This edition of Purcell's Funeral Music brings together for the first time his Funeral Sentences composed in 1677 or earlier and the music he wrote for the Funeral of Queen Mary II wife of William of Orange who died on December 28th 1694. Purcell's Funeral Music of Queen Mary for SATB and Organ. This edition of Purcell's Funeral Music brings together for the first time his 'Funeral Sentences' composed in 1677 or earlier and the music he wrote for the Funeral of Queen Mary II wife of William of Orange who died on December 28th 1694.

Bearbeitung für Klavier zu vier Handen [Brahms]-Adaptation by the composer; reprint of the first edition

Among Verdi’s many compositions as a work of sacred music the Requiem remains unique. It was composed as a musical memorial for the Italian national poet Allessandro Manzoni deeply admired by Verdi and was first performed on the first anniversary of his death on 22 May 1874 in Milan Cathedral. The exploration of many extremes places Verdi’s tonal language with musical means wholly in the service of a dramatized liturgy. The edition is based on the autograph as the primary source and makes accessible one of the most important requiem settings of the 19th century in a modern scholarly edition. In addition to the musical text the score contains a detailed foreword in threelanguages a critical report with information on the source situation the edition and the various readings. The complete performance material will be available for sale.

Op. 118

Actus tragicus. Trauermusik-Actus tragicus is one of Johann Sebastian Bach's most well-known and cherished works and to this day it has enjoyed an undiminished popularity - a work of genius at which even only great masters seldom succeed (Alfred Dürr). This new edition presents a practical critical edition which combines the latest findings of Bach research with the current state of performance practice.

BWV 131 - Cantata for a penitential service

G-Dur

c-Moll

fis-Moll

BR-WFB A 12

Based On The Adagio Of The So-Called Moonlight Sonata - Op. 27 2 (1. Satz)

Gott heilger Schöpfer aller Stern

Messa a 4 voci con orchestra SC6

Offertorium de Beata Maria Virgine-In the 17th and 18th centuries Salzburg where Leopold Mozart was Assistant Court Music Director was a center for polyphonic Offertory settings and multimovement offertory concerti which developed into a main genre of Catholic liturgical music in the south German region.The Salzburg Cathedral seems an obvious choice which the solemn orchestration with trumpets and timpani would support.

Passions-Oratorium

Oratorium-Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul for which he was accused by his contemporaries of making a stylistic break using an element unsuitable to church music. In spite of these reservations during Mendelssohn’s lifetime St. Paul was one of his most popular works which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition.” He described it as a “jewel of the present.”

30 Bach-Choräle für vierstimmigen Chor/ Bach chorales for four-part choir-If we look back to the beginning of the Protestant Church over 500 years ago beyond its central theological and historical aspects then we must consider the priceless cultural and artistic impulses which emanated from the Reformation. It is tothis among other things to which we owe the musical wealth of the Protestant Church with its rich treasure of sacred hymns for which the great Reformer himself laid the cornerstone. Of the 30 hymns which he contributed most of them are stillpart of this treasure today. 200 years after Luther artistic preoccupation with the Protestant hymn reached its zenith in the music of Johann Sebastian Bach. Extraordinarily artistic arrangements stand in contrast to simple yet anything other than just rudimentary settings offour-part chorales for the congregation which even today touch and attract people more than anything else. The present volume contains 30 such Bach chorales based on hymns by Martin Luther in the versions of the texts contained in the GermanProtestant Hymnbook.

aus: Drei geistliche Gesänge

BWV 176 - Cantata for Trinity

In his Messe brève Delibes did not set the Credo and Benedictus to music but after the Sanctus he included a setting of O salutaris hostia a customary section of the mass in France. However the appearance of the directions tutti and soli in the Mass points to the use of a choir; the solo passages are to be sung by members of the choir as they correspond musically to the tutti sections which follow and are therefore to be understood as merely providing contrasting levels of sound within the movement.