Für hohe oder mittlere Singstimme & B. c., herausgegeben von Timothy Roberts. Der Band enthält Lieder des späten 17. Jahrhunderts von D. Purcell (Alas! When charming Sylvia’s gone), Eccles (Cease of Cupid to complain), Clarke (Jocky was as brisk and blithe), Barrett (A Song call’d The Pilgrim), Carey (Happy the youthful swain), Anonymus (The Siren of the Stage), Lampe (The Declaring Lover), Harris (Could I the lovely Celia move), Leveridge (Who is Silvia) und Boyce (O nightingale). Green Man Press • Ausgabe für mittlere Stimme [a–f’’]
Kantate für Alt [h - d´´], Flöte, Oboe & B. c., nach einer Handschrift der Royal Academiy of Music London herausgegeben von Gail Hennessy.
Eine Frage ? Eine Beratung ?Unsere Mitarbeiter stehen zu Ihrer Verfugung, wenn Sie technische Fragen haben oder nur einfach eine Verfugbarkeit kennen mochten. Bitte rufen Sie uns an, ein deutschsprechender Kollege wird Ihnen beantworten.
Edited by Charles BrettEngraved by Ashley Harries for counter-tenor with realised continuo Dolcissimo sospiro Giulio CacciniSfogava con le stelle Giulio CacciniEgo flos campi Claudio MonteverdiCurrite populi Claudio MonteverdiO quam tu pulchra es Alessandro GrandiObjet dont les charmes si doux Antoine BoëssetOmbre de mon amant Michel LambertPlainte sur la mort de Michel Lambert DubuissonUnissez beauté trop sévère Louis-Nicolas ClérambaultDiligam te, Domine Jean Gilles This anthology comprises twenty songs, five each from Italy, France, Germany and England. A variety of composers is represented, from great masters, like Bach, Monteverdi and Purcell, to many lesser-known composers of the Baroque period - Humfrey, Lambert, Gilles, Kindermann and others. All are presented in new editions, with freshly composed realisations of the continuo. The songs are varied in difficulty, and should appeal to many counter-tenors from students to professionals.
Edited by Charles BrettEngraved by Ashley Harries for counter-tenor with realised continuo Was ist unser Lebensstand? Johann Erasmus Kindermann Komm, Seele, Jesu Leiden Johann Wolfgang Franck O angenehme Nacht Johann Wolfgang Franck Komm, süsser Tod Johann Sebastian Bach Jesus, unser Trost und Leben Johann Sebastian Bach In the black, dismal dungeon of despair Henry Purcell Sabina has a thousand charms John Blow Sleep downy sleep Pelham Humfrey Be welcome then, great Sir Henry Purcell Young Coridon and Phillis Jeremiah Clarke This anthology comprises twenty songs, five each from Italy, France, Germany and England. A variety of composers is represented, from great masters, like Bach, Monteverdi and Purcell, to many lesser-known composers of the Baroque period - Humfrey, Lambert, Gilles, Kindermann and others. All are presented in new editions, with freshly composed realisations of the continuo. The songs are varied in difficulty, and should appeal to many counter-tenors from students to professionals.
Cantata for contralto, recorder & b. c. and Sinfonia for recorder & b. c., after a manuscript of the Santini-Library in Munster, edited by Cedric Lee. Gerber studied in Italy and worked after 1703 in London as opera composer and later - after his return to Germany - in Innsbruck and Neuburg/Danube. Green Man Press
Alessandro Scarlatti’s influence was immense both through his pupils (such as Hasse and Geminiani) and his son, Domenico Scarlatti (born in 1685 and later also his pupil). Alessandro (1660-1725) is of the generation that precedes Bach and Handel (who were both born in the same year as his son Domenico). His musical career was focused in Rome and Naples. He is regarded as the Father of Neapolitan opera since he was the key figure in the development of the operatic elements in particular the arias, recitatives and in the use of the orchestra. He composed 115 operas and many other works – including oratorios, Masses, madrigals, concerti grossi and chamber cantatas (of which he wrote about 600). For countertenor/alto (g-d´´), 2 violins, 2 flutes/recorders and bc The present cantata comes from the collection of the Abbato Santini (1778-1861) which is in the care of the Diözesanbibliothek Münster. This cantata , very confidently ascribed at the head of the first folio as ´´Del Signe Alesso Scarlatti”, and titled ´´Cantata /con Violini, e Flauti”, is the first in the manuscript MÜs HS 3975. It is followed by the cantatas Mentre Clori la bella and Augellin, vago e canoro, well accepted as by Alessandro Scarlatti, both of which are available in the Green Man Press edition.It is curious therefore that this cantata, E perche non seguite o Pastorelle, is not listed in Grove among the cantatas of Alessandro Scarlatti, nor as a work of doubtful attribution, and the work is listed neither in Hanley nor in Rostirolla .This attractive cantata for a countertenor or alto (the ‘persona’ is a love-lorn man), follows the usual pattern of alternating recitative and aria, but is introduced with a generous sinfonia in three sections, slow-fast-slow. The final aria has as a ritornello a graceful instrumental minuet. The scoring for two violins and two flauti is unusual: only a few of the cantatas by Scarlatti have this many obbligato instruments, and none have this combination. This instrumentation provides plenty of rich and lively material. While it is usual to be able to take flauti to mean recorders, the second flauto part has one bar in the sinfonia, and four in the first aria, which are too low for the treble recorder. However the second aria’s flauto solo part is typical writing for the treble recorder. Perhaps the second instrument could be a tenor recorder.
Aria for contralto/mezzo soprano [c´-f´´], 2 recorders & b. c. from the Cantata BWV 161, edited by Cedric Lee
´´Wahrheitsgetreue, objektive Berichterstattung in Medien ist in einer Demokratie nie durch die Obrigkeit durchsetzbar. Entscheidend kann immer nur das Vertrauen der Bürger in die Verlässlichkeit und Sorgfalt jedes einzelnen Mediums sein. Dieses aber haben viele alte wie neue Medien in einem sehr hohen Ausmaß verspielt.´´ Dr. Andreas Unterberger ´´Diese Analyse ist ein wichtiger Beitrag zur Versachlichung der aktuellen Diskussion und sollte deshalb unter Politikern, Medienmachern und Bürgern große Verbreitung finden.´´ Aus dem Vorwort von Werner Reichel