Siegfried is the third of the four operas that constitute Richard Wagner?s ?Der Ring des Nibelungen? (The Ring of the Nibelung). Wagner wrote the libretto and music for this cycle of four epic operas over the course of about twenty-six years from 1848 to 1874. The Ring premiered at the Bayreuth Festspielhaus over 4 days from 13 to 17 August 1876. This part of the cycle is primarily inspired by the story of the legendary hero Sigurd in Norse mythology.Siegfried is a man without fear and he expresses to his foster father Mime his wish to learn to fear. Mime tells him that the wise learn fear quickly but the stupid find it moredifficult. Siegfried learns fear when he discovers the sleeping Brünnhilde in Act 3.G. Schirmer Opera Score Editions presents Richard Wagner?s Siegfried with both the original German lyrics and in English translation (translated by Frederick Jameson). The Orchestra parts have been transcribed into a Piano accompaniment and dramatisation instructions added where relevant. The Voice parts which are true to the original feature chorus solo and duet sections of the characters: Siegfried (Tenor) Mime (Tenor) The Wanderer (Bass) Alberich (Bass) Fafner (Bass) Erda (Alto) and Brunhilde (Soprano).

Georges BizetCarmenOpera in three actsCritical new edition with the recitatives later composed by Ernest GuiraudFull score (AE129) and vocal score (AE129-90) available for salePerformance material availale for hire AE129-72

Légende dramatique en quatre parties-In 1828 Berlioz wrote the 'Huit scènes de Faust'. The work was soon withdrawn but almost twenty years later each of the eight scenes found a place in the Légende dramatique 'La damnation de Faust' dedicated to Franz Liszt. The first part of the 'Damnation' exposes the figure of Faust and has an introductory nature. From the second part onwards the course of action is largely based on Goethe?s drama.Contrasting characters and dramatic effect are of central importance in understanding Berlioz?s musical thought and his compositional process. Magic and fairy tale incantations and ghosts have been the ever-recurring themes ofopera since the Baroque. It is precisely this fantasy in Berlioz's Faust the ?Opéra de Concert en Quatre acts? which comes very close to the spirit of Goethe's presentation.Reliable Piano reduction based on the Urtext of the New Berlioz EditionStraight-forward Piano reduction in the Vocal scoreClear user-friendly layoutFrench original text with German translationFull score (BA5448) and Vocal score (BA5448-90) available for sale performance material (BA5448-72) available for hire

The chorus score contains no Piano reduction or solo parts - for full Vocal score (with Piano reduction) see BA7674-90. Today the ?Gloria? RV 589 (BA 7674) is one of Vivaldi?s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period.Vivaldi wrote the ?Gloria? as a self-contained work in the style of a concertante mass. However it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period at the Ospedale della Piet around 1716. In the twelve movements of the ?Gloria? Vivaldidisplays the whole range of his mastery from festive sublime outer movements to tender transparently scored solo passages.The same mastery has also been applied to the ?Kyrie? RV 587 (BA 8950) scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral work without solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward clearly presented and preserve the character of the works.- Attractive Choral pieces which can be combined to form a short mass.- Vocal score as well as choral score available for the ?Gloria?.- Informative foreword (Ger/Eng).

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period. Vivaldi wrote the “Gloria” as a self-contained work in the style of a concertante mass. However it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period at the Ospedale della Pietà around 1716. In the twelve movements of the “Gloria” Vivaldi displays the whole range of his mastery from festive sublime outer movements totender transparently scored solo passages. The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950) scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral work without solo passages. Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward clearly presented and preserve the character of the works. - Attractive choral pieces which can be combined to form a short mass. - Vocal score as well as choral score available for the “Gloria”. - Informative foreword (Ger/Eng).

Vivaldi's Kyrie RV 587 (BA 8950) is scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a Choral work without solo passages.Today the ?Gloria? RV 589 (BA 7674) is one of Vivaldi?s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period. Vivaldi wrote the ?Gloria? as a self-contained work in the style of a concertante mass. However it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period atthe Ospedale della Piet around 1716. In the twelve movements of the ?Gloria? Vivaldi displays the whole range of his mastery from festive sublime outer movements to tender transparently scored solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward clearly presented and preserve the character of the works.- Attractive choral pieces which can be combined to form a short mass.- Informative foreword (Ger/Eng).

Critical Commentary-With final chorus 'An die Freude' (Ode to Joy)Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication Del Mar's edition enjoys the unabashed praise of conductors performers and critics alike and has become the most widelyused publication of the Beethoven Symphonies which can be heard not only every day in concert halls but also on CD recordings by John Eliot Gardiner David Zinman Jos van Immerseel and Claudio Abbado.Full scores study scores and complete performance material to Beethoven?s Nine Symphonies are available for sale.Full score & performance material (BA9009) study score format 22.5 x 16.5cm (TP909) & vocal score (BA9009-90) available for saleDetailed Critical Commentary (English) documents all the sources and findings made by the editor.

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.

Favola in musica in un prologo e cinque atti-Monteverdi’s opera “L’Orfeo” based on the legend of Thracian singer Orpheus and his love of Eurydice is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources this certainly does not mean that it is not also practical to use as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants not only between the two editions but also amongst the eight surviving copies are listed in the critical commentary.This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should however feel free to follow his own judgment. The notation has been when necessary adapted to suit modern practice for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower.Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practiceComprehensive critical commentary (Eng) in the scoreIdiomatic piano reduction

for soprano soloist mixed choir and orchestra or ensemble (with organ) This is one of the best-loved and most widely performed choral works of the twentieth century. The texts (in Latin and English) are from the Missa pro Defunctis the Book of Common Prayer and the Psalms. The seven sections form an arch-like meditation on the themes of life and death: prayers on behalf of all humanity psalms personal prayers to Christ and in the central Sanctus an affirmation of divine glory. The full scores have been edited and engraved by the composer himself and are presented in handsome cloth-bound editions. Vocal and orchestral material is available on hire.

This definitive collection showcases twelve of the finest and most loved partsongs by Robert Lucas Pearsall (1795-1856); published in two volumes compiled and introduced by Ralph Allwood one of the UK’s pre-eminent choral directors.These works including the well known Lay a Garland In Dulci Jubilo Great God of Love and No! No! Nigella! are collected and published together for the first time. Suitable for choirs of all abilities the partsongs within this two volume collection are scored for four to eight parts and appropriate for sacred or secular usage. Beautifully engraved the original notation has been updated for contemporary use and clear rehearsalaccompaniments are provided.Both volumes will be an essential addition to any choir’s music library to be used over and over again.The Novello Choral Programme is the creation of a panel of advisors pre-eminent in the British music scene: Ralph Allwood Susan Digby David Hill Brian Kay and Barry Rose each with extensive experience in choral conducting concert work and music education. The aim is to publish essential editions from the best of the wealth of existing choral music ancient and modern while widening the repertoire with exciting new composers and new trends in music making.Ralph Allwood is one of the UK's most distinguished choral directors. He is Precentor and Director of Music at Eton College and a Choral Advisor to Novello.

Maurice Duruflè (1902-1986) dedicated this hauntingly beautiful setting of the Lord's Prayer to his wife. Simple and direct it is almost chantlike in its melodic purity. Originally written for unison voices (or solo voice)with organ accompaniment Duruflé later scored it for four-part chorus. These new editions include an English text for singing the original French text and a keyboard reduction of the unaccompanied version.

Brought together for the first time a comprehensive collection of choruses from the best loved sacred musical works newly engraved in recent editions from the historic Novello series of vocal scores. Includes Dona Nobis Pacem (Haydn) Lauda Jerusalem (Monterverdi) and In Paradisum (Faure). Selected with introductory notes by Brian Kay.