Cette partition vocale de concert et insert arias de Mozart est basé sur la nouvelle édition Mozart ( NMA ) .Le texte musical présenté dans cette édition est exempt de références pratiques sur les aspects de la performance ou des suggestions sur la pratique de la performance . Un livret d'accompagnement donne des explications détaillées sur l'exécution des appoggiatures et autres phénomènes de la pratique pertinente sur le rendement de chaque aria . En outre, il ya un choix de suggestions pour la performance de cadences et de plomb -ins ainsi que pour l'ornementation des parties segno dal , qui se trouvent souvent dans le début des airs de Mozart .- texte sous-tendue présenté dans la langue originale- Tous les textes aria traduits en allemand et en anglais et imprimées séparément- réduction pour piano idiomatique aux airs individuels- mise en page claire et lisible du texte musical- notes et des suggestions supplémentaires sur la pratique de la performance dans le livret d'accompagnement- matière de performance sur la location à chaque aria( S'il vous plaît se référer au volume compétente pour plus d' informations )contenuRécitatif ' Così dunque tradisci ' - Aria ' Aspri rimorsi atrocités ' K. 432 ( 421a )Récitatif ' Alcandro , lo confesso ' - Aria ' Non so d'onde viene ' K. 512Aria ' Mentre ti lascio , oh figlia ' K. 513Kriegslied ' Ich möchte wohl der Kaiser sein' K. 539Aria 'Un bacio di mano' K. 541Aria 'Per questa bella mano' K. 612Aria ' Io ti lascio , oh cara, Addio ' K. Anh . 245 ( 621a ) / Basse Et Piano
SKU: BA.BA10557
ISBN 9790006553068. 33 x 25.8 cm inches. Language: German.
The Complete Vocal Works Johann Pachelbel is known today as a composer of organ music and of a world-famous instrumental canon which frequently features in concert programmes and recording catalogues. However, the same can be said of only a few of his vocal compositions. At most, the motets appear occasionally in church music repertoire. Pachelbelâ??s arias, vocal concerti and large-scale Magnificats have received little attention up to now. Church musicians and musicologists have long wished for a critical edition of these important works, which survive in Pachelbelâ??s manuscript and were largely composed in his main places of work, Erfurt and Nuremberg . As always with such ventures, new discoveries are to be expected regarding the body of works, source material and the context of the works. This concerns not only beautiful music, but rather a deepening of our understanding of Pachelbel as a key figure between southern and central German traditions, and the recognition of an oeuvre which has all too often been pushed into the shadows by the mighty Bach. The Critical Edition The edition aims to make available all of Johann Pachelbelâ??s surviving vocal works in the best possible form. It is edited by the Institut für Musikwissenschaft at the University of Erlangen-Nuremberg and the Institut für Kirchenmusik at the Kunstuniversität Graz. Two volumes per year are planned. As a chronological order is not possible in many cases, the individual works have been arranged according to scoring within their groups. Fragments and works where Johann Pachelbelâ??s authorship is doubtful appear at the end of the respective group. Each volume includes an introduction (Ger/Eng) and a Critical Commentary (Ger). Format 25.5 x 32.5 cm; cloth-bound
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: UT.BCE-1
ISBN 9790215310049. 9 x 12 inches.
Recitati vo e Aria accademica con violini, viola e basso G 544 Sì, veramente io deggio – Ah non lasciarmi, no; Aria accademica con violini, viola e basso G 545 Se non ti moro allato; Aria accademica con violini, viola e basso G 546 Deh, respirar lasciatemi; Aria accademica con violini, oboi, viola e basso G 547 Caro, son tua così; Recitativo e Aria accademica con violini, oboi, viola, corni e basso G 548 Misera, dove son! – Ah! non son io che parlo; Aria accademica con violini, oboi, corni, viola e basso G 549 Care luci, che regnate; Aria accademica con violini, oboi, corni, viola e basso G 550 Infelice invan mi lagno; Aria accademica con violini, oboi, fagotti e basso G 551 Numi, se giusti siete; Aria accademica con violini, oboi, corni, viola e basso G 552 Caro padre, a me non dei; Aria accademica con violini, oboi, corni, viola e basso G 553 Ah! che nel dirti addio; Recitativo e Aria accademica con violini, oboi a solo, viola e basso G 554 Di giudice severo – Per quel paterno amplesso; Aria accademica con violini, oboi, corni, viola e basso G 555 Tu di saper procura; Aria accademica con violini, flauti, viola e basso G 556 Mi dona, mi rende; Aria accademica con violini, oboi, corni, violetta, violoncello obbligato e basso G 557 Se d’un amor tiranno; Aria accademica con violini, flauti, viola e basso G 558 Tornate sereni; Duetto accademico con violini, oboi, corni, viola e basso G 559 La destra ti chiedoP erformance Material on Hire
SKU: HL.49018355
ISBN 9783795793463. 10.25x13.25x1.4 inches. German - English.
Contents: Einlagen zum Pasticcio Der Freybrief von Joseph Haydn u. a., No. 5: Rondo alla Polacca fur Tenor (WeV D.1/1), No. 2: Duetto fur Sopran und Tenor (WeV D.1/2) * Szene und Arie fur Sopran zu Mehuls Helena Ha! Sollte Edmund selbst * La, o la ihn Rettung finden (WeV D.2) * Einlagen zu Karl Ludwig Gieseckes Der travestirte Aeneas, No. 3: Lied fur Bariton (WeV D.3/1), No. 11: Duett fur Sopran und Bariotn (WeV D.3/2) * Lied fur Sopran zu Ferdinand Kauers Sternenmadchen im Maidlinger Walde (WeV D.5) * Szene und Arie fur Sopran zu Cherubinis Lodoiska Was sag ich? * Fern von ihm (WeV D.7) * Huldigungs-Einlage fur Sopran und Bass zu Spontinis Olimpia (WeV D.8) * Rezitativ und Rondo fur Sopran Il momento s'avvicina * La dolce speranza (WeV E.1) * Duett fur zwei Altstimmen Se il mio ben (WeV E.2a) * Szene und Arie der Atalia Misera me * Ho spavento d'ogn'aura (WeV E.3) * Szene und Arie aus Demetrio fur Tenor und Mannerchor Qual'altro attendi * Giusti Numi! (WeV E.4) * Szene und Arie aus Ines de Castro fur Tenor Signor, se padre sei * Chiamami ancor spietato (WeV E.5) * Szene und Arie aus Ines de Castro fur Sopran Non paventar, miavita! * Sei tu sempre (WeV E.6).
SKU: HL.49018356
ISBN 9783795793470. 10.25x13.25x1.08 inches. German - English.
SKU: MB.30667M
ISBN 9781513463971. 8.75 x 11.75 inches.
Johann Sebastian Bachâ??s arrangements of the â??69 Sacred Songsâ? from the Musical Hymnal by Georg Christian Schemelli (Leipzig, 1736) have long been part of the German language vocal concert repertoire and a mainstay in vocal pedagogy. Originally, only these 69 of the 954 hymns in the collection were published with a single bass line as the accompaniment. Bachâ??s contribution was to specify harmonies to be played over those same bass lines by adding figured bass numbers and symbols beneath each note.
A figured bass line can easily be turned into a relatively simple guitar accompaniment or a more elaborate setting, offering a range of possibilities that make working with this music both interesting and rewarding for the guitarist. While other period and modern editions of the â??69 Sacred Songsâ? offer accompaniments for keyboard instruments, this Mel Bay publication features intermediate to advanced transcriptions exclusively for the guitar.
Best suited to college-level players or advanced aficionados, this special Mel Bay Publications edition includes the vocal line with German lyrics and the guitar accompaniment transcribed from Bachâ??s figured bass lines. Written in guitar-friendly keys, 29 of the transcriptions employ a capo to achieve the original key designed for high voices. Without the capo, these same arrangements would be suitable to be sung by lower voices. The remaining 40 hymns are in their original guitar-friendly keys and so do not require a capo.
This volume contains accompaniment settings of all 69 of the sacred songs and arias for which Bach wrote figured bass annotation. For performance variety and convenience, this book includes â??Scores in their Original Keys,â? and stand-alone â??Guitar Accompaniment,â? and â??Bass Parts.
SKU: BT.DHP-1053872-010
9x12 inches. English-German-French-Dut ch.
Franz Lehár was born in Komárom, Hungary on 30th April 1870. From the age of fifteen he received composition and violin lessons at the Prague conservatory from Anton n Dvorák. In 1905 he composed The Merry Widow which became an instant worldwide success. The libretto of this operetta provides a succession of intimate arias and duets with festive ensembles. The Vilja-Lied is one of these arias. In this edition for concert band all the poignant beauty of the original remains.In 1905 componeerde Franz Lehár Die lustige Witwe, dat een wereldwijd succes werd. Het libretto van deze levendige operette staat borg voor een aaneenschakeling van intieme aria’s en duetten met feestelijke ensembles. Het bekendeVilja-Lied (Das Lied vom Waldmägdelein) is een van deze aria’s. John Blanken werd door de mooie melodie ge nspireerd tot het schrijven van een arrangement dat zowel muzikanten als publiek zal aanspreken.Das Vilja-Lied ist eine der Arien aus der Operette Die lustige Witwe von Franz Lehár: Ein junger Jägersmann erblickt an einem Felsen Vilja, das Waldmägdelein, und verfällt ihren Reizen. Das Mädchen holt ihn zu sich und liebkost ihn auf bisher ungekannte Weise, doch dann lässt sie den liebeskranken Jüngling zurück. Der überwältigende Erfolg der Lustigen Witwe brachte Franz Lehár großen Reichtum ein. Auch seine nachfolgenden Operetten wurden vom Publikum mit großer Begeisterung aufgenommen. John Blankens Bearbeitung des Liedes lässt sie an diesem Erfolg Teil haben.En 1905, Franz Lehár (1870-1948) compose La Veuve joyeuse d’après la comédie française L’Attaché d’ambassade d’Henri Meilhac. La création est un succès et l’opérette triomphe rapidement sur les scènes du monde entier. La musique de Lehár illustre bien l’esprit de gaieté et de frivolité caractéristique du début du siècle viennois. Vilja Lied (Acte II) est une des plus belles pages de l’opérette viennoise. Sensuelle, suave et émouvante, cette mélodie séduit encore par sa richesse émotionnelle.N el 1905, Franz Lehar (1870-1948) compone La vedova allegra, tratta dalla commedia francese L’Attaché d’ambassade di Henri Meilhac. L’operetta si rivela un successo di pubblico a livello mondiale. La musica di Lehar illustra a meraviglia lo spirito di gioia e frivolezza caratteristiche dell’inizio del secolo a Vienna. Vilja Lied (Atto II) è una delle più belle pagine dell’operetta viennese. Sensuale, soave ed emozionante, questa melodia seduce ancora oggi per il suo carico emotivo.
SKU: BT.DHP-1053872-140
SKU: HL.50511979
ISBN 9790080138984. Bach (23 x 30,2 cm) inches. Johann Adolf Hasse; Istvan Mariassy.
The opus 3 by Johann Adolf Hasse (1699-1783) contains twelve flute concertos. The present work is the seventh item of this series. Its modern edition is justified, in addition to the elegance and peculiarity of style, by the facility of the instrumental technique of the parts. The flute part is constructed of virtuosic and melodic elements and offers pupils after some years of flute studies already a rewarding, easily executable task of performance. Territorial restrictions may apply. Please ask before ordering.
SKU: BA.BA04096
ISBN 9790006550098. 33 x 26 cm inches. Text Language: Italian. Preface: Terence Best. Text: Carlo Sigismondo Capece.
The Italian oratorio La Resurrezione (The Resurrection) was written during Handel’s time in Rome. It was performed on Easter Sunday 1708 with great splendour and extravagance by a large orchestra conducted by Arcangelo Corelli in the Palazzo Bonelli, the Roman palazzo of Handel’s patron the Marchese Francesco Maria Ruspoli. In its dramatic structure and characterisation of the protagonists, the work displays a striking affinity with Italian opera. Lucifer’s raging sixty fourth notes call to mind the demon characters in Venetian opera and Maddalena’s arias are so full of expressive power and virtuosity that Handel later incorporated one of them into his opera Agrippina. The unusual musical richness of this work and the virtuosic and masterly shaping of the arias make it a welcome addition to any concert programme.
SKU: BA.BA05851-90
ISBN 9790006560042. 27 x 19 cm inches. Language: German. Preface: Reipsch, Ralph-Jürgen.
A festive piece for church and concert hallComposed around 1760,Die Auferstehung und Himmelfahrt Jesuis one of Telemann's last large-scale vocal works. The libretto, by Karl Wilhelm Ramler, recounts the Biblical events from the Resurrection to the Ascension in seven sections.Alternat ing between recitative, da capo arias and festive choruses, Telemann succeeds in producing a vivid and effective musical interpretation of the libretto.Our edition of this oratorio is based on the Urtext fromGeorg Philipp Telemann Musical Works. The score contains a realisation of the continuo part. The work is ideal for performances in church and concert hall alike.
SKU: CA.3321514
ISBN 9790007051709. Language: Latin.
C. P. E. Bach's nine-movement Magnificat (1749), the first great vocal work from his Berlin years, is among the most magnificent sounding, in which the solo vocal parts are also among the most ambitious settings of the Hymn to the Virgin Mary (Luke 1). The work fulfills all the criteria required for a larger sacred composition: grandeur, dignity, polyphonic and concertante choral movements, sensitive (empfindsam) and expressive arias, a long concluding double fugue. This richly scored Magnificat (with 3 trumpets and timp. ad. lib.), which is almost one hour in duration, would be well suited, for example, as the central work on every Christmas or pre-Christmas concert programme. Score and part available separately - see item CA.3321500.
