Edition Peters

Soprano voice and piano 58 arias with piano accompaniment. Composed by Various. Edited by Dorffel / Soldan. Voice & Piano Albums. Opera. Sheet Music. Edition Peters #EP734. Published by Edition Peters (PE.EP734). Item Number: PE.EP734 German, Italian, French. Contents:
A. Stradella:

Church Aria Se I miei sospiri

J.S. Bach:

Matthauspassion Aus Liebe will mein Heiland sterben,
Weihnachtsoratorium Flosst mein Heiland
Kantate 22 (Ich hatte viel Bekummernis) Seufzer, Tranen, Kummer, Not
Kantate 68 Mein glaubiges Herze

G.F. Handel:

Messias Er weidet seine Herde,
Wie lieblich ist der Boten Schritt
Ich weiss dass mein Erloser leb’t
Josua O hatt ich Jubals Leier (Achsah)
Rinaldo Lascia ch’io pianga

C.W. Gluck:

Alceste Divinites du Styx (Alceste)
Iphigenie O toi
qui prolongeas (Iphigenie)
O malheureuse Iphigenie (Iphigenie)

F. Haydn:

Die Schopfung Nun beut’ die Flur (Gabriel)
Auf starkem Fittige (Gabriel)
Die Jahreszeiten Welche Labung fur die Sinne

W.A. Mozart:

Entfuhrung Welche Wonne, welche Lust (Blonde)
Ach, ich liebte (Constanze)
Le Nozze di Figaro Porgi amor (Countess)
Dove sono i bei momenti (Countess, Giunse alfin il momento (Susanna)
Non so piu cosa son (Cherubino), Voi, che sapete (Cherubino)
Don Giovanni Crudele? Ah no, mio bene (Donna Anna)
Batti, batti, O bel Masetto (Zerlina)
Vedrai, carino (Zerliona)
Cosi fan tutte Una donna a quindici anni (Zerlina)
E amore un ladroncello (Dorabella)
Zauberflote Ach, ich fuhl’s, es ist verschwunden (Pamina)

L. van Beethoven:

Fidelio O, war ich schon mit dir vereint (Marzelline)
Abscheulicher, wo eilst du hin? (Leonore)
Ah, Perfido! (concert aria)

Auber, D.F.:

Fra Diavolo Voyez sur cette roche (Zerline)

Weber, C.M.:

Der Freischutz: Wie nahte mir der Schlummer: (Agathe)
Und ob die Wolke sie verhulle (Agathe)
Kommt ein schlanker Bursch gegangen (-nnchen)
Einst traumte meiner selgen Base (-nnchen)
Oberon Ozean, du Ungeheuer (Rezia)
Arabien Mein Heimatland (Fatime)

Rossini, G.:

Barbie

 
 
Pages: 292Language: German, Italian, FrenchPublisher: Edition Peters

Lieder (Songs) – Volume 1 (Original Edition for High Voice) By Robert Schumann. Edited by Max Friedlaender. For high voice solo and piano accompaniment.
Contents

Schumann: An den Sonnenschein, Op. 36 No. 4
Schumann: Blondels Lied Op. 53 No. 1 (Johann Gabriel Seidl)
Schumann: Dein Angesicht, Op. 127 No. 2
Schumann: Der arme Peter, Op. 53 No. 3
Schumann: Dichterliebe, Op. 48
Schumann: Die beiden Grenadiere, Op. 49 No. 1
Schumann: Die Soldatenbraut Op. 64 No. 1
Schumann: Erstes Grün, Op. 35 No. 4
Schumann: Frauenliebe und -leben, Op. 42
Schumann: Frühlingsfahrt, Op. 45 No. 2
Schumann: Ich wandre nicht, Op. 51 No. 3
Schumann: Liederkreis, Op. 39
Schumann: Marienwürmchen Op. 79/14
Schumann: Myrthen, Op. 25
Schumann: Romanze (No. 5 from Spanische Liebeslieder, Op. 138)
Schumann: Sonntags am Rhein, op. 36 No. 1
Schumann: Volksliedchen, Op. 51 No. 2
Schumann: Wanderlied (No. 3 from 12 Gedichte, Op. 35)

 
 
Pages: 196Language: English, GermanPublisher: Edition Peters

Vocal Score Urtext Edition, edited from the sources by Christoph Wolff

Editions: Peters

Instrumentation: SATB Soli—SSATB Chorus—2.3.2Ob-d’a/2Cl.0.2—1.3.0.0— Timp—Org—Str—Bc
Contents:  The B Minor Mass is Bach’s only complete setting of the Ordinary, that is the five permanent sections of the ancient Christian Mass liturgy: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. As with Bach’s other Mass settings, all of them limited to the Kyrie and Gloria, the majority of numners consist of ‘parodies’, that is, of reworkings of movements from his church cantatas.
In the course of the eighteenth century, the B Minor Mass was disseminated in manuscript over an astonishingly large area, extending at least from Vienna to London and thus far exceeding that of any other of Bach’s vocal works.
Since its initial publication in Zurich (1833-45) it has been presented in various editions, including two for the complete edition issued by the Bach Society. The most recent critical edition appeared in 1954 in the New Bach Edition, Series II, Volume I, edited by Friedrich Smend.
Smend’s edition very quickly sparked a musicological controversy which, after centring almost exclusively on questions of chronology, gradually came to hinge on the work’s conception. Here the crucial question was whether the B Minor Mass constituted (as Smend believed) a collection of largely independent compositions, and thus was only nominally a self-contained work.
Today scholars are generally of one mind that the B Minor Mass was composed in sections between 1724 and 1749, that is, over a period spanning a quarter of a century. But they are equally agreed that Bach deliberately and intentionally combined its parts so as to form a self-contained opus.Extracts taken from the Preface, by editor Christoph Wolff