Stabat Mater Hob.XX bisOratorio (funeral music) versions from 1767 and 1803The new scholarly critical edition of Joseph Haydn's Stabat Mater (1767) is published in Henle's complete edition of Haydn's works. This edition is the first to come as close as possible to the lost original and has been compiled using all currently available sources. The score has been fully amended in its original orchestration for two oboes or English horn strings and organ.At a later performance of this work probably in 1803 Haydn attempted to accommodate the intervening changes in musical taste. According to the composer's request and under his supervision SigismundNeukomm enlarged the wind orchestration by adding a flute two clarinets two bassoons two French horns trumpets and timpani.Urtext from the Haydn Complete EditionHaydn’s Stabat Mater in both its original scoring as well as Neukomm's scoring.Full score performance material (BA4642) vocal score (BA4642-90) available for sale

Sancta Maria mater Dei K.273 scored for mixed choir (SATB) Strings Organ. Written in Salzburg in September 1777 it was most likely composed as an offertory motet for the Feast of the Blessed Virgin Mary on the 12th September. - Urtext of the New Mozart Edition - Full score & performance material (BA4751) and vocal score (BA4751-90) for sale

Full score + Critical commentary. Par MAYR SIMONE. / Opéra-opérette / Répertoire / Choeur Mixte et Orchestre

The piano part has been thoroughly re-worked for this new vocal score of Schubert?s Mass in A-flat major (D 678). Andreas Köhs' piano reduction reliably reflects Schubert?s orchestral score and is at the same time idiomatic piano writing.Bärenreiter?s new revised vocal score is compatible with the old vocal score as well as with the orchestral parts and the full score already available.

Acis and Galatea HWV 49a1st version 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) (BA4068) the masque Acis and Galatea HWV 49a (1718) (BA4039) and finally the pasticcio-like serenata Acis and Galatea HWV 49b (1732) (BA10700). This species of stage work was related to the early eighteenth-century English masque by virtue of its choral numbers and straightforward formal design and to the Italian serenata due to its use of one voice to a part in the choruses. In the England of Handel’sday it was given a multitude of generic names: besides “masques” such works were often called “little operas” “English operas” or “pastoral operas” (the term “serenata” had not yet entered English parlance). Handel himself did not specify the genre of Acis and Galatea in his autograph score and probably as a result uncertainty arose among copyists printers and performers as to the work’s proper designation for it has come down to us with a confusing array of generic titles. Handel wrote the piece for James Brydges (1674–1744) Earl of Carnarvon and later Duke of Chandos at whose country estate in Cannons the composer spent the years 1717 and 1718. - Urtext of the Halle handel Edition - Full score (BA4039) and vocal score (BA4039-90) available for sale - performance material (BA4039-72) available for sale

F major-“Missa brevis in F in score. This was the first Mass which Mr. Haydn composed whilst still a student” says an entry in the catalogue of Haydn’s musical estate. Circa 1798/99 Haydn entered the work without an incipit in his working catalogue as “Missa brevis in F. / a due Soprani”.Around 1805/06 he added in shaky decrepit handwriting to the title “Missa.” on the front page of the organ part of one of the set of parts prepared by his copyist Johann Elßler: “Brevis / di me Giuseppe Haydn mpria / 1749”. This date the earliest yet found on a work by Haydn corresponds to the title of the Haydn catalogue whichindicates the eighteenth year of Haydn’s life i. e. 1749/50 as the starting point of his work: “Catalogue of all those compositions which I happen to remember writing from my 18th to my 73rd year of life.”In 1805 Haydn set about adding further instruments to the original scoring for two violins and figured organ bass and by 15th February 1806 the larger instrumentation was ready as is evidenced by a letter written on this very day by the Haydn biographer Georg August Griesinger. It is however by no means certain whether the seventy-three-year-old undertook this adaptation himself.- Urtext from Joseph Haydn Werke- Full score parts (BA4644) and vocal score (BA4644-90) available for sale- Early string version and later version with wind instruments and timpani

Full Score-Inspired by the dangerous yet alluring sirens in Homer’s Odyssey Anders Hillborg’s Sirens is his largest and most ambitious work to date an evocative 30-minute score in which the sirens (two soprano soloists and a large choir) attempt with increasing desperation to manipulate Ulysses.

Oratorio-Joseph Haydn’s oratorio ‘The Seasons’ was composed directly after the first successful performances of ‘The Creation’.‘The Seasons’ has however been greatly overshadowed by ‘The Creation’ for a long time and yet this work has far greater changes of style between popular Singspiel and great oratorio than ‘The Creation’. ‘The Seasons’ continues to impress and remains part of the core repertoire to the present with its overwhelming richness of musical character and its immense formal variety. Scarcely another oratorio is able to so captivate an audience with such variety.- Urtext edition from theComplete Edition ‘ Joseph Haydn Works’ published by G. Henle Verlag Munich.- Duration: approx. 140 minutes.- Full score & parts (BA4647) & vocal score (BA4647-90) available for sale.

We know that Mozart held his Vespers in high regard since he once asked his father in a letter dated 12 March 1783 to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts two violins two clarini kettledrums basses (violoncello double bass and bassoon) three trombones and organ.They contain settings of Psalms 109 (Dixit) 110 (Confitebor) 111 (Beatus vir) 112 (Laudate pueri) 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxology atthe end is derived from the themes of the various Psalms.Urtext of the New Mozart Edition Full score & performance material (BA4893) vocal score (BA4893-90) available for sale

The name of the ?Missa Sancti Nicolai? refers to the composition of the Mass for St. Nicholas Day in 1772. Every year on this day a Mass was held in honor of the Prince of Esterházy who shared his name-day with St. Nicholas.It is thought that Haydn wrote this composition specifically to thank the Prince for allowing him to return to Eisenstadt. Some years later trumpet and timpani parts were added to the work.As with the ?Great Organ Mass? these additional parts were not actually written by Haydn himself but simply authorized by him. They are included in the score and performance material so that both versions can be performed.Urtextfrom the Haydn Complete EditionPerformable in both versionsFull score performance material (BA4645) vocal score (BA4645-90) available for sale

Par BRITTEN BENJAMIN. Full Score (Eng/Ger) Britten’s last opera, Death In Venice, is based on the short story by Thomas Mann. It follows the inner turmoil of the ageing novelist Gustav von Aschenbach, who becomes infatuated by a boy he sees on the beach in Venice. Unable to confess his love, he dies as the city is ravaged by plague. Full of atmosphere and intense soundscapes, the simple yet subtle motives pull the opera together with great sureness of touch. / Scores / Répertoire / Voix, Choeur et Orchestre