Songs from shows and musicals in authentic settings, taken from the original score.
World MusicPartitur und Stimmen - P/ST - für Ensemble in variabler Besetzung ( 2 Melodieinstrumente (C), Klavier, Gitarre, Bass (Kontrabass/ E-Bass), Percussion mit CDGanz neue Aspekte eröffnet die madagassische Musik im gemeinsamen Musizieren. Faszinierend wird in diesem Band die rhythmische und melodische Exotik im Ensemble erschlossen.ContenuHAJAmadagascar : Apondo · Traditional: E! Ralinina · Traditional: O! Dralako · HAJAmadagascar: Zahoravo · HAJAmadagascar: Fiainana
Oratorio(Funeral Music). Versions from 1767 and 1803. Urtext of the Haydn Complete EditionEditor : Helms, Marianne;Stoltzfus, FredBinding : paperboundInstrumentation : Soprano solo, Alto solo, Tenor solo, Bass solo, Mixed Choir-SATB, Flute, 2 Oboe, 2 Clarinet (b flat), 2 Bassoon, 2 Horn, 2 Trumpet, Kettledrum, Strings, Basso continuoErweiterte Instrumentierung (Haydn/Neukomm): Flöte, 2 Oboen,2 Klarinetten, 2 Fagotte, 2 Hörner, 2 Trompeten, 3 Posaunen,Orgel oder CembaloInhalt:Stabat mater dolorosaO quam tristis et afflictaQuis es homo qui non fleretQuis non posset contristariPro peccatis suae gentisVidit suum dulcem natumEja mater, fons amorisSancta mater, istud agasFac me vere tecum flereVirgo virginum praeclaraFlammis orci ne succendarFac me cruce custodiriQuando corpus morieturParadisi gloria
Books talk to each other” - Umberto Eco’s statement could just as easily apply to music, as Les Citations for Oboe, Harpsichord, Double Bass and Percussion by Henri Dutilleux (1916-2013) brilliantly proves. Written in 1991, the score was reworked by the composer for the Festival d’Auvers-sur-Oise, where the new version premiered in June 2010.The origin of this work goes back to For Aldeburgh 85. Written for the 75th birthday of singer Peter Pears, the piece takes up a fragment of Peter Grimes, whose leading role had been written by Britten for the beloved tenor. Dutilleux adds a page titled From Janequin to Jehan Alain in which appears a song from the Renaissance composer, ´´L’espoir que j’ay d’acquerir vostre grace”, used by J. Alain in his Variations for Organ on a theme by Clément Janequin. The junction between the two parties is made through an Interlude that introduces the ´´wolf’s moan” theme from the ballet Le Loup (The Wolf) composed by Dutilleux in 1953 for the troupe of Roland Petit. This subtle tangle of quotations forms a shimmering and sensual work where the uniqueness of an authentic artist powerfully asserts itself.
Edition no.: BA 5691ISMN: 9790006535422Volume / Series: Female ChoirArranger: Breuer, HeribertLanguage(s) of work: LatinLanguage(s) of text: German, EnglishProduct format: ScoreIncludes the following individual parts: Soprano solo, Alto solo, Tenor solo, Bass solo, Female choir: SMezA, OrchestraThe choral scene is in a state of change! On the one hand, more and more choirs are lacking in male voices, yet at the same time, more and more female choirs are looking for high-quality literature beyond folksong arrangements. Bärenreiter is responding to these general trends with the publication of arrangements for three-part female choir (SMA) of well-known, frequently-performed works.The first editions to be published are Wolfgang Amadeus Mozart’s ´´Coronation Mass” K. 317 (BA 5691), a much-performed work within the standard repertoire and the ´´Missa brevis in D major” K. 194 (BA 5690-90), a charming alternative for use in church services. With great skill and sensitivity to the music, Heribert Breuer has carefully retained the substance of the original works, at the same time giving them a completely new sound quality.- Arrangements for female choir (SMA) based on the Urtext of the ´´New Mozart Edition”- Idiomatic piano reductionsThe arrangerHeribert Breuer was professor of choral conducting and music theory at the Berlin University of the Arts until 2010. He is founder and director of the Berlin Bach Akademie, and has made a name for himself with his numerous arrangements of works from Bach to Schubert.
Händel, Georg FriedrichTe Deum for the Victory at the Battle of Dettingen HWV 283The ´´Dettinger Te Deum” was written to celebrate England’s victory over the French at the Battle of Dettingen.It is Handel’s last and most successful setting of the ´´Te Deum” and reveals a deep understanding of the English church music tradition.The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the ´´Messiah” which Handel had just completed.This edition, edited by Baroque specialist Amanda Babington, is based on the Urtext from the ´´Halle Handel Edition”.• First Urtext edition• Includes a Foreword (Eng/Ger)• Idiomatic, well-presented piano reduction (Eng)Edition no.: BA 10706ISMN: 9790006544363Editor: Babington, AmandaLanguage(s) of work: EnglishLanguage(s) of text: English, GermanProduct format: Score, Urtext editionIncludes the following individual parts: Alto solo, Tenor solo, Bass solo, Mixed choir (SSATB), OrchestraBinding: PaperbackPages / Format: XIII, 140 S. - 31,0 x 24,3 cm
Haydn, JosephMissa brevis St. Joannis de Deo Hob. XXII:7 Kleine OrgelmesseBearbeitet für Frauenchor SMezAAHaydn presumably wrote his ´´Missa brevis” in 1775 for the Brothers Hospitallers of Eisenstadt Abbey. The work takes its nickname, the ‘Little Organ Mass’, from the organ solo in the ´´Benedictus”. This arrangement for female choir (SMezAA) is based on the complete edition of the ´´Works of Joseph Haydn”.The original soprano and alto parts have, for the most part, been taken over, as has the soprano solo in the ´´Benedictus”. The tenor and bass parts are distributed among the mezzo-sopranos and altos, with a few well thought-out alterations to preserve the harmonic structure. Heribert Breuer has retained the original substance with great skill while giving the work a wholly new and attractive sound.Heribert Breuer was professor of choral conducting and music theory at Berlin University of the Arts until 2010. He is the founder and conductor of the Berlin Bach Academy.• Arrangement for SMezAA based on the Henle Complete Edition of the Works of ´´Joseph Haydn”• Idiomatic piano reduction (BA 5694-90)Edition no.: BA 5694ISMN: 9790006559213Volume / Series: FrauenchorArranger: Breuer, HeribertLanguage(s) of work: LatinLanguage(s) of text: German, EnglishProduct format: PartiturIncludes the following individual parts: Sopran solo, Gemischter Chor (SMezAA) OrchesterComments: Aufführungsmaterial siehe BA 4653Binding: GeheftetPages / Format: III, 22 S. - 31,0 x 24,3 cm
Mozart, Wolfgang AmadeusMissa C major K. 220 (196b) Sparrow MassArranged for female choir SMezAA DetailsEdition no.: BA 5693ISMN: 9790006523382Volume / Series: Female ChoirArranger: Breuer, HeribertLanguage(s) of work: LatinLanguage(s) of text: German, EnglishProduct format: ScoreIncludes the following individual parts: Voice, Mixed choir, OrchestraBinding: StapledPages / Format: III, 44 S. - 31,0 x 24,3 cm Mozart’s ´´Missa in C major” (K. 220), nicknamed the ´´Sparrow Mass” for its frequently recurring characteristic motifs in the violins, has retained a firm place in the choral repertoire to the present day. Now it has been arranged for female choir and is appearing as part of the recently started ´´Bärenreiter Female Choir” series.Heribert Breuer has judiciously transferred the tenor and bass solos to the high voices and incorporated the original soprano and alto parts largely unchanged into the solo and chorus parts. He has thereby retained the work’s original substance while giving it a wholly new and delightful sound.• Arrangement for female choir (SMezAA) based on the Urtext of the ´´New Mozart Edition”• Idiomatic piano reductionHeribert Breuerwas professor of choral conducting and music theory at Berlin University of the Arts until 2010. He is the founder and director of the Berlin Bach Akademie and has made a name for himself with his many arrangements of works from Bach to Schubert.
Music for Japan begins with a great sobbing breath of sound, rather like the deep chesty vocalism of Japanese classical singer-actors. Slow planetary wanderings of timbre and accent give way to a middle section for amplified percussion, strongly rhythmic and excitingly developed. There is one beautiful effect (repeated) when a swirling mass of sound comes out into a cloudless major chord on E; and the final chordal structure is a marvellously exultant terracing of orchestral sound.Roger Covell, The Sydney Morning Herald, 3 January 1971
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