ΒΙΒΛΙΑ ΦΩΝΗΤΙΚΗΣ

The oratorio ”The Creation” represents not only a crucial point in Joseph Haydn‘s compositional output, but at the same time, marks the beginning of a new chapter in the history of the oratorio.
The oratorio ”The Creation” represents not only a crucial point in Joseph Haydn‘s compositional  output, but at the same time, marks the beginning of a new chapter in the history of the oratorio. At the turn of the 19th century, Haydn broke with the traditional dominance of the arias, giving the  chorus a distinctly greater significance. This opened the way for a new kind of choral oratorio  which became one of the standard features of developing bourgeois concert life.
The plot is divided into three parts:
Part One portrays the first four days of creation with the  genesis of the world, the plants and the firmament, and in Part Two the animals are included.  Part Three takes as its theme the life of the first people, Adam and Eve, with the oratorio  culminating in two major closing choruses of praise and thanks. The text, translated from the English original by Baron van Swieten, Prefect of the imperial court library in Vienna, combines  prose texts of the creation story in Luther’s translation of the bible with complementary excerpts from John Milton’s “Paradise Lost” (duration: approx. 110 mins).

New edition based on the Urtext from the Complete Edition of ”Joseph Haydn’s Works”, published  by G. Henle Verlag
Vocal score with a contemporary piano reduction by A. E. Müller, revised by A. Köhs
Excellent presentation on the page

 
 
Σελίδες: 202Γλώσσα: Γερμανικά, ΑγγλικάΕκδόσεις: Barenreiter

Joseph Haydn’s oratorio ‘ The Seasons’ was composed directly after the first successful performances of ‘ The Creation’ .‘The Seasons’ has however been greatly overshadowed by ‘ The Creation’ for a long time and yet this work has far greater changes of style between popular Singspiel and great oratorio than ‘ The Creation’ . ‘ The Seasons’ continues to impress and remains part of the core repertoire to the present with its overwhelming richness of musical character and its immense formal variety. Scarcely another oratorio is able to so captivate an audience with such variety.
– Urtext edition from the Complete Edition ‘ Joseph Haydn Works’, published by G. Henle Verlag , Munich- Duration: approx. 140 minutes
 
 
Σελίδες: 326Γλώσσα: Γερμανικά, Αγγλικά, ΓαλλικάΕκδόσεις: Barenreiter

Η Πρακτική Μέθοδος του Ιταλικού Τραγουδιού – Για High Soprano είναι μία διάσημη μέθοδος η οποία είναι τώρα διαθέσιμη με CD που περιλαμβάνει τη συνοδεία πιάνου. Επιπλέον, στο CD συμπεριλαμβάνεται λογισμικό που σας επιτρέπει τη ρύθμιση του tempo μέσω Η/Υ.
Η σύνθεσή της έχει πραγματοποιηθεί από το Nicola Vaccai, έχει επεξεργαστεί από τον John Glen Paton και απευθύνεται σε προχωρημένους High Soprano τραγουδιστές.
 
 
Γλώσσα: ΑγγλικάΣυμπεριλαμβάνει CDΣελίδες: 48Εκδόσεις: G. Schirmer

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

Δέκα εξαιρετικά τραγούδια ειδικά για οντισιόν για τις γυναίκες, με υποστηρικτική μελωδία για κάθε τραγούδι. Ένα μοναδικό CD και μουσικό πακέτο ειδικά σχεδιασμένο για γυναίκες τραγουδιστές για ακροαματικές εκδηλώσεις, μουσικές παραστάσεις και συγκροτήματα.
Οι μεταγραφές και των 10 τραγουδιών είναι διαθέσιμες για πιάνο, φωνή και κιθάρα. Το CD σας δίνει μια επαγγελματική υποστηρικτική μελωδία όλων το κομματιών, το καθένα από τα οποία έχει καταγραφεί στο πρωτότυπο αρχικό μουσικό κλειδί.

Περιεχόμενα

Beautiful
Complicated
Don’t Know Why
For What It’s Worth
Kiss Kiss
No More Drama
One Day I’ll Fly Away
A Thousand Miles
Whenever, Wherever
I’m Gonna Getcha Good!

Σελίδες: 64Γλώσσα: ΑγγλικάΕκδόσεις: Wise Publications

For Voice and Pianoforte.
 
Pages: 100Language: EnglishPublisher: Ricordi

Berlioz, Hector – Les Troyens

Language: German/French/English
Product format: Opera
Pages: 580
Binding: Hardback
Publisher: Barenreiter
CONTENTS
The vocal score to “Les Troyens ” presents the text Berlioz conceived as a great five act opera. During the composition of this work between 1856 and 1858 and up until June 1863, Berlioz perceived “Les Troyens ” as one opera. Because of performance difficulties, the composition had to be divided into two operas, “La Prise de Troie ” and “Les Toyens à Carthage ”.
Berlioz began to write the libretto in Paris in April 1856 and completed it on June 26th of that same year. The dramatic material of acts III-V is taken from books 1 and 4 of Virgil’s “ Aeneid ”.
The two trojan acts are loosely based on books 1 and 2 by Virgil.
Berlioz wrote in May 1861: “I am sure that I have created a great work, greater and superior to anything I have ever written before”.
The vocal score is based on the three-volume New Berlioz Edition and also on the one-volume vocal score edition that under Berlioz’s supervision, was privately printed in 1861-62 and then distributed. The appendix contains two complete scenes: The Sinon scene from the first act and the original finale from the fifth act.

Weill, K: Berliner Requiem Vocsc – Little Cantata
Arrangement: für Soli: Tenor, Bariton, Chor TBarB (3 Männerstimmen) und Orchester
 
 
Pages: 32Language: German, EnglishPublisher: Universal Edition

for 2- and 3-part voices, accompanied and unaccompanied Several new pieces have been composed especially for the collection: Alan Bullard’s jubilant carol ‘Ring the Bells’; Cecilia McDowall’s exquisite lullaby setting of a William Blake text; an enchanting piece by Howard Skempton, perfectly crafted in his unique voice; and a clever wassail-style carol from Roderick Williams. These appear alongside popular carols in new arrangements for upper voices. For Him all Stars is sure to delight audiences and inspire both young and adult choirs alike.
Contents

Antony Baldwin: Balulalow
Alan Bullard: Ring the bells
Alan Bullard: Scots Nativity
Bob Chilcott: For him all stars have shone
David Hamilton: We Three Camels
Cecilia McDowall: Cradle Song
Jenny McLeod: Vulcan
arr. Malcolm Pearce: Tomorrow shall be my dancing day
Max Reger arr. Paul Keene: Mary’s Cradle Song
John Rutter: Love came down at Christmas
Howard Skempton: Into this world, this day did come
Alan Smith: There is no rose
Christopher Wiggins: Carol of Our Lady
Jonathan Willcocks: Remember, O thou man
Roderick Williams: A Catch by the Hearth

 
 
Pages: 86Language: EnglishPublisher: Oxford University Press

This new collection for mixed choir contains the most important hymns from the “Evangelical Gesangbuch ” and “ Gotteslob ”. It offers new dimensions for Mass and church services. Every hymn appears with the following elements to be used as building blocks:

Short organ prelude
Unison voice part for the congregation with organ accompaniment
Four-part harmony, also singable a cappella
Sweeping, brillant choral piece with upper register vocal ad libitum

These features allow even the simplest hymns to be transformed into impressive, dramatic as well as inspired experiences, not only for the congregation but also for the choir.
 
 
Pages: 214Language: German, EnglishPublisher: Barenreiter

Lovely art song settings by Italian composer Tirindelli (1858-1937). Songs in Italian, English translations provided. 
Contents
1. Canzone d’amore 2. Fantasia Impressioni

3. I . Chi sa?! . . .
4. II . Dispetto
5. III. Ritorno
6. IV. Sperando-Sognando! . . .
7. V. ? . . .

8. Mentiva! . . . 9. Mistica 10. Myosotis 11. L’ombra di Carmen 12. Rimanete, vi prego ! 13. Sconforto 14. Sei tu. . . Amore? 15. So! 16. Sol ei non tornal . . . 17. Strana 18. Tu!
 
 
Pages: 88 Language: English, Italian Publisher: Ricordi

Volume / Series : Full Scores & Study Scores
Language: English/German/French
Pages: 210
Publisher: Boosey & Hawkes
Composer / Author: Frederick Delius
CONTENTS
Preface
Préface
Vorwort
Appalachia
Sea Drift