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Soli, Mixted choir and accompaniment
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Soli, Mixted choir and accompanimen… (6228)
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Georg Friedrich Händel: Let God Arise HWV 256b Chapel Royal Anthem: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloist...
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Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.
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Georg Friedrich Händel: Let God Arise HWV 256b Chapel Royal Anthem: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloist...
(+)
Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.
10.50 GBP - Sold by Musicroom UK
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Johann Sebastian Bach: Magnificat D BWV 243: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Peters
Vocal Score of Johann Sebastian Bach's Magnificat BWV 243 for Soli Choir and O...
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Vocal Score of Johann Sebastian Bach's Magnificat BWV 243 for Soli Choir and Orchestra.
7.95 GBP - Sold by Musicroom UK
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Mahler G. - Symphonie N2 C-moll - Choeur Et Piano
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Universal Edition
Composer: Mahler Gustav Title: Symphony No. 2 C minor Scored for: for soli, m...
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Composer: Mahler Gustav Title: Symphony No. 2 C minor Scored for: for soli, mixed choir and orchestra Language: German Edition type: piano reduction Edited by: Stark-Voit Renate, Kaplan Gilbert ISBN: 978-3-7024-7021-0 ISMN: 979-0-008-08354-9 Order number: UE35468
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Britten Benjamin - Cantata Misericordium Op. 69 - Mixed Choir , Soloists And Orchestra
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Boosey and Hawkes
Instrument : mixed choir (SATB), soloists (TBar) and orchestra Type : choral sco...
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Instrument : mixed choir (SATB), soloists (TBar) and orchestra Type : choral score Nombre de Pages : 22
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Franz Joseph Haydn: The Creation: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Peters
Vocal Score for Soloists Choir and Orchestra
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Mozart W.a. - Don Giovanni Kv 527 - Soloists, Choir And Orchestra
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Eulenburg
Opera Instrument : soloists, choir and orchestra Type : study score Series : Eu...
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Opera Instrument : soloists, choir and orchestra Type : study score Series : Eulenburg Miniature Scores Nombre de Pages : 688 Content : Vorwort - Revisionsbericht - Preface - Editorial Notes - Ouvertüre - 1. Akt - 2. Akt
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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 ...
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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
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Cheryl Frances-Hoad: Amy's Last Dive: Women's Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Cadenza Music
Cheryl Frances-Hoad's Amy's Last Drive for Soloists Womens Choir and Orchestra....
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Cheryl Frances-Hoad's Amy's Last Drive for Soloists Womens Choir and Orchestra.Duration: 2 hours
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Georg Friedrich Händel: I Will Magnify Thee: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Handel?s four anthems were all composed during his London period in the Chapel R...
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Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text was written in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket. Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the Organ.These four works (O sing unto the Lord HWV 249a I will magnify thee HWV 250b As pants the hart HWV 251e Let God arise HWV 256b) with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems arepresented in clearly laid out Vocal scores with easy-to-play Piano reductions based on the Urtext from the ?Halle Handel Edition?. Their winningly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and the equally festive solo numbers. Today they sound as splendid as ever before. The full scores and Vocal scores also contain a German translation along with the original English.Scoring:- HWV 249a: soloists (AB) chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo.- HWV 250b: soloists (SATB) chorus (SATB) Oboe Strings Continuo.- HWV 251e: soloists (SAATBB) chorus (SAATBB) 2 Oboes Strings Continuo.- HWV 256b: soloists (AB) chorus (SATB) Oboe Strings Continuo.- Urtext from the ?Halle Handel Edition? at the forefront of musical scholarship.- First separate editions for performance purposes.- Clear and easy-to-play Piano reductions.- Original English text with underlaid German translation.- Full scores vocal scores and performance material available for sale.
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Requiem: Mixed Choir and Accomp.: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Score]
Carus Verlag
Joseph Martin Kraus [1756–1792] composed his Requiem in 1775at the age of 19 f...
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Joseph Martin Kraus [1756–1792] composed his Requiem in 1775at the age of 19 for the parish church in his hometown of Buchen Odenwald. This followed the Miserere of 1773 and is the second of his surviving sacred compositions. Already in this early work Kraus shows that he was a representative of the musical “Sturm und Drang.” With all its youthful unconcern towards compositional technique this music displays his seriousness and strength of expression together with a dark instrumental timbre as well as an abruptness or at times brusqueness. The publication of the Requiem in the Complete Edition is the first historical and critical edition of the work
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Wolfgang Amadeus Mozart: Missa in C major KV 317 Coronation Mass : Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
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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Benjamin Britten: War Requiem Op.66: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Boosey and Hawkes
Written for the reconsecration of Coventry Cathedral Benjamin Britten's War Req...
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Written for the reconsecration of Coventry Cathedral Benjamin Britten's War Requiem Op.66 was first performed there on the 30th May 1962. The War Requiem was not meant to be a pro-British piece or a glorification of British soldiers but a public statement of Britten's anti-war convictions. This a Vocal Score for SATB chorus arranged by Imogen Holst. The full score for SATB and Orchestra can be found here .
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Franz Joseph Haydn: Missa In Tempore Belli: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Sheet music]
Barenreiter
Mass in Time of War-Haydn was in England in 1795 when he received word from hi...
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Mass in Time of War-Haydn was in England in 1795 when he received word from his new Prince Nicolaus II Esterházy that the Esterházy orchestra was to be reformed and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister except the usual routine of administration; but Haydn was to compose every year a new Mass for the name day of the Princess Josepha Maria which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen?s Day (26 December) 1796. The writer of these notes examined when preparingthis edition the music archives of the church and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score parts (BA4652) vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94) available for sale
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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...
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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
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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...
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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
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Symphonie 2 "Ressurection" (MAHLER GUSTAV)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
[Study Score / Miniature]
Universal Edition
Par MAHLER GUSTAV. Over the years, the need for a new edition of Mahler's Sympho...
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Par MAHLER GUSTAV. Over the years, the need for a new edition of Mahler's Symphony No. 2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerization also ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony No. 2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors has been corrected./ Répertoire / Solistes, Choeur et Orchestre
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Antonín Dvo?ák: Requiem Op.89 B.165 Chamber Version - Violin II: Mixed Choir:
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Standard choral work with a manageable reduced orchestration.A stylistically app...
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Standard choral work with a manageable reduced orchestration.A stylistically appropriate as well as tried and tested arrangement.Compatible with Vocal score H 2924-90.Dvo ák?s Requiem for soloists choir and orchestra is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Anton n Dvo ák.The arrangement dispenses with all the brass instruments except for a single Horn; all that remains of the Percussion arethe Timpani; the Organ has also been taken out. The cor anglais and Bass Clarinet parts can be replaced by an Oboe and Clarinet (ossia staves in score and parts).This arrangement which judiciously reduces the richness of Dvo ák?s original orchestration makes the work available to a broader range of performers outside professional circles.
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Antonín Dvo?ák: Requiem Op.89 B.165 Chamber Version - Wind Set: Mixed Choir:
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Standard choral work with a manageable reduced orchestration.A stylistically app...
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Standard choral work with a manageable reduced orchestration.A stylistically appropriate as well as tried and tested arrangement.Compatible with Vocal score H 2924-90.Dvo ák?s Requiem for soloists choir and orchestra is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Anton n Dvo ák.The arrangement dispenses with all the brass instruments except for a single Horn; all that remains of the Percussion arethe Timpani; the Organ has also been taken out. The cor anglais and Bass Clarinet parts can be replaced by an Oboe and Clarinet (ossia staves in score and parts).This arrangement which judiciously reduces the richness of Dvo ák?s original orchestration makes the work available to a broader range of performers outside professional circles.
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Antonín Dvo?ák: Requiem Op.89 B.165 Chamber Version - Full Score: Mixed Choir:
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Standard choral work with a manageable reduced orchestration.A stylistically app...
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Standard choral work with a manageable reduced orchestration.A stylistically appropriate as well as tried and tested arrangement.Compatible with Vocal score H 2924-90.Dvo ák?s Requiem for soloists choir and orchestra is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Anton n Dvo ák.The arrangement dispenses with all the brass instruments except for a single Horn; all that remains of the Percussion arethe Timpani; the Organ has also been taken out. The cor anglais and Bass Clarinet parts can be replaced by an Oboe and Clarinet (ossia staves in score and parts).This arrangement which judiciously reduces the richness of Dvo ák?s original orchestration makes the work available to a broader range of performers outside professional circles.
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Antonín Dvo?ák: Requiem Op.89 B.165 Chamber Version - Violin I: Mixed Choir:
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Standard choral work with a manageable reduced orchestration.A stylistically app...
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Standard choral work with a manageable reduced orchestration.A stylistically appropriate as well as tried and tested arrangement.Compatible with Vocal score H 2924-90.Dvo ák?s Requiem for soloists choir and orchestra is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Anton n Dvo ák.The arrangement dispenses with all the brass instruments except for a single Horn; all that remains of the Percussion arethe Timpani; the Organ has also been taken out. The cor anglais and Bass Clarinet parts can be replaced by an Oboe and Clarinet (ossia staves in score and parts).This arrangement which judiciously reduces the richness of Dvo ák?s original orchestration makes the work available to a broader range of performers outside professional circles.
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Elijah (Elias) Opus 70 (MENDELSSOHN-BARTHOLDY FELIX)
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Peters
Par MENDELSSOHN-BARTHOLDY FELIX. Felix Mendelssohn’s oratorio Elijah caused a ...
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Par MENDELSSOHN-BARTHOLDY FELIX. Felix Mendelssohn’s oratorio Elijah caused a sensation at its world première performance, sung in English, in Birmingham UK in August 1846. The huge forces marshalled for the occasion delighted the audience, who demanded no fewer than eight encores and loudly acclaimed the composer despite an injunction to observe the solemnity of the occasion by refraining from applause. Elijah has been an essential repertoire work for choral societies ever since. Published on the 175th anniversary of that famous premiere, Edition Peters is proud to present a new English-language Urtext edition of the vocal score containing the original libretto by William Bartholomew. Edited and with a preface by the highly respected musicologist Klaus Burmeister, the edition also includes a foreword ‘Mendelssohn and Birmingham’ by Simon Halsey, one of the world’s foremost choral directors (Chorus Director City of Birmingham Symphony Orchestra Choruses; Artistic Director, Orfeó Català Choirs and Artistic Adviser, Palau de la Música, Barcelona; Choral Director, London Symphony Orchestra and Chorus; Artistic Director, Berliner Philharmoniker ‘Vokalhelden’ Programme). The edition complements and is designed to be used in conjunction with the existing German/English full score (EP11345) and orchestral parts. An associated German language vocal score is also available (EP11347). Edition Peters Vocal Scores are the choice of the world’s leading choirs and chorus masters. They are practical, reliable, high-quality editions containing expert piano reductions. / Date parution : 2022-07-20/ Répertoire / Solistes, Choeur et Orchestre
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Georg Friedrich Händel: Acis And Galatea HWV 49b 2nd Version: Mixed Choir:
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
Serenade in three parts-Handel set the myth about the love of the shepherd Acis ...
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Serenade in three parts-Handel set the myth about the love of the shepherd Acis for the sea nymph Galatea from Ovid’s Metamorphoses a total of three times: in the cantata Aci Galatea e Polifemo HWV 72 (1708) the masque Acis and Galatea HWV 49a (1718) and finally the pasticcio-like serenata Acis and Galatea HWV 49b (1732) of which the original version is now made available in its complete form for the first time.A particular charm is provided by the use of two languages in the serenata. The work was originally conceived in English as was required for the first performance. However Handel’s Italian singers were criticised for their poor command of English so in the end many numbers were sung in Italian. The extensive appendix to the vocal score includes the additional arias and newly composed movements for the versions used in the 1734 and 1736 performances. Performance material available for hireUrtext edition based on the Halle Handel EditionEnglish and Italian original text with singable German translation Extensive foreword in two languages (Ger/Eng)Clear straightforward piano reduction
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Wolfgang Amadeus Mozart: Missa brevis in D major: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
The choral scene is in a state of change! On the one hand more and more choirs ...
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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 charmingalternative for use in church services. With great skill and sensitivity 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 arranger Heribert 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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Requiem: Mixed Choir and Accomp.: Vocal Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (chorus), Keyboard
Carus Verlag
Joseph Martin Kraus [1756–1792] composed his Requiem in 1775at the age of 19 f...
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Joseph Martin Kraus [1756–1792] composed his Requiem in 1775at the age of 19 for the parish church in his hometown of Buchen Odenwald. This followed the Miserere of 1773 and is the second of his surviving sacred compositions. Already in this early work Kraus shows that he was a representative of the musical “Sturm und Drang.” With all its youthful unconcern towards compositional technique this music displays his seriousness and strength of expression together with a dark instrumental timbre as well as an abruptness or at times brusqueness. The publication of the Requiem in the Complete Edition is the first historical and critical edition of the work
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Georg Friedrich Händel: Saul HWV 53: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir, orchestra
Barenreiter
Oratorio in three acts-Saul was given its first performance under Handel’s...
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Oratorio in three acts-Saul was given its first performance under Handel’s direction at the Haymarket Theatre London on 16 January 1739. The original libretto (dated 1738) refers to the work as “an Oratorio or Sacred Drama”. This libretto was written by Charles Jennens (1700–1770) a wealthy amateur writer from Gopsall Leicestershire. A letter of 28 July 1735 from Handel to Jennens suggests that a complete raft of the text already existed at that time. Saul occupies an extraordinarily important position in the English oratorio tradition that Handel brought to perfection standing alongside Israel in Egypt at the end of the first creative period of such works.- Urtext of the Halle Handel Edition - Full score (BA4020) & vocal score (BA402090) available for sale - Performance material (BA402072) available for hire
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