Classic Choral Works – serie

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the Priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary are included.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

Next to Handel's Messiah, The Creation is perhaps the most frequently performed oratorio. This edition is the first to present the English text as Haydn intended, without the modifications of twentieth-century editions, and is the version used by Haydn in his many public renditions of the work using large forces. The keyboard reduction in this edition is by the Leipzig Cantor A. E. Müller, termed 'the best [and] most idiomatic' by Haydn himself. Full details of sources and editorial method, as well as a bibliography, can be found in the full score. Complete orchestral material and vocal scores are available on hire/rental, and vocal scores are available on sale.

This edition presents Fauré's masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Fauré's original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.

This edition presents Fauré's masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Fauré's original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.

This edition presents Fauré's masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Fauré's original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.

Cantique de Jean Racine was written in 1865 during Fauré's final year at the École Niedermeyer, winning him the first prize for composition, and this elegant work now holds a cherished place in the choral repertory for both sacred and secular occasions. Presented with an English singing translation in addition to the original French, John Rutter's edition includes an accompaniment for organ or piano, and the work may also be performed with the transcription for harp and strings (available separately), compatible with the instrumentation for the OUP edition of the Fauré Requiem in its 1893 version. Complete orchestral and vocal material is available on hire/rental and on sale. In addition, an arrangement for upper voices (SSAA) with Fauré's original keyboard accompaniment is available on sale.

Cantique de Jean Racine was written in 1865 during Fauré's final year at the École Niedermeyer, winning him the first prize for composition, and this elegant work now holds a cherished place in the choral repertory for both sacred and secular occasions. Presented with an English singing translation in addition to the original French, John Rutter's edition includes an accompaniment for organ or piano, and the work may also be performed with the transcription for harp and strings (available separately), compatible with the instrumentation for the OUP edition of the Fauré Requiem in its 1893 version. Complete orchestral and vocal material is available on hire/rental and on sale. In addition, an arrangement for upper voices (SSAA) with Fauré's original keyboard accompaniment is available on sale.

This edition presents Fauré's masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Fauré's original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.

for soprano and baritone soloists, SATB chorus, and the composer's original chamber instrumentationThis edition presents Fauré's masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Fauré's original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.

Cantique de Jean Racine was written in 1865 during Fauré's final year at the École Niedermeyer, winning him the first prize for composition, and this elegant work now holds a cherished place in the choral repertory for both sacred and secular occasions. Presented with an English singing translation in addition to the original French, John Rutter's edition includes an accompaniment for organ or piano, and the work may also be performed with the transcription for harp and strings (available separately), compatible with the instrumentation for the OUP edition of the Fauré Requiem in its 1893 version. Complete orchestral and vocal material is available on hire/rental and on sale. In addition, an arrangement for upper voices (SSAA) with Fauré's original keyboard accompaniment is available on sale.

for SATB soloists, SATB choir, and orchestraThere is no single definitive version of Messiah. Handel continued to make revisions to the score throughout his life either to improve it or to suit the abilities of individual performers or the needs of an occasion. This edition presents the standard version (with which most people are familiar) complete with a new, practical piano reduction. The appendix contains most of Handel's alternative movements and transpositions. The full score includes all the alternative movements and transpositions in their correct sequence and all material is signposted clearly and cross-referenced with the vocal score. Clifford Bartlett provides a text that is as close as possible to the sources, yet is presented with performers' needs in mind. Both full and vocal scores provide guidance on performance practice, and the vocal score includes ance piano/organ reduction suitable for both rehearsal purposes and performance without orchestra. Complete orchestral material and vocal scores are available on hire/rental,

for SATB soloists, SATB choir, and orchestraThere is no single definitive version of Messiah. Handel continued to make revisions to the score throughout his life either to improve it or to suit the abilities of individual performers or the needs of an occasion. This edition presents the standard version (with which most people are familiar) complete with a new, practical piano reduction. The appendix contains most of Handel's alternative movements and transpositions. The full score includes all the alternative movements and transpositions in their correct sequence and all material is signposted clearly and cross-referenced with the vocal score. Clifford Bartlett provides a text that is as close as possible to the sources, yet is presented with performers' needs in mind. Both full and vocal scores provide guidance on performance practice, and the vocal score includes ance piano/organ reduction suitable for both rehearsal purposes and performance without orchestra. Complete orchestral material and vocal scores are available on hire/rental,

This setting of the Te Deum, dedicated to the wife of Franz I of Austria, is a rare example of a work from Haydn's late period that doesn't feature soloists. The second of Haydn's Te Deum settings, the work was performed in September 1800 on the name-day of the wife of Haydn's patron, Prince Nicolaus Esterhazy II, and it features the C major tonality and extensive use of trumpets and drums that were often associated with festive ceremony. This edition includes an orchestral reduction by Denis McCaldin, and full details of editorial practice can be found in the full score. Complete orchestral and vocal material is available on hire/rental, and the vocal score is also available on sale.

Haydn's Missa brevis Sancti Joannis de Deo dates from c.1775 and was written for the Order of the Brothers of Mercy based in Eisenstadt. The mass is known for its distinctive 'Benedictus', which features elaborate soprano writing and an extensive obbligato organ part from which the work's alternative title, 'Little Organ Mass', derives. This edition includes the elongated 'Gloria' composed by Haydn's younger brother Michael, with Haydn's 31-bar original included as an Appendix. The full score - also available on sale - contains a critical commentary and full details of sources. Complete orchestral material and vocal scores are available on hire/rental.

for soloists, SATB chorus, and orchestra or pianoWritten in 1798, the Nelson Mass is one of Haydn's most popular works. Like The Creation and the other Hermenegild masses, the work met a demand for choral music that could be performed with orchestra. This scholarly performing edition ends the confusion surrounding Haydn's original scoring and the later version with additional wind instruments. This definitive and versatile edition is compatible with both scorings and also contains an orchestral reduction for rehearsal purposes. Complete orchestral and vocal material is available on hire/rental, and the vocal score is also available on sale.

Haydn's Missa in Tempore Belli was composed in 1796 for SATB chorus and soloists with orchestra. It is one of the finest of the six Hermenegild masses that, together with The Creation and The Seasons, represent the crowning glory of Haydn's final creative period. Although the work was originally written for relatively modest orchestral forces, the wind scoring was expanded when it was performed to great acclaim in Vienna in late 1796. This critical edition by Dr David Russell Hulme is the first to include both the original and Viennese scorings, and the vocal score contains a specially prepared piano reduction that provides a full and practical representation of the instrumental textures and clearly identifies the additional Viennese material. Complete orchestral and vocal material is available on hire/rental, and the vocal score is also available on sale.

Guillaume de Machaut was an important fourteenth-century French poet and composer. The four-part Messe de Nostre Dame is historically significant as the earliest example of a complete, stylistically coherent, through-composed setting of the Ordinary of the Mass by a single composer. The setting has close connections with Reims Cathedral and is thought to have been composed in the early 1360s, becoming a memorial mass on the death of Machaut's brother in 1372. It would most likely have been performed by unaccompanied solo male voices, and the suggested scoring for modern performance is two altos and two tenors or two tenors and two baritones. The five movements of the Mass are followed by a short dismissal, Ite missa est.

This edition is designed to meet the needs of both the scholar and the performer. It contains the complete music of all fourteen compositions as in Monteverdi's original print, plus the psalm 'Lauda Jerusalem' and the two Magnificats in a choice of pitches. Also provided are a continuo realization, notes on performance, Gregorian antiphons for the feasts of the Virgin, and examples of typical early seventeenth-century embellishments.Complete performing material is available on hire, and a Critical Commentary is available for sale from the OUP Hire Library.

for SSATB soloists, double mixed chorus, and orchestraMozart's mass was first performed in Salzburg in October 1783, with Mozart's wife, Constanze, singing the soprano solos. For this edition, Richard Maunder has completed the orchestration of the two Credo movements and reconstructed the Sanctus and 'Osanna', taking full account of Mozart's division of the voices into two choirs. The vocal score includes an orchestral reduction for rehearsal purposes, and details of original sources and editorial practice may be found in the full score. Complete orchestral and vocal material is available on hire/rental, and the vocal score is also available on sale.

This edition of Mozart's final work, the Requiem, starts afresh from Mozart's incomplete score, omitting the continuations and orchestrations by Joseph Eybler and Franz Xaver Süssmayr, who were engaged by Mozart's widow, Constanze, to complete the setting. The orchestration has been reworked throughout by Richard Maunder, and the 'Lacrymosa' has been given a new continuation. Süssmayr's Sanctus and Benedictus movements have been included as an appendix. The vocal score includes an orchestral reduction for rehearsal purposes, and full details of editorial emendations and additions can be found in the full score. Complete orchestral and vocal material is available on hire/rental, and the vocal score is also available on sale.

for SATB choir, SATB soloists, 3 trombones, 2 violins, bassi, 2 organsMozart's Missa Brevis was written in 1774 and is divided into six short movements, corresponding to the standard sections of the Mass. Richard Maunder has provided appropriate plainsong intonations for the Gloria and Credo, as well as a playable keyboard reduction, and the work's scoring-for SATB soloists, SATB chorus, and chamber ensemble-and overall compactness make it ideal for performance in a liturgical context as well as in the concert hall.Complete orchestral and vocal material is available on hire/rental, and the full score contains a detailed Preface and Critical Commentary.

for SATB soloists, SATB chorus, 2 pianos, and harmoniumThis is the best known of Rossini's Péchés de vieillesse or 'Sins of Old Age'. Although a sacred work, the mass is characteristically lyrical and effervescent, and it affirms the composer's optimistic and deeply felt faith. The work was premiered in 1864. Although Rossini also produced an orchestrated version of the work in 1867, it is reported that he preferred the original scoring, and indeed much of the work's appeal lies in the idiomatic keyboard parts. This edition is based on the autograph manuscript of this original 1864 version, and every effort has been made to honour Rossini's intentions and produce a performing score that is authentic, accurate, and practical. The performing score is available on hire/rental and on sale, and parts for piano and harmonium are available on hire/rental.