Medea [Linen Score + USB] : A Melodrama Interspersed With Music

Georg Anton Benda‘s melodrama „Medea“ (1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda’s „Medea“ was at the center of many heated debates.

Songs with Piano - Berlioz, Hector

complete edition, Anthology voices/piano Indbundet udgave

Idomeneo K.366 with Ballet K.367 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas.Mozart's sevengreat operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression.Now Mozart scholars, libraries and lover's of Mozart's stage workshave the oppertunity to acquire these priceless manuscripts in flawless reproductions.All volumes include essays on the history of the work and introduction by leading Mozart scholars in EnglishandGermanConsolidation of Mozart manuscripts held in different placesHighest level of precision in reproduction and authenticity of colour through use of the latest technology'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristic appearance of Mozart's handwriting are unique'    - Kent Nagano (Conductor)

Cantatas with Instruments - Händel, Georg Friedrich

complete edition, score, Urtext edition, Anthology voices/Instr Indbundet udgave

Cantatas with Instruments - Händel, Georg Friedrich

complete edition, score, Urtext edition, Anthology voices/Instr Indbundet udgave

Cantatas with Instruments - Händel, Georg Friedrich

complete edition, score, Urtext edition, Anthology voices/Instr Indbundet udgave

Arias, Scenes, Ensembles and Choirs with Orchestra - Mozart, Wolfgang Amadeus

complete edition, score, Anthology, Urtext edition voices/Orch half-leather binding

String Quartet With Orchestra H. 207 : Sinfonia Concertante No. 2 H. 322

St. Matthew Passion - Bach, Johann Sebastian

Early version Facsimile edition of Johann Altnickol's copy, with commentary Critical commentary in BA 5038-41 complete edition, facsimile Indbundet udgave

Ascanio in Alba - Mozart, Wolfgang Amadeus

Festa teatrale in two acts with appendix: Ballo complete edition, score, Urtext edition 3SSolo/MezSolo/TSolo/mixed choir/ballet/Orch Indbundet udgave

Works For Male Choir - Equal Voices : Volume 2

With only one exception, Gade composed his works for male choir with accompaniment for Danish choral societies, numerous of which had been founded across the country since 1839. These societies were often closely connected with professional associations, making them equally important for musical and social matters.This volume contains five occasional works for male choir with accompaniment that were composed between around 1838 and 1883. Three of them were intended for church usage (two funerals and one wedding).Among the works for equal voices and accompaniment in this volume, “Aarstidsbilleder” op. 51 is the longest. It was composed for the women of The MusicSociety in Copenhagen and conducted by Gade himself during the 1871/72 seasons.The appendix contains works that were completed, but do not allow for definitive decisions regarding their final presentation.

Ballet Music - Gluck, Christoph Willibald

with a supplement to "Christoph Willibald Gluck. Complete Works. III/25: Il Parnaso confuso" (BA 2285-40) complete edition, score, Urtext edition 2Fl/2Ob/bassoon/2Hn/harpisc./Str Indbundet udgave

Works For Mixed Choir and Orchestra

This volume of “Œuvres complètes de Gabriel Fauré” contains Fauré’s four secular choral works in their orchestral arrangements, namely “Les Djinns”, “La Naissance de Vénus”, “Madrigal”, and “Pavane”. These works were composed between 1876 and 1887; thereafter Fauré wrote choral compositions based only on sacred texts. The first three works are presented here for the first time in a full score edition, previously having been published only in their versions with piano accompaniment. This edition is therefore the first to present the works with an authoritative musical text based on the careful study of the sources.“Les Djinns” (1876-76) for mixed choir and orchestrais based on the famous poem by Victor Hugo first published in the collection “Les Orientales”, while “La Naissance de Vénus” (1882) for soloists, choir and orchestra is based on a text by Paul Collin. “Madrigal”, the orchestral version of which cannot be dated with certainty (around 1891, for a quartet of soloists or choir) has been composed after a poem by Armand Silvestre, and the famous “Pavane”, originally composed for orchestra and only later supplemented with a text by Symbolist poet Robert de Montesquiou, is presented here in an elegant, graceful version with female choir.

The Seasons - Haydn, Joseph

Oratorio Volume 2 Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich. Identical with HN 5845 of G. Henle Verlag, Munich score, Urtext edition SSolo/TSolo/BSolo/mixed choir-SATB/Orch Indbundet udgave

The Seasons - Haydn, Joseph

Oratorio Volume 1 Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich. Identical with HN 5842 of G. Henle Verlag, Munich score, Urtext edition SSolo/TSolo/BSolo/mixed choir-SATB/Orch Indbundet udgave

Field Mass H 279 : The Spectre's Bride H 214 I A

The present volume of the Bohuslav Martinu Complete Edition (BMCE) contains two vocal-instrumental works. The “Field Mass” (1939) with a text by Jirí Mucha incorporating bible and liturgy quotes was created in reaction to the outbreak of the Second World War and intended for outdoor performances. The cantata “The Spectre’s Bride” with a text by Karel Jaromír Erben was composed in 1932 as part of the ballet “Špalícek” (meaning “chapbook”): the composer later took out the cantata, making it into a stand-alone concert piece.The autograph scores served as primary sources for both works. The edition of the “Field Mass” (including its performance materials) also contains theoriginal version of the ending with a quote from the Czech medieval hymn “Jezu Kriste, štedry kneže” (“Jesu Christ, bountiful priest”) and a number of contemporary translations.

Requiem K.626

Requiem K.626 The Requiem, completed by Franz Xaver Süssmayr, in its traditional form. Mozart’s final work, the Requiem K.626, was left incomplete and it is fraughtwith questions and emotions: the expressive depth of its music, sorrow at the great composer’s early death, truth and legend, fragments and attempts to complete the work. The completion of the fragmentary score by hisassistant Franz Xaver Süssmayr, who helped him with The Magic Flute, has the character of a historical source with utmost closeness to Mozart’s thoughts. - Urtext of the NewMozartEdition - Full score (BA4538-01), performance material (BA4538), vocal score (BA4538-90) and study score format 22.5 x 16.5cm (TP152) available for sale - Facsimile edition BVK2346

Annette et Lubin - Favart, Marie-Justine-Benoîte / Blaise, Adolphe Benoît

Comedy in one act in verses, with ariettes and vaudevilles The enclosed credit-card style USB flash drive contains the sources, the text and music editions as well as the critical reports (Edirom) edition of selected works, score, study score, Datenträger (USB-Karte), Urtexta SSolo/3TSolo/3BarSolo/Orch Indbundet udgave

Messe de Requiem : Op. 48

The “Messe de Requiem” is probably the internationally best-known and most frequently performed work by Gabriel Fauré. The composer’s first version was limited to just five movements and small-scaleforces with low Strings, Harp and Organ. The work was then expanded several times culminating in the version for large orchestra of 1900. This orchestral version forms the basis of this edition.Despite its comparativelylong period of gestation, the Requiem forms a stylistic unity. Unlike other requiem settings, the composer foregoes any theatrical gestures in this work. A restrained dynamic range together with gracefulmelodicwriting for both soloists and Choir give the work a gentle and optimistic character.The Vocal score is based on the volume of the “ Complete Works of Gabriel Fauré ” (BA 9461) published in 2010. It isimportant to note that this vocal score is also compatible with the first small-scale version as well as the second chamber orchestra version.High-quality Urtext edition based on the “ Complete works of Gabriel Fauré”First systematic evaluation of all sourcesBased on the large orchestral version of 1900Informative Foreword (Ger/Eng)Vocal score suitable for all versions of theRequiem

Berenice, Regina d'Egitto HWV 38 : Operas in three acts

“Charming Berenice” – the Earl of Shaftesbury attended a rehearsal of the opera on 12 May 1737 and went into raptures about this “inexpressible delight”. “Berenice” was premiered at Covent Garden Theatre in London just a few dayslater on 18 May 1737.“Berenice” is one of the “light” operas and offers a wealth of musical gems, the second movement of the overture having become famous as “The Minuet from Berenice”, for instance, as has Berenice’s extendedaria in the third act, in which she reflects on the inconstancy of the god Amor in duet with the solo oboist. The musical imagery which Handel worked into the opera is likewise enchanting, such as the imitation of bees humming inFabio’s “Vedi l’ape” and the sorrowful cooing of a dove in Selene’s “Tortorella che rimira”.The scholarly-critical new edition contains the musical text of the first performance together with pieces in the appendix whichHandel excised or shortened in preparation for the premiere. As is customary with our editions, a preface provides a detailed introduction to the genesis of the work, the story’s historical context, the source material andreception. Furthermore, the edition includes a translation of the libretto and an exhaustive Critical Report.

Orlando HWV 31 : Opera In Three Acts

Premiered in London in 1733, Handel’s “magic opera” Orlando is based on a libretto by Carlo Sigismondo Capeci that derives indirectly from Ludovico Ariosto’s epic poem Orlandofurioso. This subject was very popular at the time and was frequently set to music, e.g. by Jean-Baptiste Lully, Agostino Steffani and Joseph Haydn. The title role of Orlando is the last one thatHandel wrote for the celebrated castrato Senesino. Several stunning stage effects intended to illustrate Zoroastro’s sorcery call for sophisticated baroque stage machinery.The vocal score has been adaptedandcarefully amended in keeping with the revision of the complete edition volume. The engraving and presentation of the former vocal score (BA 4027-90) have also been meticulously revised in many details. However the paginationstays the same so that both vocal scores are compatible with each other. A new Foreword in two languages (Eng/Ger) is also included in the edition.- Urtext edition based on the Halle Handel Edition- Fullscore (BA4087-01) & vocal score (BA4087-90) available for sale and performance material (BA4027-72) available for hire

Kleine Geistliche Konzerte II 1639 : Small Sacred Concertos II

The "Kleine geistliche Konzerte" (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in abroad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there aresolo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity- especially in the compositions with German text - made Schütz a household name shortly after the "Kleine geistliche Konzerte" were published in print. As the works required no large ensembles, they could be performed fordifferent occasions and in various locations: particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home.Unlike the 1963 edition of the "Kleine geistlicheKonzerte" (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields newinformation regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is gearedtowards musicologists, as well as professional musicians and amateurs with a keen interest in early music.

Ballet Music

This volume is the second of three planned volumes of ballet music composed between 1759 and 1769 in Vienna. They represent only a small portion of Viennese ballet music attributed to Gluck for which musical sources have been preserved. The volumes form a compendium that offers comprehensive editorial coverage of Gluck’s activities as “Compositore von der Music zu denen Balletten” (composer of the music to the ballets). The present volume contains compositions from the years 1759 and 1760 (and, accordingly, the 1759/60 and 1760/61 seasons).The ballets have been passed down only as sets of parts. They were commissioned by Count Joseph Adam Prince of Schwarzenberg andoriginated around the time of the premiere performances from the workshops of Viennese copyists. Today, they are housed in the State Regional Archive Ceský Krumlov (with the exception of the sinfonia for “Le Prix de la Danse”, which has also been handed down as a composition by Ignaz Holzbauer.)The ballet music works consist of a series of mostly short but occasionally lengthier movements that can be repeated or joined into larger musical units. “Les Corsaires” and “Le Prix de la Danse” were both premiered in December 1759 at the Kärntnertortheater in Vienna with choreographies by Charles Bernardi, while Gasparo Angioloni most likely created the choreographies for “Le Berger magicien”, “Les Miquelets espagnols”, and “Le Naufrage” (premiered in 1759 at the Burgtheater), as well as those for “Les Faunes” and “Les Trois Couleurs” (premiered in 1760 at the same venue).The two Bernardi ballets are the only examples for which scenic descriptions have been recorded in the chronicle of theatrical performances by court dancer and ballet master Philipp Gumpenhuber. However, telling titles and works with similar contents help to reconstruct the thematic orientation of the respective ballets.

Pagliacci : Masterpieces of Italian Opera

The verismo opera Pagliacci by Ruggero Leoncavallo is the first work in Bärenreiter's new series “Masterpieces of Italian Opera” (MIO). Pagliacci, which was Leoncavallo's most successful work, has remained an integral part of opera literature up until today. The role of Canio the tragic clown helped many singers achieve successful performances and iconic interpretations.The new edition of Pagliacci, edited by Andreas Giger, is the first to follow clear editorial guidelines, documenting all amendments of the musical text in a Critical Commentary. It presents the opera in two versions, both of which were regarded as complete in their time: The version Leoncavallo presented to the Italian publisher Sonzogno (one act, without Prologue and Intermezzo) and the “final version” (two acts with Prologue and Intermezzo), the conception of which was influenced by Victor Maurel, Sonzogno, as well as the experiences collected during the first series of performances. The new edition follows the autograph score of the composer as closely as current opera practice allows, correcting erroneous pitches, adjusting articulation markings, slurs, and offering dynamic marks that were not included in previous editions. Additionally, instrumentation issues have been addressed.There are several secondary sources for Pagliacci that offer a substantial amount of performance suggestions, not all of which can be attributed to Leoncavallo with certainty. While previous editions mostly include these instructions, they have only been adapted into this edition as demanded by musical logic, in cases where they can be attributed to the composer with certainty, and based on practical value (such as metronome markings or puntature). In all cases, they have been offset typographically from autograph markings. An important secondary source, namely a copy of the first printed score, contains corrections in the composer's hand. Bärenreiter's new edition is the first to offer this valuable information to performers and scholars.The libretto for Pagliacci was written by Leoncavallo himself. Regarding vocal text and stage directions, the new edition follows the autograph as well as secondary sources authorized by Leoncavallo. As a result of clearly stated editorial guidelines and their execution, this new edition of Pagliacci offers a consistent score that closely follows Leoncavallo's intentions.The verismo opera Pagliacci by Ruggero Leoncavallo is the first work in Bärenreiter's new series “Masterpieces of Italian Opera” (MIO). Pagliacci, which was Leoncavallo's most successful work, has remained an integral part of opera literature up until today. The role of Canio the tragic clown helped many singers achieve successful performances and iconic interpretations.The new edition of Pagliacci, edited by Andreas Giger, is the first to follow clear editorial guidelines, documenting all amendments of the musical text in a Critical Commentary. It presents the opera in two versions, both of which were regarded as complete in their time: The version Leoncavallo presented to the Italian publisher Sonzogno (one act, without Prologue and Intermezzo) and the “final version” (two acts with Prologue and Intermezzo), the conception of which was influenced by Victor Maurel, Sonzogno, as well as the experiences collected during the first series of performances. The new edition follows the autograph score of the composer as closely as current opera practice allows, correcting erroneous pitches, adjusting articulation markings, slurs, and offering dynamic marks that were not included in previous editions. Additionally, instrumentation issues have been addressed.There are several secondary sources for Pagliacci that offer a substantial amount of performance suggestions, not all of which can be attributed to Leoncavallo with certainty. While previous editions mostly include these instructions, they have only been adapted into this edition as demanded by musical logic, in cases where they can be attributed to the composer with certainty, and based on practical value (such as metronome markings or puntature). In all cases, they have been offset typographically from autograph markings. An important secondary source, namely a copy of the first printed score, contains corrections in the composer's hand. Bärenreiter's new edition is the first to offer this valuable information to performers and scholars.The libretto for Pagliacci was written by Leoncavallo himself. Regarding vocal text and stage directions, the new edition follows the autograph as well as secondary sources authorized by Leoncavallo. As a result of clearly stated editorial guidelines and their execution, this new edition of Pagliacci offers a consistent score that closely follows Leoncavallo's intentions.

La Bellezza ravveduta : nel trionfo del Tempo e del Disinganno HWV 46a (Oratorio in two parts)

With his “La Bellezza ravveduta nel trionfo del Tempo e del Disinganno” (“Beauty Reformed in the Triumph of Time and Enlightenment”), HWV 46a, the 22-year-old Handel notched up one of his greatest successes in this genre right atthe very beginning of his oratorio oeuvre. Composed in Rome in 1707, the work was for a long time known as “Il trionfo del Tempo e del Disinganno” (“The Triumph of Time and Enlightenment”). In keeping with the Halle HandelEdition, however, the title is that of the name given in the primary source.In many cases inspired by the melodically rich ideas of Reinhard Keiser (1674–1739), the work is unsurpassed by any other oratorio by Handel. At theend of an impressive sequence of truly captivating arias, duets and quartets, Bellezza’s reformation in favour of living a life pleasing to God is accompanied in incisive E major by her overwhelmingly beautiful, impossibly sadclosing aria “Tu del ciel ministro eletto”, the consummate pinnacle of dramatic irony in Handel’s output.By virtue of its flawless dramatic structure as well – unlike many other oratorios and all operas of the Baroque period,the story never goes off at a tangent and all arias revolve around the dispute of the four dramatic personae – the oratorio has enjoyed long runs of widely acclaimed, mostly staged performances in the last few years.