Pricemate

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

SEK 213.00

1

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

SEK 86.00

1

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

SEK 86.00

1

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

SEK 398.00

1

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

SEK 136.00

1

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

SEK 86.00

1

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Herr Gott, dich loben alle wir (Lord God, we praise Thee all of us) BWV 130Cantata for the Feast of St. MichaelComposed for Michaelmas, 1724, Bach's cantata 'Herr Gott dich lobenalle wir' belongs to the cycle of chorale cantatas which uses a hymn, as perhaps various preachers also did, to interptet the ideas of the Biblical texts. The hymn used here, composed by Paul Eber in 1554, hastwelve stanzas. Texts for two recitatives and two arias were written to go with each of stanzas 2 to 10. Bach used the first stanza as a processional, and the last two stanzas were made into a concluding chorale withtheoriginal text.- Urtext of the New Bach Edition

SEK 202.00

1

Kyrie

Vivaldi's Kyrie RV 587 (BA 8950), is scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a Choral work without solopassages.Today the “Gloria” RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period. Vivaldi wrotethe “Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his periodatthe Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scored solopassages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Informative foreword (Ger/Eng).

SEK 83.00

1

Kyrie Rv587

Vivaldi's Kyrie RV 587 (BA 8950), is scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a Choral work without solopassages.Today the “Gloria” RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period. Vivaldi wrotethe “Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his periodatthe Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scored solopassages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Informative foreword (Ger/Eng).

SEK 152.00

1

Gloria RV 589 (Violin II)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

SEK 101.00

1

Gloria RV 589 (Viola)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

SEK 101.00

1

Gloria RV 589 (Full Score)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period. Vivaldi wrotethe “Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work waswritten during his period at the Ospedale della Pietà, around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movementstotender, transparently scored solo passages. The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its compositionremains unclear. It is a purely a choral work without solo passages. Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score isbeyond doubt, these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve thecharacter of the works. - Attractive choral pieces which can be combined to form a short mass. - Vocal score as well as choral score available for the “Gloria”. - Informative foreword(Ger/Eng).

SEK 250.00

1

Gloria RV 589 (Violin I)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

SEK 101.00

1

Gloria RV 589 (Organ)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

SEK 255.00

1

Gloria RV 589 (Cello/Bass)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

SEK 101.00

1

Gloria RV 589 (Vocal Score)

Today the Gloria RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period.Vivaldi wrote the“Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written duringhis period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scoredsolopassages.The same mastery has also been applied to the “ Kyrie” RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral workwithout solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain somere-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive choralpieces which can be combined to form a short mass.- Vocal score as well as choral score available for the “Gloria”.- Informative foreword (Ger/Eng).

SEK 154.00

1

Gloria RV 589 (Chorus Score)

The chorus score contains no Piano reduction or solo parts - for full Vocal score (with Piano reduction) see BA7674-90. Today the “Gloria” RV 589 (BA 7674) is one of Vivaldi’s best-known compositionsand one of the most frequently performed sacred Vocal works from the Baroque period.Vivaldi wrote the “Gloria” as a self-contained work in the style of a concertante mass. However, it was probablyalso performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period at the Ospedale della Piet , around 1716. In the twelve movements of the “Gloria”,Vivaldidisplays the whole range of his mastery from festive, sublime outer movements to tender, transparently scored solo passages.The same mastery has also been applied to the “Kyrie” RV 587 (BA 8950), scored fortwo choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral work without solo passages.Both works can be performed independently but can also be combined as a kindof short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works.- Attractive Choral pieces which can be combined to form a short mass.- Vocal score as well as choral scoreavailable for the “Gloria”.- Informative foreword (Ger/Eng).

SEK 101.00

1

Christmas for female voices

After the success of 'Christmas a cappella' (BA 7573) for mixed choir, Graham Buckland has now turned his attention to an edition for female voices. This collection includes popular Christmas melodies in traditional as well asmore popular settings from many countries around the world including USA, UK, France, Germany, Austria, Poland and the Czech Republic. All pieces are arranged for two female voice parts with a piano accompaniment but athird optional voice part is also included in many cases. This edition presents one of the most comprehensive collections of Christmas choral settings for female voices.Collection of international Christmas songsforfemale voicesFor two to three parts with piano accompanimentTraditional as well as more popular settingsAll song texts in German and English A selection:A child this day is born /Adeste, fideles / Angels, from the realm of glory /A virgin most pure / Away in a manger / Deck the hall! / Entre le bœuf et l’ ne gris / Es ist ein Ros entsprungen /Fröhliche Weihnacht überall! / Go, tell it on the mountain / Isaw three ships / Joy to the world / Les anges dans nos campagnes /Macht hoch die Tür / Nun komm, der Heiden Heiland /O Heiland reiß die Himmel auf / O Jesulein süß / Orientis partibus / Quando nascette Ninno / Stern überBethlehem /The angel Gabriel from heaven came / The Carol of the Drum /The first Nowell / We wish you a merry Christmas /Wie schön leuchtet der MorgensternThe editorGraham Buckland is a conductor and composer andstudied in Cambridge, London and Brno. He is now university music director in Regensburg.

SEK 324.00

1

Lotario HWV 26 : Opera in three acts

Lotario HWV 26Opera in three actsHandel’s opera Lotario was first heard at the King’s Theater in the Haymarket on 2 December 1729 and had a run of nine performances. Though never revived in the composer’slifetime, Handel reused many of its arias in his later operas, sometimes altering the words.The historical background of the plot is the conflict between Otto I (912 973) and Berengar of Ivrea for the Italian crown andOtto’s marriage to the Italian queen Adelaide in 951. In the course of composition, the name of the hero (“Ottone” in Salvi’s libretto) was altered to “Lotario” since Handel had already written an opera entitled Ottone on thelifeof Otto II (955 983) in 1722.The vocal score contains the version composed for the performances of December 1729 and January 1730. It is based on the Urtext of the Halle Handel Edition.- Urtext of the HalleHandel Edition.- Full score (BA4074) & vocal score (BA4074-90) available for sale.- Performance material (BA4074-72) available for hire

SEK 632.00

1

Selected Piano Pieces - Franz Schubert

This collection appears as part of a series of popular works from the Bärenreiter catalogue celebrating the 100th anniversary of the publishing house. It presents two popular pieces from the "Moments Musicaux" op. 94 as well as the much played Allegretto in C major and the Hungarian Melody in B minor. The four pieces are taken from the Bärenreiter Urtext editions of the "Moments Musicaux" op. 94 (BA09647) and the "Late Piano Works" (BA09634. Both publications contain notes on performance practice and historically-informed fingerings by Mario Aschauer. All but one of the works are from the last two years of Schubert's life. They reveal the composer's full mastery: melodic inventiveness, dance-like verve, harmonic colourfulness, and the melancholy typical of Schubert immediately captivate listeners and performers alike. The Urtext edition reproduces the text of the “New Schubert Edition” and impresses with its clear, uncluttered layout. ·Allegretto in C minor (D 915) ·Moment Musical No. IV in C-sharp minor (op. 94 – D 780) ·Moment Musical No. V in F minor (op. 94 – D 780) ·Hungarian Melody in B minor (D 817) Product information: Edition no.:BA08641ISMN:9790006577330 Composer / Author:Schubert, FranzTitle:Selected Piano PiecesInstrumentation of the work:Piano soloDetailed instrumentation:PianoVolume / Series:BÄRENREITER URTEXT Product format:Performance score, Urtext editionComments:Excerpt from BA09634, BA09647Comments on the edition:Jubilee Edition - 100 Years of BärenreiterLanguage(s) of text:German, EnglishLevel of difficulty (D):4Publisher:BärenreiterBinding:StapledPrint run:2nd printing 2023Pages / Format15 S. - 31,0 x 24,3 cmWeight:103 g

SEK 101.00

1

Selected Piano Pieces - Schumann, Robert

Robert Schumann's "Scenes of Childhood" op. 15 (1838), "Album for the Young" op. 68 (1848) and "Forest Scenes" op. 82 (1848/1849) play a major role when learning how to play the piano, as they occupy an important place in the transition from piano methods to the great piano literature. At the same time, they provide a wonderful introduction to the world of Romanticism. When Schumann composed the "Scenes of Childhood", he was not yet married to Clara and was fighting her father's disapproval. When he wrote the "Album for the Young", whose starting point was a small collection of his own pieces and arrangements of pieces by other composers for his eldest daughter's 7th birthday, Clara had already given birth to five children and lost one again. While in the "Scenes of Childhood" a reflection on childhood takes place, the "Album for the Young" actually consists of pieces for early piano lessons. Finally, the "Forest Scenes," written almost in parallel, go down in history as prime examples of Romantic character pieces in their idealization of nature as well as an expression of escapism against the backdrop of the revolutionary events of 1848/49. This collection of eleven pieces from all three work cycles is published as part of a series of popular works from the Bärenreiter catalogue for the 100th anniversary of the publishing house. The pieces are taken from the following Bärenreiter Urtext editions: "Scenes of Childhood" op. 15 (BA09639), "Album for the Young" op. 68 (BA09641), "Forest Scenes" op. 82 (BA09640). In the "Album for the Young", in addition to the famous "Advice to Young Musicians" (German, English and in Liszt's French translation), the appendix contains further pieces from the compositional environment of the Album that were unpublished during Schumann's lifetime. In all three editions, Clara Schumann's original pedal markings are included for the first time. The fingerings by Ragna Schirmer take into account historical performance practice - Clara Schumann's fingerings served as an essential starting point - as well as playing on the modern concert grand piano. · Entrance No. 1 from: Forest Scenes op. 82 · Lonely Flowers No. 3 from: Forest Scenes op. 82 · Of Distant Lands and People No. 1 from: Scenes from Childhood op. 15 · Blind Man’s Bluff No. 3 from: Scenes from Childhood op. 15 · Melody from: 43 Piano Pieces for the Young op. 68 · The Happy Farmer, Returning from Work from: 43 Piano Pieces for the Young op. 68 · A Horseman’s Piece from: 43 Piano Pieces for the Young op. 68 · The Poor Orphan from: 43 Piano Pieces for the Young op. 68 · Little Harvest Song from: 43 Piano Pieces for the Young op. 68 · Souvenirs from the Theatre from: 43 Piano Pieces for the Young op. 68 · Reverie No. 7 from: Scenes from Childhood op. 15 Volume / SeriesBÄRENREITER URTEXT Instrumentation of the workPiano solo Language(s) of textGerman, English Product formatPerformance score, Urtext edition CommentsExcerpt from BA09639, BA09640, BA09641 BindingStapled Pages / Format15 S. - 31,0 x 24,3 cm

SEK 101.00

1

Les Fêtes de lHymen et de lAmour : Ballet héroïque in a prologue and 3 acts

With a brief foreword (Fr/Eng) containing salient information on the genesis of the work, the synopsis and the edition. Les Fêtes de l’Hymen et de l’Amour was performed on 15 March 1747on the occasion of the second marriage of the Dauphin Louis Ferdinand de Bourbon and Maria Josepha of Saxony in the Manège de la Grande Écurie in Versailles. This second collaboration between Rameau and Cahusac makesuse of the “ballet héroïque” genre, usually known today as “opéra-ballet” based on various story lines which run independently of each other. The score is based on a libretto inspiredbyEgyptian mythology and freemasonry. Rameau's “Les Fêtes de l'Hymen et de l'Amour” was long considered second-rate because its première was associated with a political event. Yet this balletabounds in novel dramaturgical effects that foreshadow his later operas, such as “Zaïs”, “Zoroastre” and “Les Boréades”. Working together with his librettist Cahusac, Rameau soughtto weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflowsits banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from “Aruéris”, a scoring found nowhere else in his œuvre. For the first time, this scholarly-criticaledition of “Les Fêtes de l'Hymen et de l'Amour” presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. Asmost of the performance material for the première has vanished, this edition is based on the version prepared for the Académie Royale de Musique in 1748.

SEK 664.00

1

Märke

Butik

Pris (EUR)

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Cantata BWV 130 Herr Gott, Dich Loben Alle Wir : Cantata for the Feast of St. Michael

Kyrie

Kyrie Rv587

Gloria RV 589 (Violin II)

Gloria RV 589 (Viola)

Gloria RV 589 (Full Score)

Gloria RV 589 (Violin I)

Gloria RV 589 (Organ)

Gloria RV 589 (Cello/Bass)

Gloria RV 589 (Vocal Score)

Gloria RV 589 (Chorus Score)

Christmas for female voices

Lotario HWV 26 : Opera in three acts

Selected Piano Pieces - Franz Schubert

Selected Piano Pieces - Schumann, Robert

Les Fêtes de lHymen et de lAmour : Ballet héroïque in a prologue and 3 acts

Powered by Cobiro