4316550
45 ARIAS from Operas and Oratorios for Voice and Piano (High Voice)
4316550
4316550
45 ARIAS from Operas and Oratorios for Voice and Piano (High Voice) High Voice scores gallery preview page 1
45 ARIAS from Operas and Oratorios for Voice and Piano (High Voice) High Voice scores gallery preview page 2
45 ARIAS from Operas and Oratorios for Voice and Piano (High Voice) by George Frideric Handel High Voice - Sheet Music
45 ARIAS from Operas and Oratorios for Voice and Piano (High Voice) by George Frideric Handel High Voice - Sheet Music page 2

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45 ARIAS from Operas and Oratorios for Voice and Piano (High Voice) Volume II by George Frideric Handel High Voice - Sheet Music

By George Frideric Handel
High voice solo and piano accompaniment (high voice) - Difficulty: difficult

SKU: IM.1695

Volume II. Composed by George Frideric Handel. Edited by Sergius Kagen. Baroque. Collection. With vocal melody, piano accompaniment, lyrics, translations and introductory text. 64 pages. International Music Co. #1695. Published by International Music Co. (IM.1695).

7.5x10.5 inches.

  • Care selve
  • Mirth admit me
  • Non lo diro
  • Recit: O didst thou
  • Aria: As when the dove
  • Recit: Frondi tenere
  • Aria: Ombra mai fu
  • Aria: Angels ever bright
  • O had I Jubal's Lyre
  • O Sleep
  • Rendi il serno
  • Sommi Dei
  • Sweet Bird
  • Sound An Alarm!
  • There the brisk sparkling Necktor
  • Verdi Prati
  • So shall the Lute and Harp
  • Recit: O worse than Death

Ratings + Reviews

Based on 1 Reviews
Anonymous
May 13, 2011
Handel 45 Arias, Vol. 2 (International)
If one allows that some of the arias in this anthology are only proper for soprano or tenor, not both, there remain some good things to say about it. First, the selection consists of basic arias with which no performer should be unfamiliar. The editing, too, is modest enough, with editorial dynamics clearly set off in parentheses. In addition, the piano reductions of the orchestral accompaniments are not difficult and provide useful study material for student accompanists. While it is true that some of the continuo realizations will seem conservative by present-day standards, they work well enough on the piano, are of an appropriate level of complexity for student accompanists, and could be easily dressed up by the pianist if necessary.