Vocal Score for the opera Arianna In Creta by G.F. Handel. Libretto prepared anonymously from Teseo in Creta by Pietro Pariati. Please note that this piano score does not contain a realisation of the figured bass. The left hand of the piano part is the figured basso continuo of the opera, with occasional octave transpositions and the incorporation of some of the viola part. The right hand is a reduction of the main orchestral material. Item numbering and bar numbering accord with the full score and parts.

The “Stabat mater”, composed shortly before Pergolesi’s untimely death at the early age of 26, quickly attracted attention. The work’s importance was soon so great that none other than Johann Sebastian Bach performed a German version of the work based on the 51st Psalm. Numerous copies, prints and arrangements attest to the work’s vast popularity, a popularity that still exists today. For the present edition, the autograph was for the first time compared to a very early Neapolitan score that is presumably based on the parts from the work’s premiere. The findings have influenced the musical text; the details are described in the critical commentary. The popular work is presented in a well researched Urtext edition Clear, idiomatic piano reduction

Revised Barenreiter Urtext choral score for Handel's Dixit Dominus HWV 232.

Handel wrote the famous “Dixit Dominus” with the text of Psalm 109 during his time in Italy in c. 1707. Although he was only 22 years old, the work already demonstrates his wide spectrum of compositional abilities which are later fully realized in his operas and oratorios. Central to this work are the six choral movements, which – with their polyphonic structure – are closely related to German choral music of the 17th century. The first Urtext edition BA 4002 based on the “Halle Handel Edition” was published in 1960. At that time no critical commentary was published so that in cases of doubt, the basis on which editorial decisions were made was not officially recorded. A new complete edition volume (BA 10704/01), due to be published in 2013 will include a detailed foreword providing information on the genesis and the first performance of this work as well as information on the psalm on which this work is based and on performance practice. In addition several facsimiles pages will be included, giving a view into the source material. The critical commentary will provide a detailed insight into all the available sources and how they have been passed down. This newly revised Urtext performing edition offers a thorough revision of this frequently-performed work and meets all the requisites of a scholarly-critical edition. Former readings in the old edition regarding a small number of pitches, but mostly basso continuo figures and the underlying text have now been able to be amended on the basis of the new findings. In the new edition the work appears in nine movements – no longer eight – which reflects the composer's intentions. The new performance material is not compatible with the old one. Presented in a revised Urtext edition Clear, straightforward piano reduction

“Almira”, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian. The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to “Almira” by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato” from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Edition”. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträge”. Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition” volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar” (no. 71). Urtext edition based on the “Halle Handel Edition” Original German and Italian text with a German translation of the Italian arias Comprehensive foreword (Ger/Eng) Clear, straightforward piano reduction

The Kikapust Choral Series offers choirs an extensive choice of close-harmony a cappella arrangements. All of our arrangers / composers – Jonathan Rathbone, Ben Parry & Mark Williams – were long-standing members ofthe Swingle Singers.

Influential 18th-century oratorio deals with the triumph of the Jewish warrior-hero Judas Maccabaeus over the invading enemies of the Israelites. Beauty, drama and brilliant originality of its arias, duets and choruses have kept the work constantly in the active repertoire. Reprinted from authoritative edition of the German Handel Society. Text underlay in English and German.

'Chandos Anthem' No.2, edited by Damian Cranmer.

In response to a continued interest in a scholarly facsimile of the Mass in B minor, a new cloth-bound facsimile edition (BVK 2194) has now been published. This replaces the original BÄRENREITER FACSIMILE edition (BVK 1911). Johann Sebastian Bach completed the Mass in B minor in 1748/49 shortly after the Art of Fugue and shortly before his death. This late work is as concentrated and rich in compositional technique as scarcely any other work. As early as 1818, Hans-Georg Nägeli enthusiastically described the Mass as the "greatest musical artwork of all time and all nations”. Since then it has been ranked as an icon of music history. One of the primary functions of a facsimile is the preservation of such a cultural heritage, particularly when the manuscript (as is the case with the Mass in B minor) is endangered and damaged by iron gall ink erosion. Furthermore, it is moving for Bach admirers to see how in some passages Bach’s handwriting reflects the effort which this last work demanded of him. The facsimile documents and records the present condition of the complete autograph score. Older reproductions have substituted a few individual folios where the content has become difficult to read in recent years. The renowned Bach scholar Christoph Wolff describes the work’s significance in his introduction, gives an overview of the history of composition and draws attention to particular distinguishing features of the manuscript. "This facsimile edition is a model for the presentation of musical sources, both in appearance and in documentation. […] Wolff's facsimile will serve as foundational tools" (Notes, December 2008) "Once, Bach came up against the boundaries of his art, on blotchy, 260-year-old paper. ‘Et expecto…’ is this point in the B minor mass, ‘And I look for the resurrection of the dead.’ Bach wrote modulations which were extraordinary. He had to strive for these. He crossed out – although this is a fair copy – hatched and scratched until the paper tore. He was already an old man, his script leans to the left. The handwriting here isn’t nearly as lively as in the ‘Cum sancto Spirito’, written earlier. Everywhere, one is moved by the closeness to the manuscript which the facsimile conveys – one of the most sumptuous ever published." (DIE ZEIT Literatur, December 2007)

For SATBB chorus unaccompanied.

No description available. Contact info@musicroom.com for more information.

No description available. Contact info@musicroom.com for more information.

No description available. Contact info@musicroom.com for more information.

For ATB Soloists, SATB Chorus and Orchestra.

This edition is freshly engraved. It also includes a paragraph explaining the historical background and context of the work.

Geistliche Lieder (Aus dem "Schemellischen Gesang buch" fur Singstimme, Altoblockflote und Gitarre einger von Erwin Schaller). By Johann Sebastian Bach (1685-1750). Edited by Erwin Schaller. Singing and various instruments. For voice(s), alto recorder and guitar. 2-3. 19 pages. Published by Doblinger Music Publishers (DB.HBR-00018). ISBN M-012-16942-0.

Nymphen, Faune, holde Flora / Dryade, Sylvans, with fair flora (Aus dem Oratorium "Triumph der Zeit und der Wahrheit"). By George Frideric Handel (1685-1759). Edited by F. Burkhart. Various Sacred. For mixed choir and soprano (tenor) solo. Tenor choral part. Published by Doblinger Music Publishers (DB.46-00712-CHT).

Nymphen, Faune, holde Flora / Dryade, Sylvans, with fair flora (Aus dem Oratorium "Triumph der Zeit und der Wahrheit"). By George Frideric Handel (1685-1759). Edited by F. Burkhart. Various Sacred. For mixed choir and soprano (tenor) solo. Soprano choral part. Published by Doblinger Music Publishers (DB.46-00712-CHS).

Nymphen, Faune, holde Flora / Dryade, Sylvans, with fair flora (Aus dem Oratorium "Triumph der Zeit und der Wahrheit"). By George Frideric Handel (1685-1759). Edited by F. Burkhart. Various Sacred. For mixed choir and soprano (tenor) solo. Bass choral part. Published by Doblinger Music Publishers (DB.46-00712-CHB).

Nymphen, Faune, holde Flora / Dryade, Sylvans, with fair flora (Aus dem Oratorium "Triumph der Zeit und der Wahrheit"). By George Frideric Handel (1685-1759). Edited by F. Burkhart. Various Sacred. For mixed choir and soprano (tenor) solo. Alto choral part. Published by Doblinger Music Publishers (DB.46-00712-CHA).

Nymphen, Faune, holde Flora / Dryade, Sylvans, with fair flora (Aus dem Oratorium "Triumph der Zeit und der Wahrheit"). By George Frideric Handel (1685-1759). Edited by F. Burkhart. Various Sacred. For mixed choir and piano. Vocal score/piano reduction. Published by Doblinger Music Publishers (DB.46-00712-KLA).

O hora mein Flehan / Return, oh God (Aus dem Oratorium "Samson"). By George Frideric Handel (1685-1759). Edited by F. Burkhart. Various Sacred. For mixed choir and piano. Vocal score/piano reduction. Published by Doblinger Music Publishers (DB.46-00713-KLA).

O hora mein Flehan / Return, oh God (Aus dem Oratorium "Samson"). By George Frideric Handel (1685-1759). Edited by F. Burkhart. Various Sacred. For mixed choir and alto solo. Tenor choral part. Published by Doblinger Music Publishers (DB.46-00713-CHT).

O hora mein Flehan / Return, oh God (Aus dem Oratorium "Samson"). By George Frideric Handel (1685-1759). Edited by F. Burkhart. Various Sacred. For mixed choir and alto solo. Soprano choral part. Published by Doblinger Music Publishers (DB.46-00713-CHS).