The prestigious Latin psalm setting Deus judicium tuum [Ps. 71/72] is among the finest from Telemann’s pen. Its composition is associated with the beginning of his eight-month sojourn in Paris in the fall of 1737 during which time he celebrated musical triumphs in the French metropolis. As he himself reported with no little pride the piece “was performed twice in three days by almost one hundred selected people in the Concert spirituel.” Three magnificent choral movements frame a richly-colored succession of demanding solo movements. Georg Philipp Telemann's Deus Judicium Tuum for SATB. The prestigious Latin psalm setting 'Deus judicium tuum' [Ps. 71/72] is among the finest from Telemann’s pen. Its composition is associated with the beginning of his eight-month sojourn in Paris in the fall of 1737 during which time he celebrated musical triumphs in the French metropolis. As he himself reported with no little pride the piece “was performed twice in three days by almost one hundred selected people in the Concert spirituel.” Three magnificent choral movements frame a richly-colored succession of demanding solo movements.

Psaume 83-The three grands motets Quam dilecta In convertendo and Deus noster refugium which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau’s great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770 after Rameau’s death and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to theiroriginal form. The edition of In convertendo is based on Rameau’s autograph score from 1751. Jean-Philippe Rameau's Quam dilecta tabernacula (Psalm 83) for SATB. The three grands motets Quam dilecta In convertendo and Deus noster refugium which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau’s great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770 after Rameau’s death and the works have been rendered in a scoring which does not correspond to his intentions. The present new editionattempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau’s autograph score from 1751.

Motette- Wolfgang Amadeus Mozart's Ave Verum Corpus for SATB.

Complete orchestral parts (economical set price)-Carus 70.301/10 which is part of the material associated with this piece can be used as the choral score. Gabriel Fauré composed the Cantique de Jean Racine in 1865 the prizewinning work for the completion of his musical training. The composer expanded the original scoring for choir and organ by adding a string accompaniment the version with orchestra was first performed in 1906. As a text Fauré chose a French adaptation by Jean Racine of the Latin hymn Consors paterni luminis. The Cantique already displays the characteristics of an expressive choral setting typical for Fauré as well as the finely worked out orchestral accompaniment and together with the Requiem composed considerably later it is among the most popular works of the composer. Carus 70.301/10 which is part of the material associated with this piece can be used as the choral score. Gabriel Fauré composed the Cantique de Jean Racine in 1865 the prizewinning work for the completion of his musical training. The composer expanded the original scoring for choir and organ by adding a string accompaniment; the version with orchestra was first performed in 1906. As a text Fauré chose a French adaptation by Jean Racine of the Latin hymn “Consors paterni luminis.” The Cantique already displays the characteristics of an expressive choral setting typical for Fauré as well as the finely worked out orchestral accompaniment and together with the Requiem composed considerably later it is among the most popular works of the composer.

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 Op. Posth in C for SATB and Piano. 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 itstrepidation – 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.

Paket Mit 13 Partituren-The six Symphonies represent the most important group of Vierne's organ compositions. With these works he carried on the splendid French tradition of this genre bringing it to its peak. Vierne's compositional models are clearly discernible: primarly Franck and Widor but also Mendelssohn and Schumann. Along with the beautiful melodic ideas in his slow movements and the occasion ally bizarre ideas in his scherzi and intermezzi it is above all his chromaticism that characterizes Vierne's style. The complete edition of his organ works provides a musical text as accurate and authentic as possible: It corrects obvious misprints from the first editions provides commentary onquestionable passages and offers alternative solutions. It is based on the first editions the composer’s manuscripts and lists of corrections from colleagues pupils and present-day interpreters closely concerned with Vierne’s music. All works are also available in separate editions.

Jean de Brébeuf's Huron Carol for SATB.

d-Moll- Rheinberger's Missa Brevis in D for SATB.

aus: Zwei Motetten- Johannes Brahms' O Heiland Reiß Die Himmel Auf (Op.74 No. 2; Dorisch) for SATB.

C-Dur-The Carus edition of the Magnificat is something of a peculiarity: It first became accessible again through a privately-owned manuscript which was long believed to have been lost. This manuscript was the basis of the old Schubert edition [1888]. Through this discovery the parts of this expressly beautiful work have now been published in the version as they were notated by Schubert in his own hand. Schubert's Magnificat in C for SATB and Chamber Group. The Carus edition of the Magnificat is something of a peculiarity: It first became accessible again through a privately-owned manuscript which was long believed to have been lost. This manuscript was the basis of the old Schubert edition [1888]. Through this discovery the parts of this expressly beautiful work have now been published in the version as they were notated by Schubert in his own hand.

B-Dur-Francesco Durante's Magnificat in B flat major is one of his most important works and also one of the most siginifcant settings of the Magnficat text here in cantata form. This work displays a mastery of the polyhonic style and though the use of certain pre-classical modern elements its various forms never sound archaic rather the work presents a synthesis leading to a unique style. For a performance during the Christmas season Christmas hymns can be inserted between each of the individual movements. Six arrangements of such hymns are also available as octavos (Carus 10.270/06): - Johann Cruger: Nun komm der Heiden Heiland - Cornelius Freundt: Wie schon singt unsder Engel Schar - Johann Sebastian Bach: Uns ist ein Kindlein heut geborn - Erhard Bodenschatz: Joseph lieder Joseph mein - Johann Cruger: Frohlich soll mein Herze springen - Gregor Joseph Werner: Der Tag der ist so freudenreich The string parts for these movements are included in the parts Carus 10.270/11-14.

Adagietto aus der 5. Sinfonie

Marienantiphon

Gott will uns Stärke und Zuversicht sein

aus: Sub tuum praesidium

Salve o Vergine Maria

Op. 118

Die Töchter der Elfenkönigin

Weihnachtsmotette-from Paradisus musicus

Wie der Hirsch schreit-The Psalms inspired Mendelssohn throughout his working life and aside from a cappella settings he left behind five great orchestral Psalms. Schumann assesed in 1837 that Psalm 42 was the highest point that he [Mendelssohn] reached as a composer for the church. Indeed the highest point recent church music has reached at all.