ΒΙΒΛΙΑ ΦΩΝΗΤΙΚΗΣ

Gabriel Faure’s unconventional composition Requiem has become a firm favourite in the repertoire and available here is the vocal score, for Soloists and SATB Choir with Piano Accompaniment, as edited by Desmond Ratcliffe. Gabriel Faure’s unconventional composition Requiem has become a firm favourite in the repertoire and available here is the vocal score, for Soloists and SATB Choir with Piano Accompaniment, as edited by Desmond Ratcliffe.
The Requiem is probably the most famous of Gabriel Faure’s long works, taking him around 20 years to compose. The entire piece consists of seven movements with a total playing time of around 35 minutes. Although Faure’s mother and father both passed away in the early stages of composition, these tragic events were not the motivation for him to create the piece.Equally interestingly, this Requiem is not set to the standard liturgical text, with the wrathful ‘Dies Irae’ and ‘Tuba Mirum’ being omitted, and a lyrical ‘Pie Jesu’ and transcendent ‘Paradisum’ being added. The omissions were ordinarily opportunities for composers to showcase the dramatic possibilities of a chorus and orchestra to symbolise damnation, and so their deliberate exclusion by Faure creates a relatively calm and peaceful atmosphere, with sublime vocal harmonies and heavenly melodies.
The work begins softly before dynamic volume and tempo changes are made throughout the piece, enhancing the solemn beauty of the voices. Stunning interplay between the Sopranos and Baritones gives way to some excellent opportunities for soloists that are perfectly married with the uplifting unison climaxes. Faure himself spoke eloquently about the Requiem, stating that his work was accurately called a ‘lullaby of death’, and that this speaks to his view that death is a positive transition, rather than a painful experience. It is this sentiment that informs the music, being melancholy but not depressing, heart-wrenching but not heart-breaking.
Introitus: Requiem aeternam und Kyrie (Chor)
Offertorium: Domine Jesu Christe (Baritonsolo und Chor)
Sanctus (Chor)
Pie Jesu (Sopransolo)
Agnus Die (Chor)
Responsorium: Libera me (Baritonsolo und Chor)
In paradisum (Chor).

Belcanto, Virtuosentum, Hedonismus
​Die Vokalen Aspekte des Barocken Musiktheaters:
​Vom “recitar cantando” zur römischen Oper
​Monteverdi
​Cavalli und Cesti
​Legrenzi, Sartorio, P. A. Ziani und Pollarolo
​C. Pallavicino und Steffani
​Scarlatti
​Das goldene Zeitalter: Von Lotti bis Händel
​Einige Besonderheiten der Barocken Oper
​Die Kastraten und die Gesangskunst ihrer Zeit
​Die Sturm-Arien
​Die Buffo-Rollen
​Rossini:
​Rossinis Vorstellungen von Melodie und Gesang
​Einige Merkmale von Rossinis Vokalstil
​Die Gesangstypen Rossinis
​Der Gesang in der Ära Rossinis. Aufführungspraxis. Der Gesang aus der Sicht Stendhals
​Tod und Auferstehung des Belcanto
​Verzeichnis der Namen und Werke

60 pages

88 pages

92 pages

In the space of a few months, in the autumn and winter of 1789, Mozart filled more than 650 pages of a score that shows practically no signs of mental or physical exertion. The result was one of his most profound operas, Così fan tutte , which has held listeners spellbound with its blend of bitterness and comedy to the present day.Our new easy-to-play vocal score is based on the volume edited by Faye Ferguson and Wolfgang Rehm for the “New Mozart Edition” (NMA II/5/18) and on the latest scholarly findings from the critical commentary published by Henning Bey and Faye Ferguson in 2003.
 
 
Pages:441Language: English,GermanPublisher:Barenreiter

The Creation Mass was composed and first performed during the last decade ofHaydn’s life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt, on the occasion of the nameday of Princess Maria Hermenegild. The nickname ‘Creation’ stems from Haydn’s incorporating into the Gloria movement (at the words ‘Qui tollis peccata mundi’) a quotation from Adam and Eve’s duet in his oratorio The Creation.
 
Pages:161Language:English,GermanPublisher:Barenreiter

Haydn was in England, in 1795, when he received word from his new Prince, Nicolaus II Esterházy, that the Esterházy orchestra was to be reformed, and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister, except the usual routine of administration; but Haydn was to compose, every year, a new Mass for the name day of the Princess Josepha Maria, which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen’s Day (26 December) 1796. The writer of these notes examined – when preparing this edition – the music archives of the church, and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion, and thus also the work which Haydn had just finished and performed in Eisenstadt.
 
Pages:151Language:English,GermanPublisher:Barenreiter

An anthology of 17 sophisticated arrangements of popular classic songs. The collection includes accompanied and unaccompanied numbers, in a variety of styles: smoky blues, up-tempo scat, sentimental swing, exuberant Dixieland, sophisticated close-harmony, plus an opulent show-stopper or two.
Ain’t Misbehavin’ [Waller, Fats] [Brooks, Harry] [Razaf, Andy]
Autumn Leaves (Les Feuilles Mortes) [Kosma, Joseph] [Mercer, Johnny]
Begin The Beguine [Porter, Cole]
Blue Moon [Rodgers, Richard] [Hart, Lorenz]
Deep Purple [Parish, Mitchell] [De Rose, Peter]
I Got Rhythm [Gershwin, George] [Gershwin, Ira]
In The Mood [Garland, Joe]
Laura [Raksin, David]
Let’s Do It [Porter, Cole]
Night And Day [Porter, Cole]
Over The Rainbow [Arlen, Harold]
She Was Beautiful [Myers, Stanley] [Laine, Cleo]
Smoke Gets In Your Eyes [Kern, Jerome]
Summertime [Gershwin, George] [Gershwin, Ira]
S’Wonderful [Gershwin, George] [Gershwin, Ira]
Tea For Two [Youmans, Vincent] [Caesar, Irving]
The Continental [Conrad, Con] [Magidson, Herbert]
184 pages