Georg Friedrich Händel: Four Oboe Sonatas: Oboe: Instrumental Work

The Viola part for four of Handel's Coronation Anthems which include Zadok the Priest and My heart is Inditing. These varied and rousing Choral Anthems are available in the corresponding parts for a small orchestra set. Violin 1(C5269) Violin 2(C5270)and Violin 3(C5274) Cello/Double Bass/Bassoon(C5272)and a Set of Wind Parts(C5273). The complete arrangement is for SATB chorus 3 Trumpets 2 Oboes 2 Bassoons Strings Percussion and Continuo.

lyric coloratura. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. OperAria is the ideal vocal coach for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. / Date parution : 2019-09-06/ Recueil / Soprano Colorature

For the occasion of the coronation of King George II and Queen Caroline which took place in Westminster Abbey on October 11 1727 Handel wrote four splendid anthems and personally supervised their performance which was according to all reports one of great magnificence. The four anthems were enthusiastically received and one or more of them has been performed at every British coronation since 1727. Anthem No. 2 ('The King Shall Rejoice') although less well-known than Anthem No. 1 is an equally splendid example of Handel's ceremonial style - what Burney has affectionately termed his 'big bow-bow manner'. This work contains an opening Allegro brilliant and elegantrather than pompous; a grandiose setting of 'Glory and great worship hast thou laid upon him'; and a lively fugal Alleluia as a conclusion.For six-part chorus of mixed voices with organ or piano accompaniment. Edited and with keyboard reduction by William Herrman.

Par HAENDEL GEORG FRIEDRICH. ?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./ Répertoire / Chant et Orchestre

The latest addition to the Novello Handel Edition. A stage work of 1745 based on John Milton's classical masque Comus created from a compilation of songs by Handel and Thomas Arne both pre-existing and original with the text adapted by John Dalton. This is the first ever complete publication of the work and is edited by Handel scholar Colin Timms. This work is for three or four Sopranos Mezzo-Soprano Tenor one or two Bass Soli and Orchestra. This edition is an 'important new contribution to scholarship with Colin Timms continuing the work of Anthony Hicks in putting together an edition of work from various sources'. There are 'somefine movements to be found by both composers not least the three airs and trio that Handel provided specially for performance in Exton Hall Rutland in 1745'. Choir & Organ  November/December 2017 'Potential performers will appreciatre the excellent editorial preface. The print of this vocal score with piano reduction though small is very clear and well laid-out and orchestral parts including a fully realised continuo part are available from Novello.' Organists’ Review December 2017

from Israel in Egypt-From the Handel oratorio Israel in Egypt this lovely pastorale movement for four-part mixed voices in a new performing edition draws the comparison of the shepherd and his sheep and the exodus of the people leaving Egypt painting a descriptive picture through the imitative structure of the music. Duration: ca. 4:35.