SKU: A0.742473

Les Indes galantes (French: The Amorous Indies) Opéra-ballet with a prologue and two entrées. Choreography: Louis Dupré. Music: Jean-Philippe Rameau. Libretto: Louis Fuzelier. Sets: Giovanni-Niccolò Servandoni. First performance: 23 August 1735, Théâtre de l'Académie de Musique, Paris. Principals: David Dumoulin, Louis Dupré, M. le Breton, M. Javellier, Marie Sallé.

The premiere, including only the prologue and the first two of its four entrées (acts), was staged by the Académie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Opéra, Marie Antier, Marie Pélissier, Mlle Errémans, Mlle Petitpas, Denis-François Tribou, Pierre Jélyotte, and Claude-Louis-Dominique Chassé de Chinais, and the dancers Marie Sallé and Louis Dupré. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette.

Le Turc Generaux. Osman Pasha is in love with his slave, the young Émilie, but she rejects him, telling him she was about to be married when a group of brigands abducted her. Osman urges her to give up hope that her fiancé is still alive (Air: Il faut que l'amour s'evole) but Émilie refuses to believe this is true. The sky turns dark as a storm brews; Émilie sees the violent weather as an image of her despair (Air: Vaste empire des mers). A chorus of shipwrecked sailors is heard (Chorus: Ciel! de plus d'une mort). Émilie laments that they too will be taken captive. She recognises one of the sailors as her fiancé Valère. Their joy at their reunion is tempered by sadness at the thought they are both slaves now. Osman enters and is furious to see the couple embracing. However, unexpectedly, he announces he will free them. He too has recognised Valère, who was once his master but magnanimously freed him. Osman loads Valère's surviving ships with gifts and the couple praise his generosity. They call on the winds to blow them back to France (Duet and chorus: Volez, Zéphyrs). The act ends with celebratory dances as Valère and Émilie prepare to set sail.

SKU: A0.1499389

Jolly Old St. Nicholas is a significant Christmas song rooted in a poem by Emily Huntington Miller, published in December 1865 as Lilly's Secret in The Little Corporal Magazine. The song's lyrics, now widely recognized, closely resemble Miller's original poem. However, some attributions have also been made to Benjamin Hanby, who wrote a similar song in the 1860s, and John Piersol McCaskey, who claimed authorship in 1867.

Historical Context
The music for Jolly Old St. Nicholas is generally credited to James R. Murray, first published in 1874. The song has since become a staple of Christmas music, with numerous recordings by various artists, including Ray Smith, Chet Atkins, and Alvin and the Chipmunks.

Themes and Lyrics
The song features a child speaking to Santa Claus, eagerly anticipating Christmas and sharing gift wishes. This interaction reflects the broader themes of childhood innocence and the joy of giving, which are central to Christmas. The lyrics highlight a sense of wonder and excitement as the child asks Santa to choose gifts for them, emphasizing trust in Santa's judgment.

Cultural Impact
Jolly Old St. Nicholas has become a beloved Christmas classic, often performed in various musical styles, including jazz and pop. Its enduring popularity is a testament to its ability to resonate with children and adults, encapsulating the spirit of Christmas and the joy of anticipation accompanying the holiday season. Overall, the song serves not only as a festive tune but also as a cultural artifact that reflects the evolution of the Santa Claus figure from St. Nicholas, a historical Christian bishop known for his generosity, to the modern-day Santa Claus celebrated in various traditions worldwide.

SKU: A0.1491194

Good King Wenceslas is a well-known Christmas carol that narrates the story of a kind-hearted ruler who braves winter weather to help a poor peasant. The carol is inspired by the historical figure of Saint Wenceslas I, Duke of Bohemia, who lived from approximately 907 to 935 AD. Although he is referred to as a king in the carol, he was a duke during his lifetime; the title of king was conferred upon him posthumously by Holy Roman Emperor Otto I.

Historical Context

Wenceslas was born into a Christian family and raised primarily by his grandmother, Ludmila, who significantly influenced his faith. His mother, Drahomíra, was aligned with paganism and ultimately had Ludmila murdered to gain power. Upon becoming Duke at 18, Wenceslas sought to promote Christianity and was known for his charitable acts, especially towards the poor and marginalized. His reign was marked by efforts to end religious conflicts and to build churches, including part of what is now St. Vitus Cathedral in Prague. However, his commitment to Christianity and his benevolent nature made him a target for his jealous younger brother, Boleslav, who ultimately conspired to murder him in 929 or 935 AD.

The Carol

The carol Good King Wenceslas was written in 1853 by English hymn-writer John Mason Neale, set to a melody from a 13th-century spring carol. It was designed to encourage Christian charity, particularly during Christmas, and is traditionally sung on the Feast of Stephen, December 26. The lyrics depict Wenceslas and his page witnessing a poor man gathering firewood and deciding to help him by bringing food and supplies. This story reflects the historical Wenceslas's reputation for generosity and compassion, which has led to his veneration as a saint and the patron saint of the Czech Republic. His legacy is celebrated in the Czech Republic, where he is known as Václav, and he is commemorated on September 28, known as St. Wenceslas Day.

Cultural Significance

The carol has become a staple of Christmas music in the English-speaking world, performed by various artists and choirs. It serves not only as a festive song but also as a reminder of the values of charity and kindness, echoing the life and virtues of the historical Wenceslas.

SKU: A0.1197314

Dotzauer’s first attempt at a major form of chamber music comes in 1810, with his Op. 12. This is a couple of quartets for two violins, viola, and violoncello obbligato. One may think these are ordinary string quartets, where the first violin has all the fun and the other three players share the remaining bits, but one would be gravely mistaken. The clue for this is the dedication by Dotzauer to his teacher, Bernhard Romberg. Then we have the word “obbligato� marking the prominence of the cello part over the others. 

They are entertaining pieces, about 25-minutes-long each, in four movements, and similar to Haydn in style. These are the first two of Dotzauer’s generous production of string quartets (more than twenty!). The first is in E-flat major, while the second is in G minor, a curious choice for sure. 

This edition comes in digital and print, both including the same material, a score and a set of four parts.

SKU: A0.891928

When serendipity strikes it's usually a good thing, in this case it's a beautiful thing! Meditation by Walter Battison Haynes, here scored for String Quartet, is a delightful and exquisite example of forgotten music that should be heard again! In a generous acoustic, this piece would calm a raging bull !! Also available in Woodwind Quartet,Saxophone Quartet, Clarinet Quartet and Flute Quartet flavours!