Gospels und Spirituals Für Gemischten Chor

Fassung IV-with the unfinished revision [1739] an an appendix. The St. John Passion ranks among the great vocal works from Bach’s Leipzig years. In contrast to his other large-scale choral works however Bach never gave this work a definitive final form. Rather for every performance he made numerous changes. All previous editions of the St. John Passion have combined readings from various layers of sources. The wish often expressed by conductors to perform an authentic version is made possible for the first time with the present edition in this fourth and final version which was performed under Bach’s direction in 1749. At the same time with the aid of the appendix it is possibleto perform the work in the traditional “mixed version.”

C. P. E. Bach’s nine-movement Magnificat (1749) the first great vocal work from his Berlin years is among the most magnificent sounding in which the solo vocal parts are also among the most ambitious settings of the “Hymn to the Virgin Mary” (Luke 1). The work fulfills all the criteria required for a larger sacred composition: grandeur dignity polyphonic and concertante choral movements sensitive (“empfindsam”) and expressive arias a long concluding double fugue. This richly scored Magnificat (with 3 trumpets and timp. ad. lib.) which is almost one hour in duration would be well suited for example as the central work on every Christmas or pre-Christmas concertprogramme. CPE Bach's Magnificat WQ215 for SATB. C. P. E. Bach’s nine-movement Magnificat (1749) the first great vocal work from his Berlin years is among the most magnificent sounding in which the solo vocal parts are also among the most ambitious settings of the “Hymn to the Virgin Mary” (Luke 1). The work fulfills all the criteria required for a larger sacred composition: grandeur dignity polyphonic and concertante choral movements sensitive (“empfindsam”) and expressive arias a long concluding double fugue. This richly scored Magnificat (with 3 trumpets and timp. ad. lib.) which is almost one hour in duration would be well suited for example as thecentral work on every Christmas or pre-Christmas concert programme.

Haydn's Insanae et vanae curae for SATB. For the revival in the Burgtheater Vienna in March 1784 Haydn modernized his oratorio 'Il ritorno di Tobia'. He added the choruses 'Ah gran Dio' and 'Svanisce in un momento' the second of which called 'Der Sturm' was reworked in the sacred motet 'Insanae et vanae curae'. This was an authentic or an authorized parody.

cis-Moll- The Messe solennelle op. 16 for mixed choir and two organs by Louis Vierne was composed in 1899. At its world premiere in St. Sulpice in December 1901 Charles-Marie Widor played the main organ and Vierne the choir organ. The work belongs to the highlights of the late Romantic organ masses and more-over is comfortable for the choir to sing. The present edition is based upon the first edition that was published in 1900 by Pérégally & Fils in Paris. Due to practical reasons a performance with two organs is often not possible therefore parallel to the original edition the publishers have also published an arrangement for choir and one organ by ZsigmondSzathmary. Additional editions in the Series Choir & Organ Louis Vierne's Messe solennelle en ut dièse mineur (Op.16; cis-Moll) for SATB and Two Organs. The Messe Solennelle Op. 16 for mixed choir and two organs by Louis Vierne was composed in 1899. At its world premiere in St. Sulpice in December 1901 Charles-Marie Widor played the main organ and Vierne the choir organ. The work belongs to the highlights of the late Romantic organ masses and more-over is comfortable for the choir to sing. The present edition is based upon the first edition that was published in 1900 by Pérégally & Fils in Paris. Due to practical reasons a performance with two organs is often not possible therefore parallel to theoriginal edition the publishers have also published an arrangement for choir and one organ by Zsigmond Szathmáry.

D-Dur-As it does not require a festive choir of trumpets Zelenka's Magnificat was apparently not written for the Vesper service on a high feast day. On comparing the work with Bach's large-scale Magnificat the simpler formal and musical cast of the former becomes immediately apparent. Jan Dismas Zelenka's Magnificat in D (ZWV 108; D-Dur) for SATB. As it does not require a festive choir of trumpets Zelenka's 'Magnificat' was apparently not written for the Vesper service on a high feast day. On comparing the work with Bach's large-scale 'Magnificat' the simpler formal and musical cast of the former becomes immediately apparent.

Denn Es Will Abend Werden- J.S. Bach's Kantate 006 Bleib Bei Uns for SATB.

Vesperpsalm- J.A. Hasse's Confitebor tibi for SATB.

für Kaiserin Marie Therese-Haydn made two settings of the Ambrosian song of praise the Te Deum. The second of these was written for the Empress Marie Therese to a commission from the court of Vienna; a work of Haydn’s last period it dates from 1800. Its large orchestra gives this work which makes no use of solo singers a particular splendour of sound skin to that of the choruses in Haydn’s Creation. Haydn's Te Deum for Empress Marie Therese for SATB. Haydn made two settings of the Ambrosian song of praise the Te Deum. The second of these was written for the Empress Marie Therese to a commission from the court of Vienna; a work of Haydn’s last period it dates from 1800. Its large orchestra gives this work which makes no use of solo singers a particular splendour of sound skin to that of the choruses in Haydn’s Creation.

George Frideric Handel is considered England’s first and foremost composer of oratorios. Above all the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759.In accordance with the wishes voiced by many choral conductors and singers the vocal score is available in separate English and German versions. Handel's Messiah Messias) for SATB and Piano.

Orchesterfassung-With its traditional forms and proven compositional models its original ideas which are sometimes marked by a folk- or folksong-like melodic character and with its harmonic richness Dvorák’s D major Mass serves in its liturgical context to express the worship of God. The Mass is characterized by lyrical meditation rather than by dramatic immediacy. Dvorák's Messe in D for SATB. With its traditional forms and proven compositional models its original ideas which are sometimes marked by a folk- or folksong-like melodic character and with its harmonic richness Dvorák’s D major Mass serves in its liturgical context to express the worship of God. The Mass is characterized by lyrical meditation rather than by dramatic immediacy.

c-Moll-The Mass in C minor K. 427 Mozart's Great Mass remaines a torso - a circumstance which is extremely regrettable especially given the monumentality of this work. Mozart finished only the Kyrie Gloria Sanctus Osanna and Benedictus of the Mass. For two movements from the Credo he only completed sketches without instrumentation. In March 1785 Mozart arranged Kyrie and Gloria supplemented by a tenor and a soprano aria for the Italian oratorio Davide penitente. In his arrangement of the Mass in c minor Richard Maunder added Creed wind and brass instruments to the Credo sketches. Mozart's Missa in C for SATB. The Mass in C minor K. 427 Mozart's 'Great Mass' remaines a torso - a circumstance which is extremely regrettable especially given the monumentality of this work. Mozart finished only the Kyrie Gloria Sanctus 'Osanna' and Benedictus of the Mass. For two movements from the Credo he only completed sketches without instrumentation. In March 1785 Mozart arranged Kyrie and Gloria supplemented by a tenor and a soprano aria for the Italian oratorio 'Davide penitente'. In his arrangement of the Mass in c minor Richard Maunder added Creed wind and brass instruments to the Credo sketches.

Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson Maurice. According to information handed down while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil Henri Busser but the only complete version from the pen of Gounod is the version for large orchestra which is published here for the first time in a critical edition. Gounod’s Requiem unlike many contemporary settings of the Mass of the Dead is not characterized by darkness and terror. Rather with all of its trepidation – expressed through a marked chromaticism – an atmosphere of hopeful expectation of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod’s death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Charles Gounod's Requiem in C for SATB. Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson Maurice. According to information handed down while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil Henri Busser but the only complete version from the pen of Gounod is the version for large orchestra which is published here for the first time in a critical edition. Gounod’s Requiem unlike many contemporary settings of the Mass of the Dead is not characterized by darkness and terror. Rather with all of its trepidation – expressedthrough a marked chromaticism – an atmosphere of hopeful expectation of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod’s death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press.

Following his early departure from the opera stage in 1829 besides chamber music Gioachino Rossini composed only larger scored works of church music. The Stabat Mater is among these. It was composed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary’s pain in the face of the crucified Christ. Time and again the vivid language of this text a Latin poem probably from the 13th century has inspired settings by composers including illustrious names such as Pergolesi Joseph Haydn and Verdi. In 10 movements Rossini unites different forms such as aria duet quartet and chorus an operaticaria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre. Rossini's Stabat Mater for SSTB. Following his early departure from the opera stage in 1829 besides chamber music Gioachino Rossini composed only larger scored works of church music. The Stabat Mater is among these. It was composed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary’s pain in the face of the crucified Christ. Time and again the vivid language of this text a Latin poem probably from the 13th century has inspired settings by composers including illustrious names such as Pergolesi Joseph Haydn and Verdi. In 10 movements Rossini unites different formssuch as aria duet quartet and chorus an operaticaria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre.

This new edition of Johannes Brahms’s Schicksalslied op. 54 for mixed choir and orchestra is a modern Urtext edition of the score based on current editorial principles. It is based not only on the composer’s personal copy of the first edition as the primary source but also on the engraving manuscript which was long thought to have been lost. Thus the composer’s handwritten corrections made in this manuscript could be incorporated in the new edition as well as a revision in this bilingual edition of the English translation of Friedrich Hölderlin’s dramatic poem. With this work Brahms created a very personal interpretation on the theme of fate in a timless piece of music thatwill not fail to impress in concert hall or church. Johannes Brahms' Schicksalslied for SATB and Orchestra. With the Schicksalslied Brahms created a very personal interpretation on the theme of fate in a timless piece of music that will not fail to impress in concert hall or church. The new edition is a modern Urtext edition of the score based on current editorial principles. It is based not only on the composer’s personal copy of the first edition as the primary source but also on the engraving manuscript which was long thought to have been lost. Thus the composer’s handwritten corrections made in this manuscript could be incorporated in the new edition as well as a revision in this bilingual edition ofthe English translation of Friedrich Hölderlin’s dramatic poem.

Wort des Höchsten- Fauré's Cantique de Jean Racine for SATB and Piano.

J.S. Bach's Unser Mund sei voll Lachens for SATB and Piano.

Kantate zum 2. Pfingsttag-The Frankfurt cantata for Whitsun 1717 offers the choir and the four soloists rewarding tasks while in the opening chorus and in two of the three arias a virtuoso recorder player is employed. Georg Philipp Telemann's Daran Ist Erschienen Die Liebe Gottes for SATB. The Frankfurt cantata for Whitsun 1717 offers the choir and the four soloists rewarding tasks while in the opening chorus and in two of the three arias a virtuoso recorder player is employed.

Beethoven Für Chor

Orgelsonate Nr. 19 In G-Moll Op. 193