This is the set of complete Orchestral parts for Antonio Juanas' 'Eight Responsories For Trinity Sunday'. Antonio Juanas (ca. 1762/63 - 1816) worked as maestro de capilla at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music andbecause of their scoring for small forces they can be performed by ensembles of different sizes and resources.

Tantum Ergo In G Flat Major

Das Wilde Pack

Psalm 92 praises the works of God lyrically and joyfully. As early as pre-Christian times it belonged to the liturgy of Sabbath worship. Japanese composer Matsushita has set this beautiful psalm in motet style and was strongly inspired by the Catholic liturgical Gregorian melody of the antiphon of the same name and a well-known Halleluja on the 8th tone. His hymn of praise therefore begins almost modestly and humbly. Characteristic of this is Matsushita’s omission of the martial-sounding verses of the psalm. Only in the concluding Halleluja does the composition intensify through a dance-like rhythmic figure to fortissimo to then return to the introverted openingmood. Matsushita’s setting treats the text in a humble and sensitive way and is mainly homophonic to match its mood. He writes the vocal lines in ranges which are grateful and rewarding to sing. The vocal lines split in all four parts and there are short solos in tenor and soprano. This tonal work is also well within the capabilities of choirs less experienced in contemporary music and a great addition for liturgical and concert use.

The Taiwanese folk song Swa I Yan deals with the painful emotion of missing someone. A girl feels sad and lonely and asks her friends what she should do. “It is a very old tragic song clad in my western conception of harmony. In this way music does what it does best: connecting worlds.” (Juan Garcia)

Peter Schindler: Hast du Worte? - Beethoven

Peter Schindler: Hast du Worte? - Beethoven

Peter Schindler: Hast du Worte? - Beethoven

Friedrich Schillers Ode an die Freude (Ode to Joy) went on to become world-famous through the setting by Ludwig van Beethoven in 1824 in the final movement of his 9th Symphony. Today Beethoven’s Ode to Joy is one of the most popular works of classical music worldwide – celebratory and powerful music which is an expression of joy community protest and thanks. This catchy arrangement of Schiller’s and Beethoven’s Ode for chorus and piano or optionally for chorus band and wind instruments by Peter Schindler stands for all these emotions. Brass riffs jazzy harmonies a choral setting in one to three parts and an adaptation of the text are all highlights of specialmusical moments which the whole audience can join in at the end! An English singing text is included.

Vier Volkslieder für vierstimmigen Chor a cappella

Warb E 22-At less than 20 years of age the youngest son of the Leipzig cantor of St. Thomas Johann Sebastian Bach withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions some of them large-scale including this Magnificat a 4 (1760) for soloists choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

Op. 47

Cantique De Jean Racine

Hommage a Beethoven

Symphony No. 2

Op. 147 - Harmony Parts-Diabelli’s church music has unjustly largely fallen into oblivion. In his Pastoral Mass in F the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes the work is of easy to medium difficulty and is therefore extremely suitable for amateur choirs with orchestra. The Pastoral Mass is suitable for performance both at Christmas time and beyond.

Op. 147-Diabelli’s church music has unjustly largely fallen into oblivion. In his Pastoral Mass in F the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes the work is of easy to medium difficulty and is therefore extremely suitable for amateur choirs with orchestra. The Pastoral Mass is suitable for performance both at Christmas time and beyond.

Op. 147-Diabelli’s church music has unjustly largely fallen into oblivion. In his Pastoral Mass in F the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes the work is of easy to medium difficulty and is therefore extremely suitable for amateur choirs with orchestra. The Pastoral Mass is suitable for performance both at Christmas time and beyond.

Triosonate C-Moll Twv 42:C6

Schicksalslied Op. 54