Tu Es Petrus

Giovanni Pierluigi da Palestrina's 'Missa Sine Nomine' set of parts. In the course of his life Johann Sebastian Bach assembled an extensive musical library that today can only be reconstructed in fragments. It reflects Bach's curiosity starting in his youth and continuing into old age to get to know compositions from different epochs and styles. The two complete Masses and six individual Palestrina metrics testify to Bach's interest in 16th-century compositions. In his Weimar years Bach first used the works for a theoretical examination of the stile antico his idiosyncrasies of vocal conduct and modal harmony. In his last years in Leipzig Bach plannedperformances of at least two of the fairs. In this context he supplemented the works with instrumental parts and a Basso Continuo. The Masses by Giovanni Pierluigi da Palestrina created by Bach form an important document on the performance practice of works of the austere style in the eighteenth century.

The Choral Collection Psalms contains over 50 settings for mixed unaccompanied choir from six centuries. It is a true treasure-trove of compositions in various styles and levels of difficulty: with some unknown new discoveries and some classics of the choral literature the selection will enrich both worship and concerts. The 150 psalms of the Old Testament express rejoicing joy and confidence but also lament grief anger and even doubt. The psalms are present throughout Christianity and Judaism to this day and are sung worldwide in countless settings. The Choral Collection Psalms displays the whole stylistic and linguistic variety ranging from contemplative simpleAnglican chant through Russian Orthodox homophony to virtuoso motets with jazzy echoes. The linguistic spectrum is equally broad: English French German (some with added singable English translation) Estonian Icelandic and of course Latin psalm settings are represented as well as works in Church Slavonic and Hebrew (both accompanied by transliterations and a singable German text). The foreword (German/English) offers many hints regarding the performance of the psalm settings and a detailed index will help with choosing appropriate pieces for the liturgical occasion according to the Anglican Protestant or Catholic calendar. Over the last ten years editor Stefan Schuck has performed two psalm compositions every week in his NoonSong series in Berlin. From the resulting 800 works he has selected the most interesting compositions arranged according to level of difficulty. The choral director’s volume includes a CD with recordings of selected works sung by sirventes and conducted by the editor which will help with learning and rehearsing the repertoire.

Il Est Né Le Divin Enfant

Il Est Né Le Divin Enfant

Das Wilde Pack

Angel Songs

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.

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.

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.

“A beautiful a sad song. One which sounds as if ‘between the worlds’ – here dream and reality life and death touch each other. And it has a special melody with the two expressive leaps firstly to the fifth and then greater to the octave! It is as if a mist lies over the song and it seems to be cold it sounds like November. At least these are my associations and in the arrangement they are discernible: twice it sighs (or is that a cold breath of wind?) before it begins to flow. Sometimes a dissonance even disturbs the flow of the song and its story sometimes it rises up. Between the verses it sighs and breathes again. And finally after it has posed the final question it ends distantly ‘between the worlds’ … A sad a beautiful song.” (Ludwig Böhme)

Potpourri Abendlieder

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.

Aus op. 82 WoO IV/17

Missa mundi

Ode To Joy

Fassung für Sinfonieorchester XL grand format-Version for Symphony orchestra The Requiem of Gabriel Fauré is undoubtedly the most important opus among the sacred works of this French master. Beginning with the first performances during the composer’s lifetime it is one of those works whose popularity has never waned. In the absence of an autograph score a new edition of this work posed a challenge in two important respects: on the one hand to present an edition faithful to the often contradictory sources and on the other to render a clear and meaningful musical text of the work.

From Johann Sebastian Bach's Music Library-This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer: his output as Kapellmeister at the Electoral Palatinate court which resided in Mannheim from 1720 onwards was mainly devoted to opera. The three-part Kyrie the through-composed Gloria and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor as shown for example in theform of the Adagio introduction of the Kyrie I in both works.

WAB 27 - 2nd version 1882-In 1866 Anton Bruckner composed his solemn Mass in E minor which he revised extensively in 1876–1882. Composed for a performance in the open air the work stands out among Bruckner’s Masses and those of his contemporaries because of its scoring omitting strings and organ in favor of an accompaniment for wind and brass instruments alone (“Harmoniemusik”). This scholarly-critical new edition of this second version takes into consideration for the first time the surviving parts from the Bruckner Archive at the St. Florian Monastery and the choral parts rediscovered in 2016 in the Linz Cathedral Choir Archive. These have enabled more precise editorial decisions to be made regarding thescoring of individual passages as well as articulation and dynamics.

D Dorian - SWV 43