Furore Verlag - 001-100213
Fanny Hensel Mendelssohn Oratorium Full Score
Composer: Fanny Hensel (née Mendelssohn)
Publisher: Furore Verlag
Format: Full Score
Quantity:
Pickup available at Juilliard Store
Usually ready in 4 hours
Fanny Hensel Mendelssohn Oratorium Full Score
Juilliard Store
Pickup available, usually ready in 4 hours
144 West 66th Street
New York NY 10023
United States
Choose options
Quantity:
Pickup available at Juilliard Store
Usually ready in 4 hours
Fanny Hensel Mendelssohn Oratorium Full Score
Juilliard Store
Pickup available, usually ready in 4 hours
144 West 66th Street
New York NY 10023
United States
Quantity:
Pickup available at Juilliard Store
Usually ready in 4 hours
Fanny Hensel Mendelssohn Oratorium Full Score
Juilliard Store
Pickup available, usually ready in 4 hours
144 West 66th Street
New York NY 10023
United States
also: Musik für die Toten der Cholera-Epidemie 1831
nstrumentation: soli, choir and orchestra
Edition: score
Publisher: Elke Mascha Blankenburg
Item no.: fue 5330
Year: 1831
Duration: (45')
Difficulty: medium
ISMN: 979-0-50012-334-7
Besetzung/Scoring: 2.2.2.2.-2.2.3.0., Timp,
Str, GCh (4 st), SATB Soli
"This oratorio is the third of three church works composed in rapid succession on 1831; its scoring is more abundant than that of the cantatas composed prior to it: there are five- to eight-part choruses and the orchestra is expanded to include three trombones. Once again Fanny Hensel-Mendelssohn looks back in musical history, this time to the pre-Baroque era, and adds a new dimension to her own compositional language by doing so. At times modal harmonies create an „archaic“ atmosphere for the biblical texts.
nstrumentation: soli, choir and orchestra
Edition: score
Publisher: Elke Mascha Blankenburg
Item no.: fue 5330
Year: 1831
Duration: (45')
Difficulty: medium
ISMN: 979-0-50012-334-7
Besetzung/Scoring: 2.2.2.2.-2.2.3.0., Timp,
Str, GCh (4 st), SATB Soli
"This oratorio is the third of three church works composed in rapid succession on 1831; its scoring is more abundant than that of the cantatas composed prior to it: there are five- to eight-part choruses and the orchestra is expanded to include three trombones. Once again Fanny Hensel-Mendelssohn looks back in musical history, this time to the pre-Baroque era, and adds a new dimension to her own compositional language by doing so. At times modal harmonies create an „archaic“ atmosphere for the biblical texts.