Ballet héroïque en un prologue et quatre actes-?Za s? was Rameau?s first opera which was entirely devoted to ?la féerie? the enchanted world of myth from the Middle East with its spirits and fantastic creatures. It was first performed on 29 February 1748 at the Paris Opera and was much praised for its expressive power elegance and variety of its music as well as for the charm of its ballet. Although the libretto by Louis de Cahusac was criticised the delightful work proved very popular: it was revived in 1761 and 1769 and for more than two decades received over 100 performances. Like most of Rameau?s operas ?Za s? was extensively revised during the composer?s lifetime and afterwards. Revisions already beganduring the first rehearsals and continued until the first performance. The composer and the librettist Cahusac finally used the Easter period in 1748 to work on those revisions; as well as structural changes and musical substitutions these included some substantial additions to vocal and instrumental movements. The version which was performed after Easter is more convincing both musically and dramatically. In contrast the revivals of 1761 and 1769 the first after Cahusac?s death the second after Rameau?s contained drastic cuts including the entire prologue. For the new volume in the ?Opera Omnia Rameau? the version from Easter 1748 has been chosen as the primary source. For performances a choice can be made between this and the original version; a series of insertions links all the passages with another.

Jesu am Kreuz-Franck's Die Sieben Worte for SATB.Unlike the well-known settings of the 'Seven Last Words' by Schütz or Haydn in his opulently scored composition Franck provides commentary to the words of Jesus with excerpts from the Old and New Testaments as well as from portions of the 'Stabat Mater'. In his transposition of the Latin text into music Franck reveals a rich palette of compositional parameters: ?different-sized ensembles exciting orchestration formal variety and sophisticated harmony. Laments simple passages for the choir in unison passages with great drama melodic shapes filled with sweetness convey to the listener a multi-layered impression of acomposition stamped by a strongly personal will to expression.? Württembergische Blätter für Kirchenmusik 1/1991

Par BACH JOHANN SEBASTIAN. How practical: This choral masterpiece is now appearing in a handy and affordable soft-cover score to complement the substantial linen-bound complete edition volume. The tried-and-tested musical text remains unchanged, whilst the Foreword has been revised and supplemented by an English translation./ Répertoire / Solistes, Choeur et Orchestre

Ballet héroïque in one act-Bis heute existiert von diesem hübschen Einakter Rameaus der 1754 im Theater von Fontainebleau zur Uraufführung gelangte weder eine historische noch eine moderne Ausgabe.Die lückenhafte Quellenlage machte eine wissenschaftlich sorgfältige realisierte R

Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction

Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction

How practical! Mozart's 'Requiem' is now appearing in this handy soft-cover and affordable full score to complement the substantial linen-bound complete edition volume.The tried and tested musical text of the 'Requiem' remains the same whilst the Foreword has been revised and supplemented by an English translation.- The tried-and-tested content of the complete edition volume now in a soft-cover score- Foreword in German and now also in English

Samson an oratorio for soloists mixed chorus and orchestra by George Frideric Handel libretto by Newburgh Hamilton after Milton’s Samson Agonistes. Edited by Donald Burrows. This latest addition to the Novello Handel Edition is the first complete modern edition of the composer’s longest oratorio prepared after examination of all known contemporary sources both music and word-books. The publication embodies the complete text known to have been performed at the Covent Garden premiere in 1743 as well as identifying the later shorter versions and additions performed regularly by Handel and an Appendix of allfurther variants created by him and performed during his lifetime. It is thus a comprehensive and flexible edition for between four and eight soloists with an abundance of choral writing and some of Handel’s most sublime writing for voices.Includes an historical preface extensive notes on the performance of the different versions and useful practical notes on the interpretation of Handel.

The Mass K.262 (246a) is known as Missa longa. Leopold Mozart designated it so next to the incipit on the cover of the autograph collection of five masses in C major by his son. Mozart literature gives the year of origin as 1776 without mentioning the speculative nature of this claim.The monumentality of the Missa longa suggests that the work was written for a particularly solemn occasion. When scanning for outstanding ecclesiastical events in the 1770?s one cannot ignore the consecration of Ignaz Josef Count Spaur coadjutor and administrator of the diocese of Brixen as titular bishop of Chrysopel on 17 November 1776 in the Salzburg cathedral. Erich Schenk claimsthat Leopold Mozart?s mention of Wolfgang?s ?Spaur Mass? in a letter of 28 May 1778 was in reference to the consecration of Ignaz Josef Spaur an old friend of the Mozart family. Mozart?s work would then have to be seen as an homage of a truly personal nature. The Missa longa is the only setting of the Ordinary from this period which is appropriate to such a highly solemn event.Urtext of the ?New Mozart Edition? Ideal for church services and concert performances Full score & performance material (BA4853) and vocal score (BA4853-90) for sale

The Mass K.262 (246a) is known as Missa longa. Leopold Mozart designated it so next to the incipit on the cover of the autograph collection of five masses in C major by his son. Mozart literature gives the year of origin as 1776 without mentioning the speculative nature of this claim.The monumentality of the Missa longa suggests that the work was written for a particularly solemn occasion. When scanning for outstanding ecclesiastical events in the 1770?s one cannot ignore the consecration of Ignaz Josef Count Spaur coadjutor and administrator of the diocese of Brixen as titular bishop of Chrysopel on 17 November 1776 in the Salzburg cathedral. Erich Schenk claimsthat Leopold Mozart?s mention of Wolfgang?s ?Spaur Mass? in a letter of 28 May 1778 was in reference to the consecration of Ignaz Josef Spaur an old friend of the Mozart family. Mozart?s work would then have to be seen as an homage of a truly personal nature. The Missa longa is the only setting of the Ordinary from this period which is appropriate to such a highly solemn event.Urtext of the ?New Mozart Edition? Ideal for church services and concert performances Full score & performance material (BA4853) and vocal score (BA4853-90) for sale

Set of Wind Parts-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 anautonomous unit; the Doxology at the end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionPerformance material (BA4894) vocal score (BA4894-90) available for sale