altos 3 Solo Tenors 2 Solo Basses Mixed Choir and Orc...
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2 Solo Sopranos 2 Solo Altos 3 Solo Tenors 2 Solo Basses Mixed Choir and Orchestra-Scholarly-critical Urtext edition orientated towards performance practice.Detailed critical commentary (Eng) in the full score.Movements 10 13 and 14 are included in their original high clef in the appendix of the full score.These movements are also available with Piano reduction as print-on-demand.Claudio Monteverdi?s ?Vespro della Beata Vergine? is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings it is frequently performed in its entirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas under thedirection of the Monteverdi specialist Hendrik Schulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led for instance to a divergent evaluation of the ?Lauda Jerusalem? oriented towards performance practice with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights make a modern interpretation of this 400-year-old work possible.Full score & performance material available for sale.
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Georg Friedrich Händel: Alexander's Feast K.591: Vocal: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
In 1736 Handel composed ?Alexander?s Feast? or ?The Power of Musick? a two-part...
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In 1736 Handel composed ?Alexander?s Feast? or ?The Power of Musick? a two-part cantata based on John Dryden?s poem of the same name.In 1790 at the suggestion of Baron Gottfried van Swieten Mozart arranged this work using a German translation of the poem made by Karl Wilhelm Ramler in 1770. As in other arrangements of Handelian works Mozart?s re-instrumentation leads to a change in the sound character of the work placing the composition in the tradition of the Viennese Classic.Urtext of the New Mozart EditionFull score (BA4527-01) vocal score (BA4527-90) available for salePerformance material available for hire (BA4527-72)
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Hector Berlioz: Les Troyens: Voice: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Les Troyens - The Trojans: Opera in 5 ActsBerlioz composed Les Troyens towards t...
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Les Troyens - The Trojans: Opera in 5 ActsBerlioz composed Les Troyens towards the end of his life drawing on Virgil?s epic poem The Aeneid which he had admired since his childhood. In his Memoirs he recounts how his father a country doctor read Virgil to him and how the story of Dido?s tragic fate reduced him to tears which he tried hard to conceal.The score was finished in April 1858 but he was unable to persuade the Paris Opera to mount it (his earlier opera Benvenuto Cellini had been a failure there in 1838) and eventually he agreed to allow the last three acts to be performed under the title Les Troyens Carthage. This took place at theThé tre-lyrique an enterprising but ill-equipped theatre in November 1863 and although it was much admired there were no more performances before Berlioz?s death in 1869.In the history of French music Les Troyens stand out as a grand opera that avoided the shallow glamour of Meyerbeer and Halévy but therefore paid the price of long neglect. In our own time the opera has finally come to be seen as one of the greatest operas of the 19th century.The vocal score to ?Les Troyens? presents the text Berlioz conceived as a great five act opera. During the composition of this work between 1856 and 1858 and up until June 1863 Berlioz perceived ?Les Troyens ? as one opera. Because of performance difficulties the composition had to be divided into two operas ?La Prise de Troie? and ?Les Toyens Carthage?.The vocal score is based on the three-volume New Berlioz Edition and also on the one-volume vocal score edition that under Berlioz?s supervision was privately printed in 1861-62 and then distributed. The appendix contains two complete scenes: The Sinon scene from the first act and the original finale from the fifth act.Urtext of the New Berlioz EditionFull score (BA5442) and vocal score (BA5442-90) available for salePerformance material (BA5442-72) available for hire
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Olivier Messiaen: Saint Francois d'Assise - Volume 1: Opera: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Leduc, Alphonse
Saint Francis of Assisi is an opera in 3 acts by Olivier Messiaen. This first vo...
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Saint Francis of Assisi is an opera in 3 acts by Olivier Messiaen. This first volume is focused on the Act 1 – 1. La croix 2. Les laudes 3. Le baiser au lépreux. It depicts the moments when Saint Francis explains what is the 'Perfect Joy' according to the love of the Christ his request to God to meet a leper and to be able to love him and finally his meeting with a leper assisted by an Angel. The leper is cured from this meeting. Based on the life of Saint Francis of Assisi this opera is set in Italy and is composed as per below: Act I: 1. La croix 2. Les laudes 3.Le baiser au lépreux Act II 4. L’ange voyageur 5. L’ange musicien 6. Le prêche aux oiseaux Act II 7. Les stigmates 8. La mort et la nouvelle vie This opera was played at the Paris Opera in 1983. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music he had a very special way of composing and his work can be identified by its complexity its diatonic aspect its harmony with limited transposition its colour and its additive rhythms. He composed many works related to ornithology and birdsong including the 'Bird Catalogue' in 7 volumes and the 'Treatise on rhythm colour and ornithology' in 7 volumes.
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