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| Il trionfo del Tempo e della Verità, HWV 46 b Soli, Mixted choir and accompaniment Soli, mixted choir, orchestra Barenreiter
Soloists, Mixed choir, Orchestra SKU: BA.BA10726-01 Oratorio in three ...(+)
Soloists, Mixed choir, Orchestra SKU: BA.BA10726-01 Oratorio in three parts. Composed by George Frideric Handel. Edited by Michael Pacholke. This edition: Complete edition. Linen. Complete edition, Score. HWV 46. Baerenreiter Verlag #BA10726-01. Published by Baerenreiter Verlag (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?.
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| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso con...(+)
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo SKU: CA.1036911 Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Single Part, Violin 1. Composed 1708. 4 pages. Duration 19 minutes. Carus Verlag #CV 10.369/11. Published by Carus Verlag (CA.1036911). ISBN 9790007190521. Key: F major. Language: German/English. The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). Score and part available separately - see item CA.1036900. $2.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso con...(+)
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo SKU: CA.1036912 Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Single Part, Violin 2. Composed 1708. 4 pages. Duration 19 minutes. Carus Verlag #CV 10.369/12. Published by Carus Verlag (CA.1036912). ISBN 9790007190538. Key: F major. Language: German/English. The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). Score and part available separately - see item CA.1036900. $2.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso con...(+)
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo SKU: CA.1036914 Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Single Part, Cello/Double Bass. Composed 1708. 4 pages. Duration 19 minutes. Carus Verlag #CV 10.369/14. Published by Carus Verlag (CA.1036914). ISBN 9790007190552. Key: F major. Language: German/English. The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). Score and part available separately - see item CA.1036900. $2.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso con...(+)
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo SKU: CA.1036913 Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Single Part, Viola. Composed 1708. 2 pages. Duration 19 minutes. Carus Verlag #CV 10.369/13. Published by Carus Verlag (CA.1036913). ISBN 9790007190545. Key: F major. Language: German/English. The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). Score and part available separately - see item CA.1036900. $2.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso con...(+)
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo SKU: CA.1036949 Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Single Part, Organ. Composed 1708. 8 pages. Duration 19 minutes. Carus Verlag #CV 10.369/49. Published by Carus Verlag (CA.1036949). ISBN 9790007190576. Key: F major. Language: German/English. The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). Score and part available separately - see item CA.1036900. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso con...(+)
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo SKU: CA.1036900 Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. This edition: Paperbound. German title: Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Full score. Composed 1708. 32 pages. Duration 19 minutes. Carus Verlag #CV 10.369/00. Published by Carus Verlag (CA.1036900). ISBN 9790007025724. Key: F major. Language: German/English. The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso con...(+)
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo SKU: CA.1036905 Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Choral Score. Composed 1708. 12 pages. Duration 19 minutes. Carus Verlag #CV 10.369/05. Published by Carus Verlag (CA.1036905). ISBN 9790007109349. Key: F major. Language: German/English. The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). Score available separately - see item CA.1036900. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Herr, deine Augen sehen nach dem Glauben (Lord God, your eyes are seeing truth in trusting) Soli, Mixted choir and accompaniment Soli, mixted choir, orchestra [Score] Carus Verlag
Kantate zum 10. Sonntag nach Trinitatis. By Johann Sebastian Bach. Edited by Kub...(+)
Kantate zum 10. Sonntag nach Trinitatis. By Johann Sebastian Bach. Edited by Kubik, Reinhold. Arranged by Paul Horn. For Soli ATB, SATB Choir, Flute, 2 Oboes, (Violino), Strings, Organ. BWV 102. Cantatas; Stuttgart Urtext editions. Score. Language: German/English. Composed 1726. 84 pages. Duration 24 min. Published by Carus Verlag (German import).
$35.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vagit infans Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SK...(+)
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SKU: CA.2710912 Offertory for Christmas. Composed by Johann Ernst Eberlin. Edited by Armin Kircher. Sacred music from Salzburg. Vagit Infans 3. Sacred vocal music, Christmas. Single Part, Violin 2. Composed circa 1745. 4 pages. Duration 9 minutes. Carus Verlag #CV 27.109/12. Published by Carus Verlag (CA.2710912). ISBN 9790007200473. Language: Latin. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart. Score and part available separately - see item CA.2710900. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vagit infans Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SK...(+)
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SKU: CA.2710913 Offertory for Christmas. Composed by Johann Ernst Eberlin. Edited by Armin Kircher. Sacred music from Salzburg. Vagit Infans 3. Sacred vocal music, Christmas. Single Part, Viola. Composed circa 1745. 4 pages. Duration 9 minutes. Carus Verlag #CV 27.109/13. Published by Carus Verlag (CA.2710913). ISBN 9790007200480. Language: Latin. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart. Score and part available separately - see item CA.2710900. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vagit infans Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SK...(+)
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SKU: CA.2710911 Offertory for Christmas. Composed by Johann Ernst Eberlin. Edited by Armin Kircher. Sacred music from Salzburg. Vagit Infans 3. Sacred vocal music, Christmas. Single Part, Violin 1. Composed circa 1745. 4 pages. Duration 9 minutes. Carus Verlag #CV 27.109/11. Published by Carus Verlag (CA.2710911). ISBN 9790007200466. Language: Latin. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart. Score and part available separately - see item CA.2710900. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vagit infans Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SK...(+)
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SKU: CA.2710919 Offertory for Christmas. Composed by Johann Ernst Eberlin. Edited by Armin Kircher. Sacred music from Salzburg. Vagit Infans 3. Sacred vocal music, Christmas. Set of Orchestra Parts. Composed circa 1745. Duration 9 minutes. Carus Verlag #CV 27.109/19. Published by Carus Verlag (CA.2710919). ISBN 9790007200503. Language: Latin. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart. Score and parts available separately - see item CA.2710900. $62.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vagit infans Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SK...(+)
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SKU: CA.2710914 Offertory for Christmas. Composed by Johann Ernst Eberlin. Edited by Armin Kircher. Sacred music from Salzburg. Vagit Infans 3. Sacred vocal music, Christmas. Single Part, Cello/Double Bass. Composed circa 1745. 4 pages. Duration 9 minutes. Carus Verlag #CV 27.109/14. Published by Carus Verlag (CA.2710914). ISBN 9790007200497. Language: Latin. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart. Score and part available separately - see item CA.2710900. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vagit infans Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SK...(+)
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SKU: CA.2710900 Offertory for Christmas. Composed by Johann Ernst Eberlin. Edited by Armin Kircher. This edition: Paperbound. Sacred music from Salzburg. German title: Vagit Infans 3. Sacred vocal music, Christmas. Full score. Composed circa 1745. 28 pages. Duration 9 minutes. Carus Verlag #CV 27.109/00. Published by Carus Verlag (CA.2710900). ISBN 9790007075934. Language: Latin. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vagit infans Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SK...(+)
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SKU: CA.2710905 Offertory for Christmas. Composed by Johann Ernst Eberlin. Edited by Armin Kircher. Sacred music from Salzburg. Vagit Infans 3. Sacred vocal music, Christmas. Choral Score. Composed circa 1745. 4 pages. Duration 9 minutes. Carus Verlag #CV 27.109/05. Published by Carus Verlag (CA.2710905). ISBN 9790007110833. Language: Latin. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart. Score available separately - see item CA.2710900. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vagit infans Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SK...(+)
SATB vocal soli, SATB choir, 3 trombones, 2 violins, viola, basso continuo SKU: CA.2710903 Offertory for Christmas. Composed by Johann Ernst Eberlin. Edited by Armin Kircher. This edition: Paperbound. Sacred music from Salzburg. Vagit Infans 3. Sacred vocal music, Christmas. Vocal score. Composed circa 1745. 16 pages. Duration 9 minutes. Carus Verlag #CV 27.109/03. Published by Carus Verlag (CA.2710903). ISBN 9790007077563. Language: Latin. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart. Score available separately - see item CA.2710900. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Nikolai Mass (Missa Sancti Nicolai) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra - Intermediate Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 oboes, 2 horns, 2 violins, viola, cello...(+)
Orchestra SATB vocal soli, SATB choir, 2 oboes, 2 horns, 2 violins, viola, cello/contrabass, organ - Grade 3 SKU: CA.4060507 Nicolai-Messe. Composed by Franz Joseph Haydn. Edited by Volker Kalisch. This edition: urtext. Stuttgart Urtext Edition: Joseph Haydn, Sacred vocal music. Haydn: Nikolaimesse In G Xxii:6. Innovative practice aids, Sacred vocal music, Masses, Latin. Study score. Composed 1772. Hob. XXII:6. 72 pages. Duration 27 minutes. Carus Verlag #CV 40.605/07. Published by Carus Verlag (CA.4060507). ISBN 9790007073831. Key: G major. Language: Latin. Haydn wrote the Missa Sancti Nicolai in 1772, probably for the name day of prince Nicolaus Esterhazy. This work is on a larger scale than the other missae breves, and in the orchestra two oboes and two horns join the strings. At the very beginning of the Kyrie the gentle, pastoral character which distinguishes this work is established. Haydn reprises the music of the Kyrie in the Dona nobis pacem to round off the work. The full score contains at the same time the organ part. This work is now available in carus music, the choir app! Score available separately - see item CA.4060500. $11.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Betulia liberata, KV 118 (74c) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra [Score] Barenreiter
Azione sacra in two parts. Composed by Wolfgang Amadeus Mozart (1756-1791...(+)
Azione sacra in two parts. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Luigi Ferdinando Tagliavini. This edition: complete edition, urtext edition. Linen. New Mozart Edition. Series I, Section 4/2. Kirchenmusik, Klassik (Sacred, Classical). Score. KV 118 (74c). Duration 2 hours, 10 minutes. Published by Baerenreiter Verlag (BA.BA4521-01).
$247.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lord God, your eyes are seeing truth in trusting Soli, Mixted choir and accompaniment Carus Verlag
(Cantata for the 10th Sunday after Trinity). Composed by Johann Sebastian Bach (...(+)
(Cantata for the 10th Sunday after Trinity). Composed by Johann Sebastian Bach (1685-1750). Edited by Reinhold Kubik. Arranged by Paul Horn. For ATB vocal soli, SATB choir, flute (violino piccolo), 2 oboes, 2 violins, viola, basso continuo. German title: Herr, deine Augen sehen. Cantatas. Choral score. Language: German/English. Composed 1726. BWV 102. Duration 24 minutes. Published by Carus Verlag
$5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Duke of Marlborough Fanfare Soli, Mixted choir and accompaniment Lucks Music Library
(0.0.0.(2)/4.4.3.2,1 perc,(baritone,euphonium, AT sax,db)) SKU: TM.06818SET(+)
(0.0.0.(2)/4.4.3.2,1 perc,(baritone,euphonium,AT sax,db)) SKU: TM.06818SET Composed by Percy Aldridge Grainger. Set of parts. Lucks Music Library #A7452. Published by Lucks Music Library (TM.06818SET). P/C in set. To a Wild Rose, Will-O'-the Wisp, At an Old Trysting Place, In Autumn, From an Indian Lodge. $35.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Serenade for Thirteen Winds, Op. 7 Soli, Mixted choir and accompaniment Lucks Music Library
(2.2.2.2+1/4.0.0.0) SKU: TM.06814SET Composed by Richard Strauss. Set of ...(+)
(2.2.2.2+1/4.0.0.0) SKU: TM.06814SET Composed by Richard Strauss. Set of parts. Lucks Music Library #A2123. Published by Lucks Music Library (TM.06814SET). P/C in set. To a Wild Rose, Will-O'-the Wisp, At an Old Trysting Place, In Autumn, From an Indian Lodge. $30.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Woodland Sketches 1-5 (Woodhouse) Soli, Mixted choir and accompaniment Lucks Music Library
(2D1.1D1.2.2/4.2.3.0,timp ,perc,hp,str) SKU: TM.06174SET Composed by Edwa...(+)
(2D1.1D1.2.2/4.2.3.0,timp,perc,hp,str) SKU: TM.06174SET Composed by Edward MacDowell. Set Type: D. Set of parts. Lucks Music Library #A1672. Published by Lucks Music Library (TM.06174SET). P/C in set. To a Wild Rose, Will-O'-the Wisp, At an Old Trysting Place, In Autumn, From an Indian Lodge. $60.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Serenade for Thirteen Winds, Op. 7 Soli, Mixted choir and accompaniment Lucks Music Library
(2.2.2.2+1/4.0.0.0) SKU: TM.06814SC Composed by Richard Strauss. Score. L...(+)
(2.2.2.2+1/4.0.0.0) SKU: TM.06814SC Composed by Richard Strauss. Score. Lucks Music Library #A2123. Published by Lucks Music Library (TM.06814SC). P/C in set. To a Wild Rose, Will-O'-the Wisp, At an Old Trysting Place, In Autumn, From an Indian Lodge. $15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Georg Friedrich Händel:
Israel in Egypt HWV 54:
Mixed Choir: Vocal Score Soli, Mixted choir and accompaniment [Vocal Score] Barenreiter
Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe version...(+)
Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756?7 performancesThe distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses? Song. It was in this form that the work was given at its London premiere on 4 April 1739.Handel made extensive changes for the second performance. The reason is often said to have been the audience?s dissatisfaction with the work?s unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material.Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition.The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria ?Hope hope a pure and lasting treasure? from the second version of Esther (for both 1756 and 1757) and the aria ?Toss?d from thought to thought? from Alexander Balus (for 1757).Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere
48.00 GBP - Sold by Musicroom UK | |
| Christopher Norton:
Micromusicals - A
Christmas Carol: Mixed
Choir: Score Soli, Mixted choir and accompaniment Soli, mixted choir and piano Boosey and Hawkes
Raising the curtain on Christopher Norton’s Micromusicals – exciting...(+)
Raising the curtain on Christopher Norton’s Micromusicals – exciting and accessible musicals for schools based on popular classroom teaching topics from the creator of the internationally-acclaimed Microjazz series. Designed for children aged 6-12 each production lasts around 30 minutes and can be learned rehearsed and performed in as little as 2 days.Stage a real class act with this comprehensive and flexible resource:* Succinct casting and direction suggestions * Optional props list with a wealth of additional downloadable resources * Straightforward and catchy songs with complete demonstration and backing tracks on an accompanying CD * Voice and piano scoreswith guitar chords * A wide range of flexible easy band and orchestral parts available to download which can be played in conjunction with the backing tracks or as part of an independent live orchestral or band * Photocopiable lyric sheets (also available as downloads for printing or projection) * Wide-ranging cross-curricular teaching and classroom activity suggestions * A customisable poster to publicise performances A Christmas Carol is an English literary classic written by Charles Dickens and was first published in December 1843. The popular novella is studied at Key Stage 2 and 3 as part of the National Curriculum in England as well as at schools and colleges elsewhere in the UK and around the world. In this new Micromusical adaption the abridged story is told through drama and song.TestimonialsThe micro-musicals have enriched our curriculum and have enabled the topics taught in class to come alive. Through the micro-musicals the children have gained a deeper and broader understanding of the curriculum and have developed a bank of rich language which has supported their writing outcomes. The micro-musicals have provided an excellent opportunity to teach music through all areas of the curriculum and we have been able to use music as a platform to learn history science geography and literature. They have been a good value for money and a valuable resource.-Bronwen Chalmers Head Teacher Davies Lane Primary School
23.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Wolfgang Amadeus Mozart:
Betulia Liberata K.118:
Mixed Choir: Vocal Score Soli, Mixted choir and accompaniment Soli, mixted choir and piano [Sheet music] Barenreiter
The material for Mozart’s azione sacra is taken from the Old Testament bo...(+)
The material for Mozart’s azione sacra is taken from the Old Testament book of Judith the story of the beautiful Israelite who steals into the enemy camp of the Assyrians and decapitates their sleeping commander Holofernes.Often called a stroke of genius by the fifteen-year-old Mozart Betulia Liberata brooks comparison with his early operas in every respect. But Mozart was evidently concerned to distinguish between an azione sacra and an azione teatrale in the music itself e.g. in the accompanied recitatives and the sacred aura of the final chorus. Performance material available for hire.First vocal scoreof Mozart’s Betulia Liberata.Easy to play Piano reduction.Clear and uncluttered appearance on the page.Original Italian words underlaid with a new German translation.Bilingual preface in German and English.
34.00 GBP - Sold by Musicroom UK | |
| 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...(+)
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.
207.90 GBP - Sold by Musicroom UK | |
| La Métamorphose
(LEVINAS MICHAEL)
Français Soli, Mixted choir and accompaniment Soli, mixted choir, orchestra [Sheet music] Lemoine, Henry
Par LEVINAS MICHAEL. Précédé de Je, tu, il, prologue à La Métamorphose sur ...(+)
Par LEVINAS MICHAEL. Précédé de Je, tu, il, prologue à La Métamorphose sur un texte de Valère Novarina.
Au sortir d'un rêve agité, Grégor Samsa s'éveille pour vivre un véritable cauchemar, celui de sa transformation en énorme cancrelat. Tout le monde connaît cette nouvelle de Kafka - elle appartient désormais à nos mythologies contemporaines. L'idée d'en faire un opéra est tellement excitante qu'on en serait presque à se demander pourquoi une telle adaptation n'a encore jamais été tentée. Peut-être parce que la perspective donne le vertige et que l'histoire elle-même semble veiller à sa propre irreprésentabilité ?
Il aura fallu attendre près d'un siècle pour que le texte se métamorphose en opéra grâce à Michaël Levinas et à l'équipe artistique qu'il a réunie. Avec Valère Novarina et Emmanuel Moses, le compositeur opère un travail sur la langue pour révéler sa vocalité lyrique. Le chant du 'sopraniste' Fabrice Di Falco et des autres interprètes est ensuite traité par des techniques d'hybridation informatiques [réalisées à l'Ircam, NDLR].
Toujours en quête 'd'une suggestion d'ébranlement dramatique dans la vibration du son' comme s'il y avait un 'au-delà du son dans le son', la musique de Levinas s'ouvre au fantastique. Ce sentiment de l'extraordinaire sera rendu palpable par les instrumentistes d'Ictus, imbattables quand il s'agit de faire advenir des univers inouïs. L'adaptation scénique est confiée à Stanislas Nordey, homme de théâtre insatiable découvreur de textes contemporains. Il s'est également distingué à l'occasion de nombreuses collaborations avec les plus grands compositeurs de notre temps, parmi lesquels Michaël Levinas. C'est en effet lui qui a mis en scène son précédent opéra composé à partir des Nègres de Jean Genet.
www.opera-lille.fr
Vidéo :
http://culturebox.france3.fr
Du lyrique dans la musique de Michaël Levinas
ou le spectre sur la scène
'L'instant du réveil est le moment risqué entre tous : c'est celui où l'on franchit la frontière. Qui devient-on la nuit ? Que s'est-il passé dans le sommeil de Gregor pour qu'il en sorte ainsi changé en monstre ?
Le réveil, c'est toujours l'entrée dans un monde enchanté.'
Yannick Haenel (1)
Le monde enchanté de Michaël Levinas est celui de ce moment risqué où peut naître un drame et, c'est là la partie visible de l'enchantement, des personnages chantent, vivent et meurent. Nous sommes à l'opéra.
Comment le compositeur parvient-il aujourd'hui à relever en musique le défi de la scène ? Quels moyens musicaux convoque-t-il ? Quel monde harmonique et lyrique bâtit-il ? Car pour sonner à ce point juste sur les planches, il faut que le style lyrique du créateur vienne de bien loin, de profond, non pas d'une circonstance, mais de ce qu'il est musicalement, depuis longtemps, de ce qu'il poursuit assidûment dans son oeuvre.
En 2011, avec La Métamorphose, son troisième ouvrage lyrique, Michaël Levinas a montré une nouvelle fois la maîtrise qu'il avait des données de l'opéra : l'opéra comme théâtre, l'opéra comme lieu où l'est ému par le chant, l'opéra comme institution où la création a sa place.
Quand les spectateurs découvrent à l'opéra le personnage de Gregor imaginé par Michaël Levinas, ils ont déjà entendu un prologue. Intitulé Je, tu, il et composé sur un texte somptueux de Valère Novarina, ce prologue se trouve, dans le temps du récit, en lieu et place de la nuit, d'un rêve sans doute, avant le réveil de Gregor. Les spectateurs assistent à une allégorie des énonciations (les pronoms personnels chantent : 'je', 'tu' et 'il' deviennent un instant des personnages), enlevée, très vive, baroque. Le compositeur (celui qui choisit la succession dans le temps des événements du récit lyrique - Michaël Levinas a largement adapté la nouvelle de Kafka) confie à trois sopranos ce prologue. Ainsi le récit de La Métamorphose débute-t-il par autre chose que lui-même, un autre lyrique qui n'est pas le récit, qui n'est pas même un récit, mais qui prépare à l'écoute de la Passion de Gregor qui suit - l'infra-récit est la préfiguration de l'infra-homonidée kafkaïenne mourante que montrera La Métamorphose - avec toute la résonance de ce parti-pris dramaturgique dans l'histoire politique de l'humanité. Ce geste est théâtral autant que musical. Il est très caractéristique de la sensibilité du compositeur pour ce qui, dans la musique, induit le lyrisme, le lyrisme étant entendu ici comme la mise en oeuvre de 'toutes les puissances que recèle le verbe soumis au rythme et à la mélodie' (2). En un mot, la dimension théâtrale de l'opéra n'est pas reniée par Michaël Levinas - au contraire : elle est exaltée.
Toutes les puissances que recèle le verbe aident le compositeur dans son projet lyrique. Si le chant naît du verbe chez Michaël Levinas, il faut considérer que les parties instrumentales aussi naissent du verbe. Aux parties instrumentales s'ajoutent les parties électroniques qui, dans La Métamorphose autant que dans Les Nègres, opéra de 2003 d'après la pièce éponyme de Jean Genêt, donnent au son ce statut irréel, magique nécessaire à tout lyrisme. Elles aussi sont pensées, écrites, composées comme un prolongement des données du langage. Dans La Métamorphose, la polyphonie vient essentiellement de la voix démultipliée de Gregor et cette démultiplication est autant instrumentale qu'électronique. Le chant - émouvant ô combien - de Gregor est un choral, sa voix est intermédiaire, ni la sienne seule, ni une pluralité identifiable. La voix de Gregor participe d'une singularité inaudible - un monstrueux bien au-delà de l'hybride - pour son entourage qui le conduit à mourir (par décence ? par abandon de ses proches ?). Il y eut dans Les Nègres 'un langage tambouriné tissant des liens entre les phonèmes de la langue et la percussion' (3) et dans cette veine, récemment, Le Poème battu - il y eut en 2008 les réussites madrigalistes de Le 'O' du haut et des Trois chansons pour la Loterie Pierrot et Jean Lagresle sur un texte de Valère Novarina - il y eut enfin, pour La Métamorphose, l'acmé (provisoire - telle est l'activité de création) de l'analyse et de la synthèse sonore par ordinateur de la voix parlée et chantée (4).
Comment faire des mots eux-mêmes un chant, un drame, un opéra enfin ? C'est là tout l'enjeu de la poïétique de Michaël Levinas. Le poïen grec, c'est la réponse à la question du faire. Dès Go-Gol (1996) (5) -le titre, Go-Gol est déjà un jeu de décomposition / recomposition du nom de l'écrivain dont est tiré le livret, le compositeur fait du mot le ressort de sa dramaturgie musicale. Il est entré depuis dans le son du mot lui-même et applique au champ de la linguistique une démarche spectrale (6). Ainsi naît son matériau lyrique. Décortiquant les données des hauteurs, des syllabes, phonèmes et morphèmes, Michaël Levinas - avec l'aide d'un outil informatique de plus en plus puissant - en tire des tournoiements, des arabesques, des lignes qui entent une composition destinée à la scène. L'opéra est bien là un lieu de création. La pointe de ce qui constitue la création musicale - à la fois l'oeuvre d'un compositeur qui est la recherche d'une vie et les outils qu'il utilise en les faisant évoluer - est non seulement viable, mais éminemment émouvante à la scène : la palette que s'est constituée le musicien induit bel et bien cette vibration des affects que tout un chacun veut à l'opéra, toutes époques confondues.
'(...) c'est à l'opéra que, paradoxalement, tend je dirais toute oeuvre instrumentale.' déclarait en 1982 le compositeur (7). En effet, l'oeuvre de Michaël Levinas offre de lire les étapes de cette conception et des recherches qu'elle appelle. Ancrée dans le langage, toute adonnée au théâtre, la lyre de Michaël Levinas allie l'exigence créatrice à la séduction parfois vénéneuse d'une émotion dramatisée avec art. Pour l'heure, le compositeur a fait de la syllabe son mystère. Du mystère naît le drame et, sur scène, d'une dramaturgie naît un mystère par lequel le compositeur nous impose son temps, non pas le temps d'un drame, mais le temps intérieur résonant - pour notre plus grand plaisir.
Benoît Walther, novembre 2011
(1) Interview 'Yannick Haenel, pourquoi aimez-vous La Métamorphose ?', parue dans Kafka, La Métamorphose (page II), traduction et présentation par Bernard Lortholary, Garnier Flammarion, Paris, 2010, 103 pages.
(2) Pierre Grimal, Le Lyrisme à Rome, Introduction (p.15), Presses Universitaires de France, Paris, 1978, 304 pages.
(3) Notice de Michaël Levinas pour l'opéra Les Nègres, mai 2002.
(4) Les parties électroniques de Les Nègres et de La Métamorphose ont été réalisées à l'Ircam.
(5) Le compositeur parle alors de 'traitement animal' de la langue française (Autour de Go-Gol : forme, récit, textualité dans l'opéra contemporain, entretien avec Evelyne Andreani, in : cf note 7).
(6) Est spectrale une musique fondée sur l'analyse du spectre du son : découle de cette analyse l'organisation des paramètres musicaux et, in fine, de toute la composition elle-même. Aujourd'hui, les sons analysés peuvent atteindre des degrés de complexité très grands : par exemple, dans le cas de Michaël Levinas, la pénétration du détail d'une énonciation chantée autant que parlée.
(7) Michaël Levinas, 'Qu'est-ce que l'instrumental ?', texte prononcé à Darmstadt en juillet 1982, in Le Compositeur trouvère, Ecrits et entretiens (1982-2002), textes réunis et annotés par Pierre-Albert Castanet et Danielle Cohen-Levinas (p.33), L'Harmattan, Paris, 2002, 428 pages. / contemporain / Répertoire / Solistes, Choeur et Orchestre
96.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
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