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Your search has produced 28 results from the following 6 composers

Durante, Francesco | Jommelli, Niccolo | Leo, Leonardo | Lotti, Antonio | Porpora, Nicola Antonio | Vivaldi, Antonio | Please scroll down to view...

Durante, Francesco (born Frattamaggiore 31st March 1684
died Naples 30th September 1755)


Liturgical (other)
  • Litaniae Lauretanae (Litany of Loreto)
    Forces: SATB coro, violins & continuo
    Source: BL MS R.M.24.a.9.(4) (only source)
    Durante's masterful a minor setting of the Litaniae Lauretanae is in three parts, and weaves a colourful picture around the words. The structure means that it is possible to perform both with choral and solo forces or with a mixture of the two.

    Editor: James Sanderson
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Jommelli, Niccolo (b Aversa, 10 Sept 1714; d Naples, 25 Aug 1774)

Liturgical (other)
  • Graduale e sequenza per le Feste di Pentecoste
    Forces: SATB & continuo
    Source: BL R.M.24.a.6(5)
    Written for St Peter's in Rome, the gradual, versicles and sequence for Pentecost and the first 2 ferie in the octave of Pentecost. A rousing alleluia with the propers for solo voice, a solo trio for Veni Sancte Spiritus, reple tuorum and a full choral version, with solos for the sequence Veni Sancte Spiritus, et emitte caelitus. This is still the current correct texts for Pentecost according to the Graduale Romanum.

    Editor: James Sanderson
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Leo, Leonardo (1694 - 1744)

Liturgical (other)
  • Graduale: Eripe me Domine
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    Gradual for Passion Sunday.

    Editor: James Sanderson
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  • Introit: Judica me Deus
    Forces: SATB & continuo
    Source: BL Egerton 2466
    The introit for Passion Sunday. Dramatic with some very interesting harmonic language.

    Editor: James Sanderson
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  • Introite e Graduale per le Ceneri
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    The complete introit, graduals, tracts etc for Ash Wednesday under the old (pre-Vatican II) rite including:
    Judica me Deus;
    Eripe me Domine;
    Invocabit me;
    Angelis suis Deus;
    Scapulis suis obumbrabit tibi;
    Jerusalem lętare;
    Lętatus sum (minus last two verses);
    Misereris omnium Domine;
    Miserere mei Deus quoniam in te confidit;
    Misit de cęlo et liberabit me;
    and
    Adjuva nos Deus salutaris noster.

    Most suitable for liturgical or concert use.

    Editor: James Sanderson
    No preview available | Price: £ 15.95 | 

  • Lezione del Giovedģ Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112, Egerton MS 2466
    The Lessons for the Thursday of Holy Week from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'De lamentatione Jeremię prophetę. Heth. Cogitavit Dominus disspare', 'Lamed. Matribus suis dixerunt', and 'Aleph. Ego vir videns paupertatem', the first and last for soprano, the central section for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly extraordinary invention both in terms of melody and harmony. The range, both dramatic and vocal is extraordinary.

    Editor: James Sanderson
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  • Lezione del Mercordi Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112
    The Lessons for the Wednesday of Holy Week from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'Incipit lamentatio Jeremię Prophetę. Aleph. Quomodo sedet sola civitas', 'Vau. Et egressus est a Filia Sion', and 'Manum suam misit hostis (missing the Ioth. at the start of the verse)', the first and last for soprano, the central section for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly plangent harmonies. This first of the three Lezione uses much variation between violoncelli and bassi.
    Range (soprano): b flat - b flat''
    Range (alto): G - e flat'

    Editor: James Sanderson
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  • Lezione del Venerdi Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112
    The Lessons for Good Friday from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'De lamentatione Jeremię Prophetę. Heth. Misericordię Domini', 'Aleph, quomodo obscuratum', and 'Incipit oratio Jeremię Prophetę. Recordare Domine', the first and last for soprano, the central piece for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly plangent harmonies.
    Range (soprano): b flat - b flat''(sometimes in one four note phrase)
    Range (alto): a - e'

    Editor: James Sanderson
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  • Madrigale ą 9: Heu nos miseros
    Forces: SSATB, SATB & continuo
    Source: BL Add MS 14112
    Leo's moving 'Madrigale a nove' for nine part chorus is a wonderful example of the development of the 'older' style of polyphony in the first half of the 18th century.

    Editor: James Sanderson
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  • Miserere mei deus
    Forces: SATB, SATB & continuo
    Described by Wagner as "...A mighty cathedral, sublime and magnificent..." Leo's Miserere is a complex and beautiful work which is hugely rewarding both to sing and to listen to.
    Editor: James Sanderson
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  • Miserere mei Deus: quoniam in te confidit
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    The title page describes this work as being written for the Capella Reale di Napoli in 1744 (the year of Leo's death). It is not the Psalm 50 but the gradual and tract versicle for Ash Wednesday (in 1744). Divided into three sections: Miserere mei Deus, Misit de cęlo (the gradual for Ash Wednesday in 1744) and Adjuva nos, Deus salutaris noster (the tract versicle for Ash Wednesday in 1744) there is real beauty in its simplicity. See also the Misereris omnium, Domine which is the 1744 introit for Ash Wednesday.

    Editor: James Sanderson
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  • Misereris omnium Dominum
    Forces: SATB & continuo
    Source: BL Add. MS 14112
    This is the first piece in a collection of music for Ash Wednesday and Holy Week, written for the Royal Chapel, Naples in 1744 (the year of Leo's death). In four sections, the work provides the introit, gradual and tract for Ash Wednesday in a sublime polyphonic setting - much beautiful harmonic movement. A stunning work.

    Editor: James Sanderson
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  • Praebe Virgo benignas
    Forces: soprano, obligato organ & continuo
    An extraordinary work written for the unusual combination of soprano and obligato organ. Both parts are virtuosic, the vocal part being particularly challenging. In ARAR format it may have been meant to stand alone or as an introduction to another, larger, liturgical work.
    Source: Münster Santini HS 2351
    Range: e - c''

    Editor: James Sanderson
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Lotti, Antonio (1666 - 1740)

Liturgical (other)
  • Crucifixus ą 10
    Forces: SSSAATTTBB & continuo
    An intensely chromatic setting of the words from the creed, "Crucified under Pontius Pilate, died and was buried" in ten parts (plus continuo). Building from a single line to eleven within 6 bars and moving through varying polyphonic sections - a stunning work.
    Source: Münster Santini Sammlung Hs 3978(1)

    Editor: James Sanderson
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Porpora, Nicola Antonio (b Naples 1686; d. Naples 1768)

Liturgical (other)
  • Credidi propter
    Forces: SSAA coro, strings & continuo
    Source: BL MS Add. 14127 ff 29r - 38r (autograph)
    A setting of psalm 115(116) Credidi propter quod locutus sum ego divided into 3 sections: Psalm - Gloria - Sicut erat & amen.
    Written in 1745 for the Ospedaletto, it appears to have been reworked at a later date for SSAB coro, a format more characteristic of earlier works for the Pietą.
    This version follows the original SSAA coro version in all respects.

    Editor: James Sanderson
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  • De profundis
    Forces: soprano & alto solo, SSAA coro, strings & continuo
    Source: BL MS Add. 14128 ff 83r - 105r
    A substantial setting of the De Profundis in 9 movements, 4 choral (SSAA), 4 solo and one duet, written in 1744 for the Ospedaletto. The soloists are entered in the score as: Bernadetta, Elisabetta Pia, Lauretta (soprani), with Angioletta Moro and Barbara (contralti). As is common in these liturgical settings, Porpora features favoured/most talented students first, the first soprano and alto arias being the most virtuosic.

    Editor: James Sanderson
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  • Domine Probasti Me (Chorus part)
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 3.95 | 

  • Domine Probasti Me (Chorus part) copy license
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 0.95 | 

  • Domine probasti me (Psalm 138/9)
    Forces: SSAA coro, strings & continuo
    Source: Autograph in BL Add MS 14216
    Writen in October of 1745 for the girls of the Ospedaletto this is a continuous setting, i.e. not divided into separate sections other than for the short, fiery Gloria Patri. Similar in style to the other Psalm settings (Credidi Propter, In Exitu Israel, Qui habitat in adjutorium etc.)
    Duration would be around 8 minutes and is perfect for a difficult programming spot!

    Editor: James Sanderson
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  • Domine Probasti Me (Vocal Score)
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 5.95 | 

  • In Exitu Israel
    Forces: 2 SAA coro, violins, violetta and continuo
    Source: BL Add 14125
    Charming homophonic treatment of Psalm 113 written in 1744 (Feb) at the Ospedaletto.

    Editor: James Sanderson
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  • In Exitu Israel (Chorus part)
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 3.95 | 

  • In Exitu Israel (Chorus part) Copy license
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 0.95 | 

  • In Exitu Israel (Vocal Score)
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 5.95 | 

  • Nunc dimittis (1744)
    Forces: 2 soprano solo, SSAA coro, strings & continuo
    Source: BL Add MS 14126 (autograph)
    The canticle sung as part of compline since the 4th century (Luke 2:29-31). In five parts, three choral with a soprano solo and a double soprano duet (quite tricky) Porpora's setting was written in 1744 for the girls of the Ospedaletto in Venice.

    Editor: James Sanderson
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  • Qui Habitat (Psalm 90/91)
    Forces: 2 soprani solo, SSAA coro, strings & continuo
    Source: autograph in BL Add MS 14126
    Another single section psalm setting written for the girls of the Ospedaletto in Venice in February of 1744. Launching straight into a rapid word setting and using advanced, and in some moments unusual, harmonic changes. The solo sections are, as usual, virtuosic, the choral writing exciting, but not too difficult to sing.

    Editor: James Sanderson
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Vivaldi, Antonio (1678-1741)

Liturgical (other)
  • Gloria - Vocal Score
    Forces: 2 sop & alto solo, SATB, strings, trpt, ob and continuo
    Based on the Turin autograph a new edition of Vivaldi's most popular choral work.
    Editor: James Sanderson
    No preview available | Price: £ 6.95 | 

  • Gloria in D (RV 589)
    Forces: 2 sop & alto solo, SATB, strings, trpt, ob and continuo
    Based on the Turin autograph a new edition of Vivaldi's most popular choral work. Full score and orchestral parts.
    Editor: James Sanderson
    MIDI Preview | Price: £ 17.95 | 

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