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Giovanni Battista Pergolesi: Il prigionier superbo: Mixed Choir
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Ricordi
Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIO...
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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.
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Georg Friedrich Händel: O come let us sing HWV 253 - Chandos Anthem No.8: Voice:
17.00
Georg Friedrich Händel: O come let us sing HWV 253 - Chandos Anthem No.8: Voice:
Soli, choeur mixte et accompagnement
Soli, chœur mixte et piano
[Partition]
Barenreiter
O come let us sing HWV 253 Chandos Anthem No.8Handel’s three anthems (My s...
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O come let us sing HWV 253 Chandos Anthem No.8Handel’s three anthems (My song shall be alway HWV 252 O come let us sing HWV 253 O praise the Lord HWV 254) were composed in 1717 and 1718 for Cannons a country estate near to London. They take their nickname the “Chandos Anthems” from the owner of the estate the First Duke of Chandos.The three pieces are noteworthy for their festive character and their varied orchestral accompaniment. Handel borrows older material from his Italian period and his earlier works for the Chapel Royal in London – a standard procedure for this composer who reusedparticularly successful pieces as starting points for his later works. The scoring for solo voices chorus oboe strings and continuo was tailored to the musical resources of the small country estate. Two additional recorders are needed for “O come let us sing unto the Lord”.The anthems present the Urtext from the “Halle Handel Edition” and include uncomplicated and easy-to-play Piano reductions. In addition to the original English words the full scores and vocal scores also include a singing translation in German.- Full score & parts (BA4293) and vocal score (BA4293-90) available for sale
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Camille Saint-Saëns: Christmas Oratorio: Mixed Choir: Vocal Score
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Camille Saint-Saëns: Christmas Oratorio: Mixed Choir: Vocal Score
Soli, choeur mixte et accompagnement
Soli, chœur mixte et piano
Schirmer
Saint-Saëns's Christmas Oratorio (or Oratorio de Noël) was written in 1858 whe...
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Saint-Saëns's Christmas Oratorio (or Oratorio de Noël) was written in 1858 when he was just 23. This piece was originally scored for five Vocal Soloists Chorus Harp String Quartet and Organ; this the vocal score contains a piano reduction.The Christmas Oratorio opens with a Prelude subtitled 'In the style of Sebastian Bach' harkening back to Bach's Christmas Oratorio. This opening prelude sets the scene for the Christmas story: its lilting pastoral quality creates images of the shepherds tending their flocks in the fields. In the remaining movements the vocal soloists take turns representing different characters such as the narrator ofthe story or as the angel who announces the birth of the baby Jesus while the chorus represents a multitude of angels singing to the glory of the Lord. The final movement of the piece which follows the model of old French Christmas songs is a virtual hymn of praise of all creation in the presence of God.The English version of the text is by N.H. Dole.
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Johann Sebastian Bach: Cantata BWV 147 Herz Und Mund Und Tat Und Leben: Mixed
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Johann Sebastian Bach: Cantata BWV 147 Herz Und Mund Und Tat Und Leben: Mixed
Soli, choeur mixte et accompagnement
Soli, chœur mixte et piano
[Partition]
Barenreiter
As one of the most popular and best-known cantatas this work has become an indis...
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As one of the most popular and best-known cantatas this work has become an indispensable part of the repertoire. The last movement is most commonly known as Jesu Joy of Man's Desiring. Study score and performance material available for sale. Barenreiter Urtext: In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest inmusicological research. For Bärenreiter “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Johann Sebastian Bach: Messe in h-Moll BWV 232: Mixed Choir: Part
39.50
Johann Sebastian Bach: Messe in h-Moll BWV 232: Mixed Choir: Part
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Einzelstimme(n) - Basso continuo (Orgel)]
Barenreiter
In the international music world ?Bärenreiter Urtext? is synonymous with perfor...
(+)
In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as thesurviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye. This is the Organ part for J. S. Bach's Mass In B Minor.
39.50 GBP - vendu par Musicroom GB
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Johann Sebastian Bach: Magnificat In D BWV243: Mixed Choir: Score
26.50
Johann Sebastian Bach: Magnificat In D BWV243: Mixed Choir: Score
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Barenreiter
The 2nd version with the 4 inserts from the E-flat major version (transposed int...
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The 2nd version with the 4 inserts from the E-flat major version (transposed into D major).Barenreiter Urtext:In the international music world 'Bärenreiter Urtext' is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter 'Urtext' is more than just a label it is also a pledge and a guarantee for sheet music performing editions thatpresent the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer's intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
26.50 GBP - vendu par Musicroom GB
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The Rake's Progress HPS 739
111.00
The Rake's Progress HPS 739
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Boosey and Hawkes
Opera in three acts. Par STRAWINSKY IGOR. New edition of Stravinsky?s largest wo...
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Opera in three acts. Par STRAWINSKY IGOR. New edition of Stravinsky?s largest work, his only full-length work for the theatre, and his first major work in English. It also represents the culmination of his neoclassical years, after which he started to rethink his musical language. Inspired by an exhibition in Chicago in 1947 of a series of Hogarth prints, the depiction of the ironic progress of the spendthrift heir of a miser from wealth via debt to madness and death is, in essence, retained in the opera. Auden and Kallman's 'fable' wittily grafts onto Hogarth?s quest narrative aspects of, among other sources, Classical pastoral, the Faust legend, fairy tale, circus, the Bible and opera in many different manifestations. This is brilliantly matched by Stravinsky?s music, which takes as its source the whole of operatic history from Monteverdi to Verdi via Rossini and Donizetti and large doses of Mozart, yet it is neither parody nor pastiche. The Rake?s Progress can be appreciated on many levels, which might explain why it is still one of only a handful of 20th-century operas never to have been out of the repertoire. / Date parution : 2023-10-31/ Répertoire / Solistes, Choeur et Orchestre
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Missa Solemnis In B (HAYDN FRANZ JOSEF)
12.00
Missa Solemnis In B (HAYDN FRANZ JOSEF)
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Carus Verlag
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, i...
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Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa Solemnis In B (HAYDN FRANZ JOSEF)
12.00
Missa Solemnis In B (HAYDN FRANZ JOSEF)
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Carus Verlag
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, i...
(+)
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa Solemnis In B (HAYDN FRANZ JOSEF)
68.10
Missa Solemnis In B (HAYDN FRANZ JOSEF)
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Carus Verlag
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, i...
(+)
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
68.10 EUR - vendu par LMI-partitions
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Missa Solemnis In B (HAYDN FRANZ JOSEF)
12.00
Missa Solemnis In B (HAYDN FRANZ JOSEF)
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Carus Verlag
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, i...
(+)
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa Solemnis In B (HAYDN FRANZ JOSEF)
26.50
Missa Solemnis In B (HAYDN FRANZ JOSEF)
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Carus Verlag
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, i...
(+)
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa Solemnis In B (HAYDN FRANZ JOSEF)
8.90
Missa Solemnis In B (HAYDN FRANZ JOSEF)
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Carus Verlag
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, i...
(+)
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
8.90 EUR - vendu par LMI-partitions
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Missa Solemnis In B (HAYDN FRANZ JOSEF)
12.00
Missa Solemnis In B (HAYDN FRANZ JOSEF)
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Carus Verlag
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, i...
(+)
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Missa Solemnis In B (HAYDN FRANZ JOSEF)
21.19
Missa Solemnis In B (HAYDN FRANZ JOSEF)
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Carus Verlag
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, i...
(+)
Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet
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Felix Mendelssohn Bartholdy: Psalm Non Nobis Domine - Nicht Unserm Namen Herr:
4.00
Felix Mendelssohn Bartholdy: Psalm Non Nobis Domine - Nicht Unserm Namen Herr:
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Barenreiter
Op. 31 Mwv A 9-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' Op.31 MWV A...
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Op. 31 Mwv A 9-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete from the initial sketches and the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms Mendelssohn took the Latin words from the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation he made use of Psalm 115 from the Luther Bible.This edition by the leading Mendelssohn authorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis the vocal parts are underlaid with the Latin text and the German text appears underneath.Rounding off this Urtext edition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages (Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale
4.00 GBP - vendu par Musicroom GB
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Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
9.00
Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Barenreiter
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc...
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Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum H 146. The special appeal of this “Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.The eight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto tenor and bass – which interact with the chorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research- Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale
9.00 GBP - vendu par Musicroom GB
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Johann Pachelbel: Christ lay in grim deaths prison: Mixed Choir: Score
19.50
Johann Pachelbel: Christ lay in grim deaths prison: Mixed Choir: Score
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
[Partition]
Barenreiter
Easter Cantata-Christ lag in Todesbanden (Christ lay in grim death's prison)East...
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Easter Cantata-Christ lag in Todesbanden (Christ lay in grim death's prison)Easter CantataIn recent years the demand for making available a larger number of choral works by Johann Pachelbel (1653-1706) has made itself felt more strongly than ever before. Within the past few years the search for unpublished manuscripts of choral compositions written by Johann Pachelbel has been taken up again and not in vain. Approximately twenty instrumentally accompanied arias and thirty elaborate choral works intended for services of worship have recently been found. These date from the days when Pachelbel was an active church musician in Erfurt and Nuremberg and include compositionsof various categories e.g. motets cantatas magnificats and masses.The excellency of Pachelbel's choral works may be attributed in large part to the magnificence and splendour of their tonal character. They are unusually vocal choral and singable. In the very best sense of the term they are what the Germans call 'Gebrauchsmusik' that is to say they are functional music written for specific use in the church service. They are not music written for its own sake.Full score performance material (BA2875) choral score (BA2875-91) available for sale
19.50 GBP - vendu par Musicroom GB
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Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
9.00
Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Barenreiter
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc...
(+)
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum H 146. The special appeal of this “Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.The eight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto tenor and bass – which interact with the chorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research- Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale
9.00 GBP - vendu par Musicroom GB
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Georg Philipp Telemann: Gelobet Seist Du Jesu Christ: Mixed Choir: Part
4.00
Georg Philipp Telemann: Gelobet Seist Du Jesu Christ: Mixed Choir: Part
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Barenreiter
Cantata for the Second Day of Christmas-Telemann composed ?Gelobet Seist Du Jes...
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Cantata for the Second Day of Christmas-Telemann composed ?Gelobet Seist Du Jesu Christ? (TvWV 1:612) for his cantata cycle of 1710 11. Although scored without Brass Instruments or Timpani the brilliant festive mood of the second day of Christmas prevails.The opening chorale and the final chorus form a frame for the four solo arias of the main section (ATB). Here too the choral numbers may be and usually are taken one to a part. The vocal score appears with a singing translation in English and suggested alternatives for the German text.- Urtext based on the latest findings of scholarship.- Straightforward and easy-to-play Piano reduction.- Duration:approx. 15 minutes.- Singing translation in English.- Full score (BA7676) and performance material (BA7676) available for sale.
4.00 GBP - vendu par Musicroom GB
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Georg Philipp Telemann: Gelobet Seist Du Jesu Christ: Mixed Choir: Parts
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Barenreiter
Cantata for the Second Day of Christmas-Telemann composed ?Gelobet Seist Du Jes...
(+)
Cantata for the Second Day of Christmas-Telemann composed ?Gelobet Seist Du Jesu Christ? (TvWV 1:612) for his cantata cycle of 1710 11. Although scored without Brass Instruments or Timpani the brilliant festive mood of the second day of Christmas prevails.The opening chorale and the final chorus form a frame for the four solo arias of the main section (ATB). Here too the choral numbers may be and usually are taken one to a part. The vocal score appears with a singing translation in English and suggested alternatives for the German text.- Urtext based on the latest findings of scholarship.- Straightforward and easy-to-play Piano reduction.- Duration:approx. 15 minutes.- Singing translation in English.- Full score (BA7676) and performance material (BA7676) available for sale.
5.50 GBP - vendu par Musicroom GB
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Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
9.00
Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Barenreiter
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc...
(+)
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum H 146. The special appeal of this “Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.The eight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto tenor and bass – which interact with the chorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research- Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale
9.00 GBP - vendu par Musicroom GB
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Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
15.50
Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Barenreiter
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc...
(+)
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum H 146. The special appeal of this “Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.The eight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto tenor and bass – which interact with the chorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research- Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale
15.50 GBP - vendu par Musicroom GB
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Wolfgang Amadeus Mozart: Betulia Liberata K.118: Mixed Choir: Vocal Score
34.00
Wolfgang Amadeus Mozart: Betulia Liberata K.118: Mixed Choir: Vocal Score
Soli, choeur mixte et accompagnement
Soli, chœur mixte et piano
[Partition]
Barenreiter
The material for Mozart’s azione sacra is taken from the Old Testament bo...
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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 - vendu par Musicroom GB
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Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
9.00
Marc-Antoine Charpentier: Messe de Minuit pour Noël: Mixed Choir: Part
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Barenreiter
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc...
(+)
Probably composed in 1690 the Messe de Minuït pour Noël H 9 is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum H 146. The special appeal of this “Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.The eight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto tenor and bass – which interact with the chorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research- Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale
9.00 GBP - vendu par Musicroom GB
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