SKU: BA.BA08708-01
ISBN 9790006537846. 33 x 27 cm inches. Text Language: French. Preface: Prévost, Paul / Macdonald, Hugh. Text: Leterrier, Eugène / Vanloo, Albert.
WithL'Etoile, Chabrier composed a light-hearted opera which has increasingly enjoyed revivals in recent years. The plot is introduced by King Ouf I who offers his subjects an execution every year on his birthday. Unfortunately the problem now arises that no crime has recently been committed which might serve as a reason for an execution. Finally, he finds a would-be victim in the young Lazuli. However, according to predictions by the astrologer Siroco, Lazuli's fate is closely linked to the king's own life. The comic opera is further bolstered by a story of mistaken identities which involves a great deal of diplomacy, a love story and a large number of refined, yet catchy melodies.Chabrier was a master of the sensitive and complicated art of musical comedy, a field where he can be compared in equal measure to Offenbach, Rossini and Mozart.This vocal score is based on the full score edited by Hugh Macdonald which is published as part of the seriesL'Opera francais. - Authoritative Urtext edition based on the seriesL'Opera francais- Original French text with a German singing translation- Comprehensive foreword (Ger/Eng/Fr)
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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 â??Il trionfo del Tempo e della Verità â? (â??The Triumph of Time and Truthâ?) HWV 46b. The libretto of this oratorio closely corresponds to that of the oratorio â??La Bellezza ravveduta nel trionfo del Tempo e del Disingannoâ? (â??Beauty Reconciled in the Triumph of Time and Enlightenmentâ?) HWV 46a written in 1707. With â??La Bellezza ravvedutaâ?, 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 â??Il trionfo del Tempo e della Verità â?, Handel approached the task pragmatically. He needed a new non-dramatic work to fulfill the eveningâ??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 Handelâ??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 â??Englishâ? oratorio form that he had developed in â??Estherâ? 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 â??Il trionfo del Tempo e della Verità â?.
SKU: BA.BA04590-01
ISBN 9790006451296. 33 x 26 cm inches. Text Language: Italian. Text: Giovanni de Gamerra.
On 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate, K.87 (74a), for the 1770-71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770, and the premiere duly took place on the Feast of St. Stephen (26 December) in 1770. The second, Lucio Silla (K. 135), again commissioned for the 1771-72 Carneval season in Milan, doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona, where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand, the third son of Maria Theresia, scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba, K. 111.)
SKU: CA.3117309
ISBN 9790007209575. Text language: German/English.
Bach created the cantata Erhohtes Fleisch und Blut by setting the sacred words to what had originally been the music of a secular cantata, presumably for the festival of Pentecost in 1727. Bach made few alterations to the musical structure, but he enlarged the original solo scoring for soprano and bass to a four-voice ensemble. Particularly notable among the solo movements is the extensive duet for soprano and bass in the form of a minuet, which in its musical language is certainly unique in Bach's cantatas. The dancelike final chorus brings the four voices together, and gives highly effective expression to the joy of Pentecost. Score and parts available separately - see item CA.3117300.
SKU: CA.3117349
ISBN 9790007209629. Text language: German/English.
Bach created the cantata Erhohtes Fleisch und Blut by setting the sacred words to what had originally been the music of a secular cantata, presumably for the festival of Pentecost in 1727. Bach made few alterations to the musical structure, but he enlarged the original solo scoring for soprano and bass to a four-voice ensemble. Particularly notable among the solo movements is the extensive duet for soprano and bass in the form of a minuet, which in its musical language is certainly unique in Bach's cantatas. The dancelike final chorus brings the four voices together, and gives highly effective expression to the joy of Pentecost. Score and part available separately - see item CA.3117300.
SKU: CA.3117314
ISBN 9790007209612. Text language: German/English.
SKU: CA.3117312
ISBN 9790007209599. Text language: German/English.
SKU: CA.3117313
ISBN 9790007209605. Text language: German/English.
SKU: CA.3117311
ISBN 9790007209582. Text language: German/English.
SKU: CA.3117303
ISBN 9790007144135. Text language: German/English.
Bach created the cantata Erhohtes Fleisch und Blut by setting the sacred words to what had originally been the music of a secular cantata, presumably for the festival of Pentecost in 1727. Bach made few alterations to the musical structure, but he enlarged the original solo scoring for soprano and bass to a four-voice ensemble. Particularly notable among the solo movements is the extensive duet for soprano and bass in the form of a minuet, which in its musical language is certainly unique in Bach's cantatas. The dancelike final chorus brings the four voices together, and gives highly effective expression to the joy of Pentecost. Score available separately - see item CA.3117300.
SKU: CA.3117307
ISBN 9790007165710. Language: German/English.
SKU: BA.BA04025-01
ISBN 9790006443222. 33 x 26 cm inches. Text Language: English.
Handelâ??s â??Semeleâ?, which premiered in February 1744, is based on an adapted version of William Congreveâ??s opera libretto titled â??The Story of Semeleâ?, originally published in 1706. However, neither Handel nor his librettist referred to â??Semeleâ? as an opera or an oratorio, which, according to the understanding at the time, would have required a biblical and/or Christian subject matter. Contemporary audiences also disagreed on the genre. The problematic classification as an oratorio has persisted into the present day, likely due to the edition labeled as such by Chrysander. The â??Halle Handel Editionâ? (HHA) distances itself from this classification and, considering the available sources, refrains from assigning a genre label.Congreve deviates from the mythological source multiple times in order to create tensions among the characters. The desired marriage between Semele and Athamas, whom she does not love, is an addition by Congreve to provoke the envy of her sister Ino, who desires Athamas herself. Therefore, Ino sees her own advantage in Semeleâ??s abduction by Jupiter. While Jupiterâ??s wife Juno decides to destroy Semele out of jealousy for his relationship with her, Jupiter brings Ino to his palace to console Semele. The vengeful Juno takes advantage of Inoâ??s presence and transforms into her likeness, persuading Semele to carry out a plan that later proves fatal. In the end, Ino emerges as the winner, as she is able to convince their father, Cadmus, to marry her to Athamas. The appearance of Apollo in the final scene to announce that Semeleâ??s immortal son Bacchus was saved from her ashes provides little consolation. However, this twist allows the drama to conclude with exuberant joy and a magnificent final chorus after the tragic scenes in the third act, culminating in the death of the protagonist.Handelâ??s autograph score shows significant deviations from and numerous revisions of the original version premiered. All surviving early versions, the musical movements deleted before the premiere, and the version of the December 1744, are given in the appendix to the HHA.
