Georg Friedrich Händel
Lascia ch'io pianga
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Georg Friedrich Händel
Lascia ch'io pianga
- Instrumentation Concert Band
- Optional Instrumentation Concert Band (Solo/Feature: Organ)
- Composer Georg Friedrich Händel
- Editor Siegmund Andraschek
-
Difficulty Level
- Edition Sheet Music
- Publisher Andraschek Musikverlag
- Order no. AND00066
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Description:
Aria from the opera "Rinaldo"
The opera seria "Rinaldo" was first performed in 1711 at the "Queen's Theatre," London. However, the melody, a classical sarabande, was already used in Handel's first opera "Almira" in 1705. The text is by Giacomo Rossi.
The arrangement was created - in consultation with the final candidate, Mr. Lukas Klopfer - on behalf of the Leibnitz/Styria District Wind Music Association as part of the training course for conductors. Therefore - in accordance with the artistic and pedagogical requirements - great attention was also paid in the concept to the part of the development of this arrangement for the areas: stylistics, sound, timbre, register and orchestral balance. In this instrumental version, the oboe initially takes on the solo part of the singer, but the arrangement subsequently allows the theme to be interpreted through various registers and a careful dynamic increase is made possible up to the finale through a steadily denser instrumentation. This arrangement is also ideal for performances in a church (ad lib. with organ).
The opera seria "Rinaldo" was first performed in 1711 at the "Queen's Theatre," London. However, the melody, a classical sarabande, was already used in Handel's first opera "Almira" in 1705. The text is by Giacomo Rossi.
The arrangement was created - in consultation with the final candidate, Mr. Lukas Klopfer - on behalf of the Leibnitz/Styria District Wind Music Association as part of the training course for conductors. Therefore - in accordance with the artistic and pedagogical requirements - great attention was also paid in the concept to the part of the development of this arrangement for the areas: stylistics, sound, timbre, register and orchestral balance. In this instrumental version, the oboe initially takes on the solo part of the singer, but the arrangement subsequently allows the theme to be interpreted through various registers and a careful dynamic increase is made possible up to the finale through a steadily denser instrumentation. This arrangement is also ideal for performances in a church (ad lib. with organ).