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Missa Brevis In D Minor K.65

Missa Brevis In D Minor K.65

Baroque tradition remained alive in the music of Salzburg Cathedral into the first decades of the nineteenth century. This called for the inclusion of three trombones playing colla parte with the alto, tenor and bass in thetuttis. Although not expressly noted in the autographs of the Masses, the participation of trombones is authentically documented for K. 65 (61a).- Urtext of the New Mozart Edition- Full score, performance material(BA5341) and vocal score (BA5341-90) available for sale.

SEK 165.00
1

Missa Brevis In D Minor K.65

Missa Brevis In D Minor K.65

Baroque tradition remained alive in the music of Salzburg Cathedral into the first decades of the nineteenth century. This called for the inclusion of three trombones playing colla parte with the alto, tenor and bass in thetuttis. Although not expressly noted in the autographs of the Masses, the participation of trombones is authentically documented for K. 65 (61a).- Urtext of the New Mozart Edition- Full score, performance material(BA5341) and vocal score (BA5341-90) available for sale.

SEK 86.00
1

Missa Brevis In D Minor K.65

Missa Brevis In D Minor K.65

Baroque tradition remained alive in the music of Salzburg Cathedral into the first decades of the nineteenth century. This called for the inclusion of three trombones playing colla parte with the alto, tenor and bass in thetuttis. Although not expressly noted in the autographs of the Masses, the participation of trombones is authentically documented for K. 65 (61a).- Urtext of the New Mozart Edition- Full score, performance material(BA5341) and vocal score (BA5341-90) available for sale.

SEK 160.00
1

Missa Brevis In D Minor K.65

Missa Brevis In D Minor K.65

Baroque tradition remained alive in the music of Salzburg Cathedral into the first decades of the nineteenth century. This called for the inclusion of three trombones playing colla parte with the alto, tenor and bass in thetuttis. Although not expressly noted in the autographs of the Masses, the participation of trombones is authentically documented for K. 65 (61a).- Urtext of the New Mozart Edition- Full score, performance material(BA5341) and vocal score (BA5341-90) available for sale.

SEK 175.00
1

Missa Brevis In D Minor K.65

Missa Brevis In D Minor K.65

Baroque tradition remained alive in the music of Salzburg Cathedral into the first decades of the nineteenth century. This called for the inclusion of three trombones playing colla parte with the alto, tenor and bass in thetuttis. Although not expressly noted in the autographs of the Masses, the participation of trombones is authentically documented for K. 65 (61a).- Urtext of the New Mozart Edition- Full score, performance material(BA5341) and vocal score (BA5341-90) available for sale.

SEK 86.00
1

Missa Brevis In D Minor K.65

Missa Brevis In D Minor K.65

Baroque tradition remained alive in the music of Salzburg Cathedral into the first decades of the nineteenth century. This called for the inclusion of three trombones playing colla parte with the alto, tenor and bass in thetuttis. Although not expressly noted in the autographs of the Masses, the participation of trombones is authentically documented for K. 65 (61a).- Urtext of the New Mozart Edition- Full score, performance material(BA5341) and vocal score (BA5341-90) available for sale.

SEK 86.00
1

Serenade no. 3 H 218

Serenade no. 3 H 218

Unusual instrumentations were by no means the exception in the chamber music works of Bohuslav Martinu, most notably the works he wrote in Paris in the 1920s and 1930s being characterised by his experimentation with sound andform. It is from this period that four short serenades also originate (1932), each with a different instrumentation. The serenades were issued by the Prague publishing house Melantrich in 1949.Their premiere took place twoyears previously on 16 October 1947 and was performed by members of the Prague Symphony Orchestra (FOK). Although the study score of the Serenades Nos. 1 and 3 was published while the composer was still alive, he was in fact notinvolved in preparing this edition: indeed, the performance material also appeared in print without his participation in 1954. It was therefore decided to use the autograph score as the principal source for this edition.

SEK 175.00
1

Serenade no. 3 H 218

Serenade no. 3 H 218

Unusual instrumentations were by no means the exception in the chamber music works of Bohuslav Martinu, most notably the works he wrote in Paris in the 1920s and 1930s being characterised by his experimentation with sound andform. It is from this period that four short serenades also originate (1932), each with a different instrumentation. The serenades were issued by the Prague publishing house Melantrich in 1949.Their premiere took place twoyears previously on 16 October 1947 and was performed by members of the Prague Symphony Orchestra (FOK). Although the study score of the Serenades Nos. 1 and 3 was published while the composer was still alive, he was in fact notinvolved in preparing this edition: indeed, the performance material also appeared in print without his participation in 1954. It was therefore decided to use the autograph score as the principal source for this edition.

SEK 218.00
1

Ezio HWV 29

Ezio HWV 29

As with many other libretti by Pietro Metastasio, “Ezio” was also set to music several times besides Handel, by Nicola Porpora in 1728 and Christoph Willibald Gluck in 1750. As the historical eventsfrom late antiquity surrounding the Western Roman General Aëtius, who had defeated the Huns under Attila on the Catalaunian Fields, had largely fallen into oblivion by the 18th century, they merely form a backdrop to thehighly-dramatic “Sex and Crime” on the operatic stage. In contrast with the original Roman story, “Ezio” remains alive at the “happy ending”, and the enthusiastic public experienced this version for the firsttimeon 15 January 1732 in London.However, despite this, the opera only received five performances during Handel’s lifetime. Handel took the overture from his incomplete opera “Titusl’Empereur”.Performance material available for hire.Vocal score based on the Halle Handel Edition.Original Italian text with German singing translation underlaid.Figured bass realisationand editorial additions in cue-sized notes.Detailed foreword (Ger/Eng)

SEK 558.00
1

Hoffmanns Erzahlungen -Les Contes dHoffmann : An Operatic Fantasy in Five Acts

Hoffmanns Erzahlungen -Les Contes dHoffmann : An Operatic Fantasy in Five Acts

The Tales of Hoffmann (Les Contes d'Hoffmann) Libretto, based on the play of the same name by Jules Barbier and Michael Carre, by Jules Barbier. New critical edition, based on original sources, by Fritz Oeser.The purpose of the new edition was to discover the intentions of the author through the sources and to make it playable despite its fragmentary, quality. Because the long searched-for manuscripts did, happily, come to light atlast, this edition is fundamentally different from all others. Moreover, it has the smallest number of editorial admixtures. With the exception of Guiraud's additions every bar of the present version is derived from Offenbach.Thequestion of whether this edition was or is necessary is largely the concern of conductors, stage-directors and set-designers. If they are interested in keeping a tradition alive then, after a hundred years, they deservewhatever support musicologY can provide. Vocal score French-English (AE333-02) and French-German (AE333-03) available for sale Critical Report German text (AE333-01) available for sale Full score andperformace material (AE333-72) available for hire

SEK 929.00
1