Aria Album for Baritone/Bass
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- Composers: George Frideric Handel (1685-1759), Wolfgang Amadeus Mozart (1756-1791), Johann Sebastian Bach (1685-1750), Giovanni Battista Pergolesi (1710-1736), Albert Lortzing (1801-1851), Ludwig van Beethoven (1770-1827), Richard Wagner (1813-1883), Gioachino Rossini (1792-1862), Joseph Haydn (1732-1809), Alessandro Stradella (1645-1682), Carl Maria von Weber (1786-1826), Christoph Willibald Gluck (1714-1787), Felix Mendelssohn (1809-1847)
- Instrumentation (this edition): Piano Reduction, Baritone, Bass
- Originally for: Piano, Voice, SATB Choir, Orchestra, Bass, Double Choir (SATB + SATB), Opera
- Work Languages: German, Italian
- ISMN:
- Size: 7.5 x 10.6 inches
Works:
- Habe Erbarmen mit meinen Schmerzen from Stradella: Signore Pietà
- Grosser Herr und starker König from Bach: Christmas Oratorio, BWV 248
- Gebt mir meinen Jesum wieder from Bach: St. Matthew Passion, BWV 244
- Tutta raccolta ancor from Handel: Ezio, HWV 29
- Nasce al bosco from Handel: Ezio, HWV 29
- Bacchus, ewig jung und schön from Handel: Alexander's Feast, HWV 75
- Gib Rach, gib Rach from Handel: Alexander's Feast, HWV 75
- Doch wer wird ertragen den Tag seiner Ankunft? from Handel: Messiah, HWV 56
- Das Volk, das da wandelt im Dunkel from Handel: Messiah, HWV 56
- Warum denn rasen and toben die Heiden from Handel: Messiah, HWV 56
- Sie schallt, die Posaun from Handel: Messiah, HWV 56
- Tre giorni son che Nina from Pergolesi: Nina (Tre giorni)
- Dieux, qui me poursuivez from Gluck: Iphigénie en Tauride (French Version), Wq. 46
- Le calme rentre dans mon coeur from Gluck: Iphigénie en Tauride (French Version), Wq. 46
- Rollend in schäumenden Wellen from J. Haydn: The Creation, Hob. XXI:2
- Nun scheint in vollem Glanze from J. Haydn: The Creation, Hob. XXI:2
- Schon eilet froh der Ackermann from J. Haydn: The Seasons, Hob. XXI:3
- Der muntre Hirt from J. Haydn: The Seasons, Hob. XXI:3
- Seht auf die breiten Wiesen hin from J. Haydn: The Seasons, Hob. XXI:3
- Wer ein Liebchen hat gefunden from Mozart: Die Entführung aus dem Serail (The Abduction from the Seraglio), K. 384
- Solche hergelaufne Laffen from Mozart: Die Entführung aus dem Serail (The Abduction from the Seraglio), K. 384
- O wie will ich triumphieren from Mozart: Die Entführung aus dem Serail (The Abduction from the Seraglio), K. 384
- Vedro mentr'io sospiro from Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492
- Se vuol ballare from Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492
- Non più andrai from Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492
- Aprite un po'quegli occhi from Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492
- La vendetta from Mozart: Le nozze di Figaro (The Marriage of Figaro), K. 492
- Notte e giorno faticar from Mozart: Don Giovanni, K. 527
- Madamia! Il catalogo è questo from Mozart: Don Giovanni, K. 527
- Fin ch'an dal vino from Mozart: Don Giovanni, K. 527
- Dehvieni alla finestra from Mozart: Don Giovanni, K. 527
- O Isis and Osiris from Mozart: Die Zauberflöte (The Magic Flute), K. 620
- In diesen heilgen Hallen from Mozart: Die Zauberflöte (The Magic Flute), K. 620
- Der Vogelfänger bin ich ja from Mozart: Die Zauberflöte (The Magic Flute), K. 620
- Ein Mädchen or Weibchen from Mozart: Die Zauberflöte (The Magic Flute), K. 620
- Mentre ti lascio, o figlia from Mozart: Mentre ti lascio, oh figlia, K. 513
- Hat man nicht auch Gold beineben from Beethoven: Fidelio, Op. 72
- Schweig damit dich niemand warnt from Weber: Der Freischütz, J. 277, Op. 77
- Hier im irdschen Jammertal from Weber: Der Freischütz, J. 277, Op. 77
- Wo berg ich mich from Weber: Euryanthe, J. 291, Op. 81
- Largo al factotum from Rossini: The Barber of Seville (Il barbiere di Siviglia)
- La calunnia è un venticello from Rossini: The Barber of Seville (Il barbiere di Siviglia)
- Fünftausend Taler from Lortzing: Der Wildschütz
- Sonst spielt ich mit Szepter from Lortzing: Zar and Zimmermann
- O sancta justitia! from Lortzing: Zar and Zimmermann
- Auch ich war ein Jüngling from Lortzing: Der Waffenschmied
- Lortzing: Es wohnt am Seegestade from Undine
- Sei mir gnädig from Mendelssohn: St. Paul, MWV A 14, Op. 36
- Es ist genug from Mendelssohn: St. Paul, MWV A 14, Op. 36
- O du meinholder Abendstern from Wagner: Tannhäuser, WWV 70
- Wahn! Wahn! Uerberall from Wagner: Die Meistersinger von Nürnberg, WWV 96
- Verachtet mir die Meister nicht from Wagner: Die Meistersinger von Nürnberg, WWV 96
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.