289 resultat (0,23940 sekunder)

Visa alla filter

Märke

Butik

Pris (EUR)

Visa alla

Nollställ filter

Produkter
Från
Butiker

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

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 687.00
1

Messe De Minuit

Messe De Minuit

Probably composed in 1690, the Messe de Minu t pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this 'Mass for theMidnight Service on Christmas Eve' lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier's mastery of the concertante style.The eight solo vocalists (SSAATTBB) can easily betaken from the chorus. They are divided into three groups one group of two sopranos and two groups each comprising alto, tenor and bass which interact with the chorus and instruments. This new edition represents thecurrentstate of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.Urtext based on the latest scholarly researchStraightforward and easy-to-play keyboardreductionDuration: approx. 25 minutes

SEK 265.00
1

Pieces De Clavin : Second Livre Für Cembalo

Pieces De Clavin : Second Livre Für Cembalo

Edited by Denis HerlinWith notes on performance practiceOnce again the French musicologist Denis Herlin, who mastered the harpsichord under the tutelage of such keyboard legends as Kenneth Gilbert and HuguetteDreyfus, has presented an exemplary edition of a classic from the harpsichord repertoire.’Bärenreiter presents Book II of Couperin’s “Pièces de clavecin”, first published in 1717. In addition the eight preludes and oneallemande from his treatise “L’Art de toucher le clavecin” are included in the appendix. For the first time Denis Herlin has evaluated the many later impressions of the original print, most of which he unearthed himselfininternational libraries. By preserving the essential features of the original print while largely dispensing with disruptive page-turns within the pieces, the volume brings modern performers close to the special sound of thismusic. Rounding off this pioneering new edition are an extensive Foreword, notes on historical performance practice, a comprehensive glossary, facsimile pages and a detailed Critical Commentary.Pioneering editionwith the first-time evaluation of an extensive body of sourcesIncludes Couperin’s original expression markswith 8 Préludes and 1 Allemande from 'L'Art de toucher le clavecin' (1716 1717)

SEK 588.00
1

Vesperae Solennes De Dominica K.321

Vesperae Solennes De Dominica K.321

We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Officehymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts, two violins, two clarini, kettledrums, basses (violoncello, double bass and bassoon), three trombones andorgan.They contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxologyatthe end is derived from the themes of the various Psalms.Urtext of the New Mozart Edition Full score & performance material (BA4893), vocal score (BA4893-90) available for sale

SEK 127.00
1

Vesperae Solennes De Dominica K.321

Vesperae Solennes De Dominica K.321

We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Officehymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts, two violins, two clarini, kettledrums, basses (violoncello, double bass and bassoon), three trombones andorgan.They contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxologyatthe end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionFull score & performance material (BA4893), vocal score (BA4893-90) available for sale

SEK 127.00
1

Vesperae Solennes De Dominica K.321

Vesperae Solennes De Dominica K.321

We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Officehymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts, two violins, two clarini, kettledrums, basses (violoncello, double bass and bassoon), three trombones andorgan.They contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxologyatthe end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionFull score & performance material (BA4893), vocal score (BA4893-90) available for sale

SEK 215.00
1

Vesperae Solennes De Dominica K.321

Vesperae Solennes De Dominica K.321

We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Officehymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts, two violins, two clarini, kettledrums, basses (violoncello, double bass and bassoon), three trombones andorgan.They contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxologyatthe end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionFull score & performance material (BA4893), vocal score (BA4893-90) available for sale

SEK 248.00
1

Vesperae Solennes De Confessore K.339 : KV 339

Vesperae Solennes De Confessore K.339 : KV 339

We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. TheOffice hymns designated as Vesperae de Dominica K. 321 and Vesperae Solennes De Confessore K. 339 both call for four Vocal parts, two Violins, two Clarinets, Timpani, Basses (Violoncello, Double Bass and Bassoon),three Trombones and Organ. They contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms anautonomousunit; the Doxology at the end is derived from the themes of the various Psalms. Urtext of the New Mozart Edition Performance material (BA4894), vocal score (BA4894-90) available for sale

SEK 182.00
1

Messe de Minuit pour Noël

Messe de Minuit pour Noël

Probably composed in 1690, the Messe de Minuït pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this“Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.Theeight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto, tenor and bass – which interact with thechorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research-Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

SEK 226.00
1

Messe de Minuit pour Noël

Messe de Minuit pour Noël

Probably composed in 1690, the Messe de Minuït pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this“Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.Theeight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto, tenor and bass – which interact with thechorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research-Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

SEK 147.00
1

Messe de Minuit pour Noël

Messe de Minuit pour Noël

Probably composed in 1690, the Messe de Minuït pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this“Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.Theeight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto, tenor and bass – which interact with thechorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research-Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

SEK 147.00
1

Messe de Minuit pour Noël

Messe de Minuit pour Noël

Probably composed in 1690, the Messe de Minuït pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this“Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.Theeight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto, tenor and bass – which interact with thechorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research-Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

SEK 147.00
1

Messe de Minuit pour Noël

Messe de Minuit pour Noël

Probably composed in 1690, the Messe de Minuït pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this“Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.Theeight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto, tenor and bass – which interact with thechorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research-Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

SEK 147.00
1

Messe de Minuit pour Noël

Messe de Minuit pour Noël

Probably composed in 1690, the Messe de Minuït pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this“Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.Theeight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto, tenor and bass – which interact with thechorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research-Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

SEK 147.00
1

Vesperae Solennes De Confessore K.339 : Set of Wind Parts

Vesperae Solennes De Confessore K.339 : Set of Wind Parts

We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. TheOffice hymns designated as Vesperae de Dominica K. 321 and Vesperae Solennes De Confessore K. 339 both call for four Vocal parts, two Violins, two Clarini, Kettledrums, Basses (Violoncello, Double Bass andBassoon), three Trombones and Organ.They contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms formsanautonomous unit; the Doxology at the end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionPerformance material (BA4894), vocal score (BA4894-90) available forsale

SEK 243.00
1

Vesperae Solennes De Dominica K.321 : Violoncello, Contrabass and Bassoon

Vesperae Solennes De Dominica K.321 : Violoncello, Contrabass and Bassoon

We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Officehymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts, two violins, two clarini, kettledrums, basses (violoncello, double bass and bassoon), three trombones andorgan.They contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxologyatthe end is derived from the themes of the various Psalms.Urtext of the New Mozart Edition Full score & performance material (BA4893), vocal score (BA4893-90) available for sale

SEK 127.00
1

Vesperae Solennes De Dominica K.321 : Set of Wind Parts

Vesperae Solennes De Dominica K.321 : Set of Wind Parts

We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Officehymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts, two violins, two clarini, kettledrums, basses (violoncello, double bass and bassoon), three trombones andorgan.They contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxologyatthe end is derived from the themes of the various Psalms.Urtext of the New Mozart Edition Full score & performance material (BA4893), vocal score (BA4893-90) available for sale

SEK 259.00
1

Messe de Requiem : Op. 48

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

SEK 807.00
1

Messe de Requiem : Op. 48

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

SEK 4390.00
1

Messe de Requiem : Op. 48

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

SEK 177.00
1

La damnation de Faust op. 24 Hol. 111 : Légende dramatique en quatre parties

La damnation de Faust op. 24 Hol. 111 : Légende dramatique en quatre parties

In 1828 Berlioz wrote the 'Huit scènes de Faust'. The work was soon withdrawn but almost twenty years later each of the eight scenes found a place in the Légende dramatique 'La damnation de Faust'dedicated to Franz Liszt. The first part of the 'Damnation' exposes the figure of Faust and has an introductory nature. From the second part onwards, the course of action is largely based on Goethe’s drama.Contrastingcharacters and dramatic effect are of central importance in understanding Berlioz’s musical thought and his compositional process. Magic and fairy tale, incantations and ghosts, have been the ever-recurring themesofopera since the Baroque. It is precisely this fantasy in Berlioz's Faust, the “Opéra de Concert en Quatre acts”, which comes very close to the spirit of Goethe's presentation.Reliable Piano reductionbased on the Urtext of the New Berlioz EditionStraight-forward Piano reduction in the Vocal scoreClear user-friendly layoutFrench original text with German translationFull score(BA5448) and Vocal score (BA5448-90) available for sale, performance material (BA5448-72) available for hire

SEK 654.00
1

Messe de Minuit pour Noël (Christmas Mass)

Messe de Minuit pour Noël (Christmas Mass)

Probably composed in 1690, the Messe de Minuït pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this“Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.Theeight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto, tenor and bass – which interact with thechorusand instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece.- Urtext based on the latest scholarly research-Straightforward and easy-to-play keyboard reduction- Duration: approx. 25 minutes- Full score & parts (BA7592) and vocal score (BA7592-90) available for sale

SEK 331.00
1

Venite Populi In D Major : Offertorium de venerabili sacramento

Venite Populi In D Major : Offertorium de venerabili sacramento

The 0ffertorium de venerabili sacramento “Venite populi” à 2 Chori K. 260/248a – dated Salzburg, 1767 by Mozart in his autograph score – clearly reveals a striving for more pronounced contrapuntalwork. A short, homophonic central movement is framed by two predominantly polyphonic movements that are fashioned from the same thematic material. The two-chorus texture offers many opportunities for interweaving, as well ascontrast and echo effects of all kinds. It is not known who wrote the non-liturgical text. - Urtext of the New Mozart Edition - Full score & performance material (BA4899) and vocal score (BA4899-90) for sale

SEK 215.00
1