D Dorian - SWV 43

Op. 2 no. 1-The exuberant amorousness of a newly-wed couple pulsates in every note of Gabriel Fauré’s Dans les ruines d’une abbaye (In the ruins of an abbey). In this piece the reverent silence of prayer no longer prevails but within the venerable walls various shouts of joy and sparkling laughter are now heard. The old graves have long been overgrown by stinging nettles and a new dawn of spring and of love fills the air. Napoleonic post-revolutionary France which drove the author of the poem Victor Hugo into exile is also building a new world on the ruins of olden days. Although the setting by the composer 40 years younger than the poet uses the romanticized backdrop of the oldabbey with its 6/8-meter it reflects the uninhibited happiness of the two lovers who do not look back. These art songs were originally composed not for chamber choir but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process the variety and refinement of the choral language combines with an enormous flexibility in form and expression as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD Kennst du das Land ... (Carus 83.495).

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.

Laudate Dominum Secondo

Vesperae Solennes De Confessore Kv 339

Instrumentale Oberstimmen in C

Übehilfe Für Chorsänger ? Ausgabe Für Sopran

Wenn Einer Fragt

Antonio Vivaldi's Ontroduzione e Gloria RV588 for SATB and Orchestra.

e-Moll- Franck's Ave Maria for SATB.

Choralkantate-Also contains an arrangement for organ. In 1840 Schumann remarked: The small piece deserves to be world famous and will become so in the future; the Madonnas of Raphael and Murillo cannot remain hidden for long. Together with the orchestral version an version for choir and organ is available. Mendelssohn's Verleih uns Frieden gnädiglich for SATB and Orchestra. Also contains an arrangement for organ. In 1840 Schumann remarked: 'The small piece deserves to be world famous and will become so in the future; the Madonnas of Raphael and Murillo cannot remain hidden for long.' Together with the orchestral version an version for choir and organ is available.

Jesu am Kreuz-Unlike the well-known settings of the Seven Last Words by Schütz or Haydn in his opulently scored composition Franck provides commentary to the words of Jesus with excerpts from the Old and New Testaments as well as from portions of the Stabat Mater. In his transposition of the Latin text into music Franck reveals a rich palette of compositional parameters: “different-sized ensembles exciting orchestration formal variety and sophisticated harmony. Laments simple passages for the choir in unison passages with great drama melodic shapes filled with sweetness convey to the listener a multi-layered impression of a composition stamped by a strongly personal will toexpression.“ Württembergische Blätter für Kirchenmusik 1/1991 Franck's Die Sieben Worte for SATB. Unlike the well-known settings of the 'Seven Last Words' by Schütz or Haydn in his opulently scored composition Franck provides commentary to the words of Jesus with excerpts from the Old and New Testaments as well as from portions of the 'Stabat Mater'. In his transposition of the Latin text into music Franck reveals a rich palette of compositional parameters: “different-sized ensembles exciting orchestration formal variety and sophisticated harmony. Laments simple passages for the choir in unison passages with great drama melodic shapes filled with sweetness convey to the listener a multi-layered impression of acomposition stamped by a strongly personal will to expression.“ Württembergische Blätter für Kirchenmusik 1/1991

Franz Schubert's Fünf Kleinere Kirchenwerke for SATB.

d-Moll-May also be used without the Gloria during Advent. Haydn's Missa Tempore Quadragesimae for SATB and Basso Continuo.

Total duration: 17 min Brahms' Sieben Lieder op. 62 for SATB. Duration: 17 minutes

With string ensemble and/or organ accomaniment- Joseph Rheinberger's Stabat Mater in G for SATB.

Es-Dur-Two complete settings of the Requiem by Johann Adolf Hasse are extant. Hasse composed the Requiem in C major on the death of the Elector Friedrich August 11 of Saxony. Only a few weeks later his son the elector Friedrich Christian also died. Presumably for this reason Hasse wrote the Requiem in D flat and because of the shortage of time he used the Sanctus and Agnus of a Requiem in B flat which he had composed earlier. The principal sections Introitus/Kyrie and Dies irae probably date from 1763 and 1764. Hasse's Requiem in E for SATB. Two complete settings of the Requiem by Johann Adolf Hasse are extant. Hasse composed the Requiem in C major on the death of the Elector Friedrich August 11 of Saxony. Only a few weeks later his son the elector Friedrich Christian also died. Presumably for this reason Hasse wrote the Requiem in D flat and because of the shortage of time he used the Sanctus and Agnus of a Requiem in B flat which he had composed earlier. The principal sections Introitus/Kyrie and Dies irae probably date from 1763 and 1764.

F-Dur-the first 18 bars come from a joint autograph of Leopold and Wolfgang Amadeus Mozart Mozart's Kyrie in F for SATB. the first 18 bars come from a joint autograph of Leopold and Wolfgang Amadeus Mozart.

Sergei Rachmaninov's Ave Maria- Gluck: De Profundis for SATB.