Partitions pour ensemble mixte

'Amor vince ogni cosa' is a cantata-like work in which the actions of two shepherds, Linco and Silvio, overcome the misfortunes of two shepherdesses, Filli and Eurilla, who are subsequently urged by P...

Marc-Antoine Charpentier was unusual amongst his French contemporaries in setting a significant number of Italian texts. Among the most substantial of these settings are a pair of so-called pastoralet...

Among Vienna's many composers and pianists of the time, Anton Eberl (1765-1807) was the one considered most worthy of comparison with Beethoven. His Sonata in A minor, Op. 10 No. 1, probably the third...

Here, for the first time in modern edition, is the fourth in our series of Johann Nepomuk Hummel's superb arrangements of seven of Mozart's piano concertos, the Concerto in C minor, K491.

This atmospheric, sensitive piece for solo SATB (or small vocal ensemble) with optional string quartet was written by Timothy Raymond for the 2017 Lower Machen Festival. The contemporary harmonic lang...

Present Shadows is inspired by Old Hispanic liturgical chant preserved within manuscripts dating from as early as the eleventh century. It aims to convey a sense of stasis, which the melismatic struct...

This compact sinfonia is an early example of a true chamber sinfonia: that is, an offshoot of the Italian-style operatic overture intended from the start to be a free-standing composition for use in e...

Towards the end of his long life the organist Christian Michael Wolff (1707-1789), resident in the Baltic port of Stettin (today, Szczecin in Poland), achieved a degree of fame as a composer through t...

Towards the end of his long life the organist Christian Michael Wolff (1707-1789), resident in the Baltic port of Stettin (today, Szczecin in Poland), achieved a degree of fame as a composer through t...

Wolff's Concerto in G major for Flute, Strings and Basso Continuo encloses a wistful Largo in E minor between a stately Moderato and a sprightly, dance-like Allegretto. The solo instrument is treated...

Recall an event, then 're-tell' it in different ways: that is the raison d'être of Stephen Pratt's Telling the Tale. As the piece progresses, the focus slips away from the original event to become a l...

Boismortier's Six Concerto pour les Flutes-Traversieres, Violons, ou Haubois; avec la Baße, Op. 21, were published in early 1728. They are the second set of concertos to be composed by a Frenchman, th...

Boismortier's Op. 21 was intended for a flute, a violin or second flute, and basso continuo (with a musette or recorder proposed as alternatives to the flute in Concerto No. 3), but the deliberately g...

Vitali wrote nine cantatas for meetings of the Accademia dei Dissonanti in Modena, an intellectual talking-shop centred on Duke Francesco II's court. Many of these works are described as 'accademia',...

Bach's ever-popular harpsichord concerto in D minor (BWV 1052) has been recognized for nearly 150 years to be a transcription of a much earlier violin concerto in the same key, and reconstructions of...

Nicolas Mori's arrangement of Beethoven's 7th Symphony was published in the 1820s by Elizabeth Lavenu, widow of the London violinist and publisher Lewis Lavenu, who died in 1818. She married Mori, a v...

La musique de chambre vocale profane de Galuppis comprend au moins une dizaine d’œuvres, dans des combinaisons vocales et instrumentales variées, et appartient principalement à sa dernière période cré...

La musique de chambre vocale profane de Galuppis comprend au moins une dizaine d’œuvres, dans des combinaisons vocales et instrumentales variées, et appartient principalement à sa dernière période cré...

L'opinion de Stanley Sadie, exprimée en 1963, selon laquelle les deux des douze sonates en trio de Frederick Ernest Fisher (1711/12-1760), réparties à parts égales entre l'opus 1 (vers 1751) et l'opus...

L'opinion de Stanley Sadie, exprimée en 1963, selon laquelle les deux des douze sonates en trio de Frederick Ernest Fisher (1711/12-1760), réparties à parts égales entre l'opus 1 (vers 1751) et l'opus...

L’opinion de Stanley Sadie, exprimée en 1963, selon laquelle deux des douze sonates en trio de Frederick Ernest Fisher (1711/12–1760), réparties à parts égales entre l’opus 1 (vers 1751) et l’opus 2 (...

L’opinion de Stanley Sadie, exprimée en 1963, selon laquelle deux des douze sonates en trio de Frederick Ernest Fisher (1711/12–1760), réparties à parts égales entre l’opus 1 (vers 1751) et l’opus 2 (...