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The Lord Is My Light HWV 255

The Lord Is My Light (HWV 255) Chandos Anthem No.10From 1717 to 1718 Handel was resident composer at Cannons, a country estate to the north of London. During this time he wrote the so-calledChandos Anthems, a set of eleven “Anglican cantatas” with instrumental accompaniment.“The Lord is my light” (HWV 255), with its eleven movements, is not only the longest compositionin the set, it also has the largest proportion of newly composed material.This anthem, published with the Urtext of the Halle Handel Edition, is especially noteworthy for its varied and self-sufficientorchestralaccompaniment, which lends a fitting backdrop to the festive chorus and equally festive solo numbers.Both the full score and the vocal score contain a German translation alongside the original English.Scoring: Soloists (STT), chorus (SATTB), 2 recorders, oboe, strings, continuo- Full score & parts (BA4268) and vocal score (BA4268-90) available for sale- Urtext at the forefront of musical scholarship-First separate edition for performance purposes- Based on the Urtext from the Halle Handel Edition- Straightforward and easy-to-play Piano reduction

Now II : part II of the cycle Profiles of Light

“Now II” is the second part of a triptych of chamber pieces entitled “Profiles of Light”. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013). All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities. This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.

The Lord is my light

Echoes of light - Zabel, Frank

for Flute, Oboe and Bassoon Performance score Fl/Ob/bassoon Hæftet udgave

The Lord is my light

The Lord is my light

In the Light of God

“I asked my friend, the poet Einar Askestad, if he could write a poem for me about love between father and son, brothers and God. I felt that these forms of love are seldom sung about. The poem moved me greatly and I havetried to put music to these words which is simple yet full of beauty. In the four movements of this suite-like piece, various aspects of these relationships are conveyed”. - MårtenJanssonBiography:My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings life consists of. This has led peopletodescribe my music as both “so sad that it sounds like birds who have lost their wings” and “the happiest classical music we ever heard”. I have also always preferred beautiful music to atonal music and that is surely the reasonwhy the most part of my music is more on the sad side but what a dream it would be to be able to create beautiful music that’s bubbling over with joy! My compositions consist of almost only sacral music. This is to express myown faith but also my appreciation and respect for the timeless texts that have been used for centuries after centuries.In 1994 I was lucky enough to start conducting the female choir Carmen and I conducted them until wedecided to disunite 2010. This is of course the biggest reason why most of my compositions are for female choirs the knowledge that what I write during the night will be tested the next evening is a driving force that not somany are lucky enough to have.I work as a voice, music theory and conducting teacher and conductor in Uppsala were I was born -65 and still live. My education is in short: two years of musicology at Uppsala University and aMFA in Music Education, and Dalcroize Rhythmics at the Royal Academy of Music in Stockholm.- Choral works a cappella.- Sample pages for download: www.baerenreiter.com.

whirling tissue of light - Pintscher, Matthias

for Piano solo Performance score piano in a folder

The Lord is my light - Händel, Georg Friedrich

score, Urtext edition SSolo/TSolo/TSolo/mixed choir: SATTB/recorder1/recorder2/Ob/Str/Bc Paperback

The Lord is my light - Händel, Georg Friedrich

part(s), Urtext edition Hæftet udgave

The Lord is my light - Händel, Georg Friedrich

set of winds, Urtext edition Hæftet udgave

Now I : part I of the cycle Profiles of Light

Uriel - Pintscher, Matthias

Part III of the cycle "Profiles of Light" for Violoncello and Piano Performance score, set of parts Vc/piano in a folder

Notes - The Musicians' Choice - Light Blue : The Musicians' Choice, Bärenreiter notebook with the Debussy blue cover

This little notebook is handsome as well as practical. The cover is in Bärenreiter‘s attractive Debussy-blue and has the same layout as our Urtext editions. The pages alternate with musical staves on the left and writing lineson the right. The superior quality of paper used for the notebook matches that of our fine Urtext editions.

Ode For The Birthday Of Queen Anne

Although presumably written to celebrate the Queen's birthday on 6 February, most probably in 1713, there is no record of the first performance of Handel's Ode. The nine movements contain much variety, but it is the firstmovement, 'Eternal source of light divine' where Handel prodces some of his most inspired writing.- Urtext of the Halle Handel Edition- Full score (BA4007) and vocal score (BA400790) available for sale-Performance material (BA400772) available for hire

Mass In D Major Op.86 : Organ version

Dvorák composed the “Mass in D major” in 1887 at the suggestion of his patron Josef Hlávka for the inauguration of the Lužany castle chapel. It is written for choir and organ with sporadic passages for soloists, uses simple expressive devices and makes light technical demands. Thus, this work is easy to perform, also by amateur church choirs: all that is needed is a small choir and the solo parts can be sung by members of the choir.The choral score, likewise based on this edition, is tailored to meet thedemands of today’s performers. It is compatible with all versions of the work, including Dvorák’s later orchestral version. Dvorák composed the “Mass in D major” in 1887 at the suggestion of his patron Josef Hlávka for the inauguration of the Lužany castle chapel. It is written for choir and organ with sporadic passages for soloists, uses simple expressive devices and makes light technical demands. Thus, this work is easy to perform, also by amateur church choirs: all that is needed is a small choir and the solo parts can be sung by members of the choir.The choral score, likewise based on this edition, is tailored to meet thedemands of today’s performers. It is compatible with all versions of the work, including Dvorák’s later orchestral version.

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

Cantata BWV 166 Wo gehest du hin? : Cantata for the 4th Sunday after Easter

Wo gehest du hin? BWV 166Cantata for the 4th Sunday after EasterThe cantata Wo gehest du hin?, which dates from the first year of Bach's appointment in Leipzig and was givenfor the first time on 7 May 1724, takes as its starting point a phrase from the gospel for the fourth Sunday after Easter (St. John xvi, 5-15). Bach's setting of this text is simple and concise. The scoring is light -apart from Strings and continuo it calls only for an Oboist and three Vocal soloists and a Chorus in the closing chorale. Urtext of the New Bach Edition Performance material (BA10166) andVocalscore (BA10166-90) available for sale

Concerto No.1 In C Major Op.15 For Piano

The Bärenreiter Urtext edition of Ludwig Van Beethoven's Concerto No.1 In C Major Op.15 For Piano features a detailed commentary by Bärenreiter editor and Beethoven expert Jonathan Del Mar.InBeethoven’s autograph for Concerto No.1 In C Major Op.15 For Piano Del Mar found no less than 17 corrections which were made after the work was published. These have been brought to light in this volumeand all the sources and findings made by the editor have been documented.This critical edition reflects the latest musicological research and sets the highest scholarly standards without losing sight of the needs ofmodernperformers. This is a reduction for two Pianos. The full score can be found here.

Zion Op. 49 : Cantate

Gade Zion Op.49 (Full Score, hardback) Gade dated the cantata "Zion" Op.49 (named “concert piece” in the first edition) on 16 September 1874; the premiere took place on 30 August 1876 during a festival in Birmingham. In Gade’s understanding “Zion” forms “a kind of trilogy” together with the cantatas „Kalanus“ and “The Crusader“ which centres around the “longing for the true light“. The focus of „Zion“ is the history of the Jewish people where a people has received a promise. This is described in Gade’s words in the following sections: a) Introduction – The Departure from Egypt b) The Captivity in Babylon c) The Return – Prophecy of the New Jerusalem”. Niels W. Gade. Works IV/5

St Mark Passion BWV 247

St Mark Passion (BWV 247): A reconstruction.Recitatives and turbae by Reinhard Keiser (1674-1739).Although all that survives of Bach's “St. Mark Passion” is Picander's libretto, virtually all the arias and chorusescan be reconstructed from “parody” versions. The original recitatives and turbae , however, are probably lost forever. Rather than rewriting these numbers “in Bachs's style”, the editor Austin Harvey Gomme has added passagesfrom Reinhard Keiser's setting of the Passion (a setting highly esteemed by Bach, who performed it several times), thereby allowing this lost work to be performed in its entirety. A detailed preface sheds further light onthisunique reconstruction based on the New Bach Edition.Full score (BA5209) and vocal score (BA5209-90) available for sale.Performance material (BA5209-72) available for hire.