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Messiah HWV 56

Messiah HWV 56

Messiah occupies a unique position in Handel’s work. Even if it does not represent the absolute zenith several other oratorios could challenge it in this respect its strongly universal characterand directness of expression, which appeal to men of all creeds, make it the most renowned work in the whole of the composer’s monumental output.That this oratorio is unquestionably a work of individual character is shownby all its features: its material, which presents liturgical traditions alongside popular elements; its structure, which combines an ever-changing variety of elements from opera, cantata, concerto and anthem; itsmusicalorganization, which at once unifies and dramatically juxtaposes the various styles. All are united in an extraordinary manner, with great artistry, most accomplished technique and superb invention.Urtext ofthe Halle Handel EditionFull score and performance material (BA4012), vocal score (BA4012-73 English; BA4012-90 English-German) and study score format 22.5 x 16.5cm (TP175) available for sale.

DKK 213.00
1

Messiah HWV 56

Messiah HWV 56

Messiah occupies a unique position in Handel’s work. Even if it does not represent the absolute zenith several other oratorios could challenge it in this respect its strongly universal characterand directness of expression, which appeal to men of all creeds, make it the most renowned work in the whole of the composer’s monumental output.That this oratorio is unquestionably a work of individual character is shownby all its features: its material, which presents liturgical traditions alongside popular elements; its structure, which combines an ever-changing variety of elements from opera, cantata, concerto and anthem; itsmusicalorganization, which at once unifies and dramatically juxtaposes the various styles. All are united in an extraordinary manner, with great artistry, most accomplished technique and superb invention.Urtext ofthe Halle Handel EditionFull score and performance material (BA4012), vocal score (BA4012-73 English; BA4012-90 English-German) and study score format 22.5 x 16.5cm (TP175) available for sale.

DKK 222.00
1

Die mit Tranen saen : Motette Nr. 3 aus Israelsbrünnlein

Die mit Tranen saen : Motette Nr. 3 aus Israelsbrünnlein

Johann Hermann Schein (1586 1630), a German composer and poet, was an important predecessor of Bach taking up the post of Thomaskantor in Leipzig in 1616 where he remained until his death. A gifted composer he was one of thefirst to import the Italian style onto the traditional elements of Lutheran church music.The 'Israelsbrünnlein' from 1623 is a collection composed in the Italian madrigal style mostly using texts from the OldTestament.

DKK 69.00
1

Ich freue mich im Herren : Motette Nr. 14 aus Israelsbrünnlein

Ich freue mich im Herren : Motette Nr. 14 aus Israelsbrünnlein

Johann Hermann Schein (1586 1630), a German composer and poet, was an important predecessor of Bach taking up the post of Thomaskantor in Leipzig in 1616 where he remained until his death. A gifted composer he was one of thefirst to import the Italian style onto the traditional elements of Lutheran church music.The 'Israelsbrünnlein' from 1623 is a collection composed in the Italian madrigal style mostly using texts from the OldTestament.

DKK 124.00
1

Sursum Chordis Corda For Piano Op. 81a

Sursum Chordis Corda For Piano Op. 81a

Composer Daniel Schlee wrote about his piano piece “Sursum chordis corda”: “The third movement of my Second Symphony is titled “Sursum corda” – a liturgical call to lift up our hearts. This call is answered by joyfully flowing music. The piano version is neither a particella nor an intabulation in the traditional sense; it adapts the essential elements of the musical process, partially reinterpreting them to suit the wealth of possibilities the piano offers in terms of sound and technique. The scope of the work ranges from the impetus of emphatic chord progressions and carillon-like passages through to lyrical phrases.”

DKK 273.00
1

String Quartet no. 2 op. 7 : From the Monkey Mountains

String Quartet no. 2 op. 7 : From the Monkey Mountains

Pavel Haas was one of Leoš Janácek’s most gifted students. His String Quartet No. 2 “From the Monkey Mountains” is considered to be one of the first high points of his oeuvre. In this work, Haas combined elements of Janácek’s compositional technique with jazz, particularly in the fourth movement’s instrumentation for string quartet and percussion ad libitum. This version was premiered in Brno in 1926: later, the work was revised for string quartet only. For this edition Ondrej Pivoda has reconstructed the original version, bringing to light passages that were never published until now. This is the first critical edition of the work. It is based on all relevant sources,taking sketches of the final version of the score and contemporary performance material into account. It includes an extensive Foreword (Cz/Eng/Ger) as well as a Critical Commentary (Eng).

DKK 285.00
1

String Quartet no. 2 op. 7 : From the Monkey Mountains

String Quartet no. 2 op. 7 : From the Monkey Mountains

Pavel Haas was one of Leoš Janácek’s most gifted students. His String Quartet No. 2 “From the Monkey Mountains” is considered to be one of the first high points of his oeuvre. In this work, Haas combined elements of Janácek’s compositional technique with jazz, particularly in the fourth movement’s instrumentation for string quartet and percussion ad libitum. This version was premiered in Brno in 1926: later, the work was revised for string quartet only. For this edition Ondrej Pivoda has reconstructed the original version, bringing to light passages that were never published until now. This is the first critical edition of the work. It is based on all relevant sources,taking sketches of the final version of the score and contemporary performance material into account. It includes an extensive Foreword (Cz/Eng/Ger) as well as a Critical Commentary (Eng).

DKK 268.00
1

Cantata BWV 158 Der Friede Sei Mit Dir

Cantata BWV 158 Der Friede Sei Mit Dir

Der Friede sei mit dir BWV 158Cantata for Easter TuesdayThe cantata Der Friede sei mit dir is one of those works of Bach’s which present the most problems. Neither the author of the text nor the history of thework’s composition is known to us; and to judge by appearances, the version that has come down to us is but a fragment compounded of a number of once disparate elements, and gives little indication of the work’s original form.Yet the movements that have come down to us are of such uncommon musical interest that we would not want to be deprived of them just because they may be incomplete. The modesty of its requirements is at least inpartresponsible for the comparatively wide popularity enjoyed by this cantata.- Urtext of the New Bach Edition- Full score & performance material (BA10158), vocal score (BA10158-90) available for sale

DKK 98.00
1

Alceste : Vienna Version - 1767

Alceste : Vienna Version - 1767

With the premiere of Gluck’s “Alceste”, the “Burgtheater” Vienna reopened its doors, concluding a period of moarning that had been decreed following the death of Archduchess Maria Josepha. Calzabigi’s inspiration for the libretto, which, despite including an element of wonder, focuses entirely on death and the afterworld, most likely stemmed from the death of Empress Maria Theresia’s husband. In Euripides’ “Alkestis”, the librettist might have recognized a sufferer akin to the imperial widow, who was highly regarded by her people. Following in the Greek tragedy tradition, Gluck once more sought to emphasize the unity of the work as a whole and the interplay of all elements involved,including costumes and stage design. He placed great importance on integrating the chorus into the happenings on stage. Bärenreiter now presents a newly engraved vocal score which has been meticulously revised, corrected and adapted to meet current Bärenreiter standards.

DKK 541.00
1

Rhetorica

Rhetorica

In ancient times, language and music were already regarded as an inseparable unit. Homer’s epic poems, for example, were sung, and in the highly developed art of rhetoric, words were used to communicate reason, while music spoke to the soul. Since Monteverdi’s time, musical delineation of text has become even more important: rhetoric terms such as “exclamatio”, “saltus duriusculus”, and “climax” were applied to music in order to render the emotional content of the text in even more expressive ways.Szathmàry used this compositional method as a model when he drafted his work for violin “Rhetorica”. He wrote about this work: “My aim was to instill a “speaking quality”into even the tiniest musical elements in order to allow for the music to become a powerful narration of the moments experienced in a human life with all its highs and lows – entirely without the use of words.”

DKK 230.00
1

Riccardo Primo, Re D'Inghilterra HWV 23

Riccardo Primo, Re D'Inghilterra HWV 23

In his libretto for “Riccardo Primo”, Paolo Rolli drew on Antonio Lotti’s opera “Isacio tiranno” which had been performed in Venice in 1710. Handel needed a text with twogreat women’s roles, for the two best female singers of the day were members of his troupe – Francesca Cuzzoni and Faustina Bordoni. He had already written the operas “Alessandro” and “Admeto”for them. He began composing “Riccardo Primo” in spring 1727, completing the first version on 16 May. However, following the death of King George I on 11 June 1727, the theatres remainedclosed.For Handel, who had become a British citizen in February 1727, the accession of George II to the throne offered new possibilities, and he embarked on a revision of the opera. With this, he was able to offer a newopera for the coronation festivities, the hero of which was one of King George’s charismatic forebears. From May onwards, Handel thoroughly revised the present score, wrote some parts anew and expanded itwith particularly splendid music. Handel and Rolli also improved the plot and introduced patriotic elements to honour the British monarchy. The historic background is the third crusade against Saladin, the Sultanof Egypt and Syria, who had recaptured Jerusalem in 1187. Although King Richard I captured Cyprus and together with French crusaders stormed the fortress of Akko in the Holy Land, the crusade ended with a ceasefire and Jerusalemremained in Saladin’s hands. Richard was given the title ‘Coeur-de-lion’ by the English for his great military ability and bravery, although the Sicilians had first given him this name because of his relentlesscruelty in clashes around Messina . The vocal score is based on the Halle Handel Edition volume published in 2005, edited by Terence Best, and contains the second version of the opera which was premiered in November 1727.Performance material available for hire. Based on the Urtext of the Halle Handel Edition. Original Italian text with German singing translation. Straightforward and easy-to-play Piano reduction.

DKK 434.00
1