Based On Beethovcen's Piano Sonata No. 5 2Nd Mov.

Op. Woo 104

Op. 85-In his Passion oratorio Christus am Ölberge [The Mount of Olives] Beethoven succeeded firstly in building on the 18th century tradition and secondly in putting his own personal stamp on the nascent genre of German-language oratorio – the Vienna performances of Haydn’s Die Schöpfung and Die Jahreszeiten had only taken place a few years earlier. In composing the work he looked towards contemporary opera using a text by an opera librettist to depict in music the dramatic situation of the doubting Jesus in the Garden of Gethsemane and his arrest. Yet we do not do justice to Beethoven’s work if we simply regard it as a successor work to Graun’s Der Tod Jesu or even Bach’s StMatthew Passion. Beethoven’s Christus am Ölberge is characterized less by religious devotion and much more by the dramatic realization of a specific situation in the Passion story in deeply-felt musical scenes. With its magnificent almost operatic music this is a different Passion oratorio which is definitely worth hearing and experiencing – and in this form it is without doubt unique in the history of vocal-instrumental sacred music. The edition follows the first printed edition in music and tekst: differences in the text in the libretto originally set by Beethoven are given as a second text and a singable English translation is underlaid.

C Minor Op. 80 - Choral Fantasy

C Minor Op. 80 - Choral Fantasy

C Minor Op. 80 - Choral Fantasy

Le Papillon et La Fleur

Messe de Requiem op.54

Sonaten Für Clavier II

Missa Latina

Sei getreu bis in den Tod

Werke Für Gemischten Chor A Cappella

Splendor Paternae Gloriae

Le papillon et la Fleur

Gesänge Für Sopran Alt Tenor und Bass Op. 59

Gaudeamus hodie

Kleine Weihnachtsmesse

Remember O thou man

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 Crüger: Nun komm der Heiden Heiland - Cornelius Freundt: Wie schön singt uns der EngelSchar - Johann Sebastian Bach: Uns ist ein Kindlein heut geborn - Erhard Bodenschatz: Joseph lieder Joseph mein - Johann Crüger: Fröhlich soll mein Herze springen - Gregor Joseph Werner: Der Tag der ist so freudenreich The string parts for these movements are included in the complete orchestral parts Carus 10.270/19. This is the individual Organ part.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 Crüger: Nun komm der Heiden Heiland - Cornelius Freundt: Wie schön singt uns der EngelSchar - Johann Sebastian Bach: Uns ist ein Kindlein heut geborn - Erhard Bodenschatz: Joseph lieder Joseph mein - Johann Crüger: Fröhlich soll mein Herze springen - Gregor Joseph Werner: Der Tag der ist so freudenreich The string parts for these movements are included in the complete orchestral parts Carus 10.270/19. This is the individual Organ part.

Gabriel Fauré’s original setting of “Lydia” contains a Piano accompaniment which is largely written colla voce – following the vocal part. In Denis Rouger’s arrangement this is omitted and by contrast the peaceful flowing character unfolds in a purely vocal texture. The dreamy ideas full of longing addressed to the beloved Lydia find their expression in a melody based on the Lydian mode – that is a major scale with a raised fourth. 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 theany 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).