Liste des compositions
- Mélodies — When night her purple veil had softly spread: Basso-2 violini • Z.201D
- Mélodies — Ah ! cruel nymph, you give despair: Tenore-b.c. • Z.352
- Mélodies — Ah ! what pains, what racking thiughts: perduto • Z.354
- Mélodies — Bacchus is a power divine: Basso-b.c. • Z.360
- Mélodies — I came, I saw, and was undone: Soprano-b.c. • Z.375
- Mélodies — I fain would be free: perduto • Z.377
- Mélodies — If music be the food of love: Tenore-b.c. • Z.379A
- Mélodies — If music be the food of love: Tenore-b.c. • Z.379B
- Mélodies — If music be the food of love: Soprano-b.c. • Z.379C
- Mélodies — If prayers and tears "sur la mort de Charles II": Soprano-b.c. • Z.380
- Mélodies — I love and I must ou Bell Barr: Soprano-b.c. • Z.382
- Mélodies — Incassum Lesbia, rogas ou The Queen's Epicedium: Soprano-b.c. • Z.383
- Mélodies — Leave these useless arts in loving • Z.389
- Mélodies — Love arms himself in Celia's eyes: Soprano-b.c. • Z.392
- Mélodies — Lovely Albina's come ashore: Soprano-b.c. • Z.394
- Mélodies — Not all my torments can your pity move: Soprano-b.c. • Z.400
- Mélodies — O ! fair Cedaria, hide those eyes: Soprano-b.c. • Z.402
- Mélodies — O ! how happy's he: incompleta • Z.403
- Mélodies — Olinda in the shades unseen: Soprano-b.c. • Z.404
- Mélodies — Pious Celinda goes to prayers: Tenore-b.c. • Z.410
- Mélodies — Fatal hour comes on apace (The): Soprano-b.c. • Z.421
- Mélodies — Turn then thine eyes • Z.425
- Mélodies — Urge me no more: Soprano-b.c. • Z.426
- Mélodies — What a sad fate is mine: Soprano-b.c. • Z.428
- Mélodies — When my Aemelia smiles: Tenore-b.c. • Z.434
- Mélodies — Who but a slave can well express: Soprano-b.c. • Z.440
- Mélodies — Why so serious, why so grave ?: perduto • Z.442
- Mélodies — When Thyrsis did the splendid eye • (1675) • Z.436
- Mélodies — Sweet tyranness, I now resign • (1678) • Z. 70S
- Mélodies — Cease, O my sad soul • (1678) • Z.363
- Mélodies — I saw that you were grown so high • (1678) • Z.387
- Mélodies — More love or more disdain I crave • (1678) • Z.397
- Mélodies — Sweet, be no longer sad • (1678) • Z.418
- Mélodies — When I a lover pale do see • (1678) • Z.433
- Mélodies — Amintas, to my grief I see: Tenore-b.c. • (1679) • Z.356
- Mélodies — I resolve against cringing: Tenore-b.c. • (1679) • Z.386
- Mélodies — Amintor, heedless of his flocks: Tenore-b.c. • (1681) • Z.357
- Mélodies — How I sigh when I think of the charms: Soprano-b.c. • (1681) • Z.374
- Mélodies — I take no pleasure in the sun's bright beams: Soprano-b.c. • (1681) • Z.388
- Mélodies — Pastora's beauties, when unblown: Soprano-b.c. • (1681) • Z.407
- Mélodies — Since one poor view has drawn my heart: Soprano-b.c. • (1681) • Z.416
- Mélodies — When her languishing eyes said 'love': Tenore-b.c. • (1681) • Z.432
- Mélodies — From silent shades or Bess of Bedlam: Sop./Mezzosoprano-b.c./pianoforte • (1683) • Z.370
- Mélodies — Let each gallant heart: Contraltista-b.c. • (1683) • Z.390
- Mélodies — Rashly I swore I would disown: Tenore-b.c. • (1683) • Z.411
- Mélodies — She loves and she confesses too: Soprano-b.c. • (1683) • Z.413
- Mélodies — She, who my poor heart possesses: Contreténor-b.c. • (1683) • Z.415
- Mélodies — Thousand sev'ral ways I tried (A): Tenore-b.c. • (1684) • Z.359
- Mélodies — Beware, poor shepherds: Tenore-b.c. • (1684) • Z.361
- Mélodies — He himself courts his own ruin: Contreténor-b.c. • (1684) • Z.372
- Mélodies — In Cloris all soft charms: Tenore-b.c. • (1684) • Z.384
- Mélodies — Through mournful shades and solitary groves: Sop.-b.c. • (1684) • Z.424
- Mélodies — Cupid, the slyest rogue alive: Tenore-b.c. • (1685) • Z.367
- Mélodies — Farewell, all joys: Contraltista-b.c. • (1685) • Z.368
- Mélodies — If grief has any power to kill: Tenore-b.c. • (1685) • Z.378
- Mélodies — In vain we dissemble: Soprano-b.c. • (1685) • Z.385
- Mélodies — Love is now become a trade: Tenore-b.c. • (1685) • Z.393
- Mélodies — My heart, whenever you appear: Tenore-b.c. • (1685) • Z.399
- Mélodies — Phyllis, talk no more of passion: Tenore-b.c. • (1685) • Z.409
- Mélodies — They say you're angry: Tenore-b.c. • (1685) • Z.422
- Mélodies — While Thyrsis, wrapt in downy sleep: Contraltista-b.c. • (1685) • Z.437
- Mélodies — Ye happy swains, whose nymphs are kind: Soprano-b.c. • (1685) • Z.443
- Mélodies — Whilst Cynthia sung, all angry winds lay still: Tenore-b.c. • (1686) • Z.438
- Mélodies — Amidst the shades and cool refreshing streams: Soprano-b.c. • (1687) • Z.355
- Mélodies — Cease, anxious world: Soprano-b.c. • (1687) • Z.362
- Mélodies — Let formal lovers still pursue: Contreténor-b.c. • (1687) • Z.391
- Mélodies — O solitude, my sweetest choice: Soprano-b.c. • (1687) • Z.406
- Mélodies — Spite of the godhead, pow'rful love: Tenore-b.c. • (1687) • Z.417
- Mélodies — When first Amintas sued for a kiss • (1687) • Z.430
- Mélodies — When first my shepherdess and I: Tenore-b.c. • (1687) • Z.431
- Mélodies — Ah ! how pleasant 'tis to love: Soprano-b.c. • (1688) • Z.353
- Mélodies — Love's power in my heart shall find no compliance: Tenore-b.c. • (1688) • Z.395
- Mélodies — Phyllis, I can ne'er forgive it: Tenore-b.c. • (1688) • Z.408
- Mélodies — Sylvia, now your scorn give over: Contreténor-b.c. • (1688) • Z.420
- Mélodies — This poet sings the Trojan wars or Anacreon's Defeat: Basso-b.c. • (1688) • Z.423
- Mélodies — Corinna is divinely fair: Soprano-b.c. • (1692) • Z.365
- Mélodies — Fly swift, ye hours: Tenore-b.c. • (1692) • Z.369
- Mélodies — On the brow of Richmond Hill: Contraltista-b.c. • (1692) • Z.405
- Mélodies — Stript of their green our groves appear • (1692) • Z.444
- Mélodies — I envy not a monarch's fate • (1693) • Z.376
- Mélodies — No, watch dear Celia, just is found • (1693) • Z.401
- Mélodies — We now, my Thyrsis, never find • (1693) • Z.427
- Mélodies — Ask me to love no more: Contreténor-b.c. • (1694) • Z.358
- Mélodies — Celia's fond, too long I've loved her: Contreténor-b.c. • (1694) • Z.364
- Mélodies — I lov'd fair Celia: Tenore-b.c. • (1694) • Z.381
- Mélodies — Sawney is a bonny lad: Tenore-b.c. • (1694) • Z.412
- Mélodies — What can we poor females do ? • (1694) • Z.429
- Mélodies — Hears not my Phyllis or The Knotting Song: Sop.-b.c. • (1695) • Z.371
- Mélodies — Love, thou canst hear, tho' thou art blind: Tenore-b.c • (1695) • Z.396
- Mélodies — She that would gain a faithful lover: Soprano-b.c. • (1695) • Z.414
- Mélodies — Who can behold Florella's charms ?: Tenore-b.c. • (1695) • Z.441
Sheet music for Amintor, heedless of his flocks Purcell
Amintor's Well-A-Day — John E. West
SATB Choir — Choral Score — Classical
Composed by John E. West. Classical. Choral Score. Novello & Co Ltd. #MUSNOV450972. Published by Novello & Co Ltd. (BT.MUSNOV450972).
Price: $3.00
Nearer, My God, to Thee Op. 81 — Sigfrid Karg-Elert
vocal solo(s), flute, choir, organ — full score — Early 20th Century
Canzona. Composed by Sigfrid Karg-Elert (1877-1933). Partitur-Bibliothek (Score Library). During his middle creative period, Karg-Elert developed his own, unmistakable choral style. His few choral works, which stem from the years 1912 and 1913, unquestionably belong to his major works from this period. Early 20th Century. Full score. Breitkopf and Haertel #PB-5387. Published by Breitkopf and Haertel (BR.PB-5387).
Price: $22.00
Passion Canzona Op. 84 — Sigfrid Karg-Elert
soprano voice, clarinet, oboe, choir, organ — score and parts — Early 20th Century
The Burial of Christ. Composed by Sigfrid Karg-Elert (1877-1933). Partitur-Bibliothek (Score Library).
During his middle creative period, Karg-Elert developed his own, unmistakable choral style. His few choral works, which stem from the years 1912 and 1913, unquestionably belong to his major works from this period.
Early 20th Century. Score and parts. Breitkopf and Haertel #PB-5390. Published by Breitkopf and Haertel (BR.PB-5390).Price: $30.00
Nearer, My God, to Thee Op. 81 — Sigfrid Karg-Elert
— choral score —
Canzona. Composed by Sigfrid Karg-Elert (1877-1933). During his middle creative period, Karg-Elert developed his own, unmistakable choral style. His few choral works, which stem from the years 1912 and 1913, unquestionably belong to his major works from this period. Choral score. Breitkopf and Haertel #CHB-5307-02. Published by Breitkopf and Haertel (BR.CHB-5307-02).
Price: $6.00
Passion Canzona Op. 84 — Sigfrid Karg-Elert
Voice(s) with various inst. — choral score — Early modern
The Burial of Christ. Composed by Sigfrid Karg-Elert (1877-1933). Cantata. Chor-Bibliothek (Choral Library). During his middle creative period, Karg-Elert developed his own, unmistakable choral style. His few choral works, which stem from the years 1912 and 1913, unquestionably belong to his major works from this period. Early modern. Choral score. Breitkopf and Haertel #CHB 5310-02. Published by Breitkopf and Haertel (BR.CHB-5310-02).
Price: $4.00
Duets Op. 5 — Friedrich Ludwig Dulon
2 flutes — — Classical period
Urtext. Composed by Friedrich Ludwig Dulon. Edited by Albrecht Imbescheid. Edition Breitkopf. Dulon, born in 1769, was a highly esteemed flute virtuoso in his time, who undertook his first concert tours at the age of 13. Perhaps he owed part of his legendary renown to the fact that he was blind since his early childhood. Classical period. Breitkopf and Haertel #EB-8498. Published by Breitkopf and Haertel (BR.EB-8498).
Price: $22.00
Duets Op. 5 — Friedrich Ludwig Dulon
2 flutes — — Classical period
Urtext. Composed by Friedrich Ludwig Dulon. Edited by Albrecht Imbescheid. Edition Breitkopf. Dulon, born in 1769, was a highly esteemed flute virtuoso in his time, who undertook his first concert tours at the age of 13. Perhaps he owed part of his legendary renown to the fact that he was blind since his early childhood. Classical period. Breitkopf and Haertel #EB-8499. Published by Breitkopf and Haertel (BR.EB-8499).
Price: $23.00
Duets Op. 5 — Friedrich Ludwig Dulon
2 flutes — — Classical period
Urtext. Composed by Friedrich Ludwig Dulon. Edited by Albrecht Imbescheid. Edition Breitkopf. Dulon, born in 1769, was a highly esteemed flute virtuoso in his time, who undertook his first concert tours at the age of 13. Perhaps he owed part of his legendary renown to the fact that he was blind since his early childhood. Classical period. Breitkopf and Haertel #EB-8500. Published by Breitkopf and Haertel (BR.EB-8500).
Price: $19.00
Henry Purcell And His Contemporaries — Henry Purcell
Harpsichord — Book Only —
Composed by Henry Purcell (1659-1695). Book Only. Composed 2002. Chester Music #MUSCH55429. Published by Chester Music (BT.MUSCH55429).
Price: $5.00
Come, Ye Sons of Art — Henry Purcell
Soprano voice, Alto voice, Piano — OCTAVO —
From the Birthday Ode to Queen Mary - April 30, 1694. Composed by Henry Purcell (1659-1695). Arranged by Russell L. Robinson. Fold. Henry Purcell, considered by many to be the finest composer of his day, is one of the Baroque period's greatest composers. Born in 1659 in London, he only lived to be thirty-six years old. He was the organist at Westminster Abbey for many years. This piec. OCTAVO. 8 pages. Duration 1 minute, 52 seconds. BriLee Music #BL1047. Published by BriLee Music (CF.BL1047).
Price: $1.00
(E) (Cf)
Soprano : Barbara Bonney Susan Gritton
(A)
Contre ténor :James Bowman
(B) (Dh)
Ténor : Charles Daniels Rogers Covey- Crump
(G)
Basse : Michael George
Basse de viole : Mark Caudle - Théorbe/Archiluth : David Miller
Orgue de chambre/Clavecin : Robert King
- 1Dgb -
Hyp Cds 44161-3
- 1994 -
(C) (H)
Alto : Kathleen Ferrier Contre ténor : Alfred Deller
Piano : Phyllis Spurr Clavecin : Walter Bergmann
- 6H5D - - 1Dgb -
Dec 592160.3 Classica 13
- 1949 - - 1949