Arrangeur: Wolfgang Amadeus Mozart. Par HAENDEL GEORG FRIEDRICH. Haendel composa en 1736 un poème de John Dryden 'Le Festin d'Alexandre ou la puissance de Musick' sous la forme d'une cantate en deux parties. À la suggestion du baron Gottfried van Swieten, Mozart 1790 édité cette ode en l'honneur de sainte Cécile. Ce traitement était la traduction allemande du poème par Karl Wilhelm PeterRamler base de l'année 1770. Comme dans d'autres travaux d'usinage de Haendel Mozart Uminstrumentierung provoque un changement dans le caractère du son qui représente la composition dans la tradition du classicisme viennois. Handel: Nouvelles notes claires et police (BA 400192, disponible en anglais seulement) Mozart: Piano première disponible dans le commerce (BA 452790) Maintenant, sous une forme révisée: Pour la nouvelle édition de Handel, la version dynamique d'un divulgations de base ont été révisées, ce qui a ajouté trois desAnhangs ensembles, la Handel, dans une réduction pour piano (BA 400192) sont publiées pour la première fois. La lisibilité de la production a été considérablement améliorée./ Répertoire / Piano

Instrumental Play-Along-10 songs from the latest live action hit movie adaptation of the Disney classic Beauty and the Beast arranged for instrumentalists. Each book features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound.Songs include Aria Be Our Guest Beauty and the Beast Belle Days in the Sun Evermore Gaston How Does a Moment Last Forever The Mob Song and Something There.

Description A compilation of 15 hit songs arranged for all electronic keyboards by Kenneth Baker. Includes suggested registrations, fingerings and lyrics, plus chord symbols and charts. Songlist ...Baby One More Time [Spears, Britney] A Girl Like You [Collins, Edwyn] A Woman Is A Sometime Thing Because You Loved Me [Dion, Celine] Constant Craving [Lang, K.D.] I Have A Dream [Westlife] If I Could Turn Back The Hands Of Time (R. Kelly) Livin' La Vida Loca [Martin, Ricky] Lovefool [Cardigans, The] Marvellous [Lightning Seeds, The] Mi Chico Latino (Geri Halliwell) Perfect Moment [Mccutcheon, Martine] She's The One [Williams, Robbie] Some Might Say [Oasis] Stay Another Day [East 17]

Opera in three acts. ?Giulio Cesare in Egitto? is by far Handel?s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel?s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations ? essentially four versions ? on the basis of a meticulous study of the sources within the framework of the ?Halle Handel Edition?. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini. The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically. In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in ?Giulio Cesare?. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel?s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions.

Cantata for Trinity Sunday-Es ist ein trotzig und verzagt Ding BWV 176Cantata for Trinity SundayThis cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed byBach apparently within a few weeks on texts by the contempotary Leipzig poetess Marianne von Ziegler.It is scored for Soprano Alto and Bass soloists mixed choir (SATB) 2 Oboes Oboe da caccia Strings and Basso continuo.- Urtext of the New Bach Edition- Performance material (BA10176) choral score (BA10176-91) & study score format 22.5 x 16.5cm (TP1176) available for sale

Cantata for Trinity Sunday-Es ist ein trotzig und verzagt Ding BWV 176Cantata for Trinity SundayThis cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed byBach apparently within a few weeks on texts by the contempotary Leipzig poetess Marianne von Ziegler.It is scored for Soprano Alto and Bass soloists mixed choir (SATB) 2 Oboes Oboe da caccia Strings and Basso continuo.- Urtext of the New Bach Edition- Performance material (BA10176) choral score (BA10176-91) & study score format 22.5 x 16.5cm (TP1176) available for sale

Cantata for Trinity Sunday-Es ist ein trotzig und verzagt Ding BWV 176Cantata for Trinity SundayThis cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed byBach apparently within a few weeks on texts by the contempotary Leipzig poetess Marianne von Ziegler.It is scored for Soprano Alto and Bass soloists mixed choir (SATB) 2 Oboes Oboe da caccia Strings and Basso continuo.- Urtext of the New Bach Edition- Performance material (BA10176) choral score (BA10176-91) & study score format 22.5 x 16.5cm (TP1176) available for sale

Par DIVERS AUTEURS / ROB MACKILLOP (ARR.). In this unique collection, multi-instrumentalist Rob MacKillop presents 30 airs and dances from Scotland, Ireland and England transcribed for the modern guitar in open-D tuning (DADF?AD). Although conceived for fingerstyle playing, most of these traditional, Classical and Baroque pieces are also playable with a pick.During the mid to late 18th century, a wire-strung instrument which could be described as a cross between a guitar and a cittern appeared in Britain. With the exception of the publications in Edinburgh by Robert Bremmer (c. 1713 - 89), most period writings refer to this instrument as the guittar. In providing extensive historical and performance notes on this music, the author has adopted this spelling. While derived principally from the publications by Scottish guittarists Robert Bremmer and James Oswald (1710 - 69), MacKillop discovered additional Scottish publications and manuscripts in The National Library of Scotland and even more manuscripts in the uncatalogued library of Blair Castle in Perthshire, Scotland.Written in standard notation and tablature, this book brings a particularly uncommon repertoire to light with an exceptional downloadable recording. Includes access to online audio./ Tablatures / Guitare Tablatures

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Nathan East takes you into the studio and behind the scenes to learn and see first hand what it takes to be a professional musician.The Business Of Bass covers the demands and rewards of making music for a living both in live performance and studio sessions.