SWV 383

ChaB 50- This is the individual Basso Continuo part for Heinrich Ignaz Franz Biber's 'Stabat Mater'. Well-known for his magnificent instrumental works and Violin sonatas Heinrich Ignaz Franz Biber is unjustly less recognized as a composer of sacred music. His works for Salzburg Cathedral were mainly written after 1670. The Stabat Mater is an impressive setting for use in worship and includes four or six verses of the hymn. The four-part composition displays great simplicity yet stunning beauty particularly in the concise contrapuntal presentation of each individual verse.

Op. 48

SWV 453- This is the set of complete Orchestral parts for Heinrich Schütz's 'Rejoice With The Wife Of Thy Youth'. This composition survives in the sources as a wedding song even though the occasion it was written for is not known. It is stylistically close to the Symphoniae sacrae I sharing its exquisite scoring with the last composition in the set (Bucinate in neomenia tuba/Jubilate Deo) with concertante instrumental parts for Cornett and Trumpet (or two Cornetts). The text taken from Proverbs has an opening verse in triple meter which recurs in the middle (shortened) and at the end of the composition in the style of a ritornello then commonly found in Italy. This verseends with a characteristically dissonant transition for the upper instrumental parts to the final chord – as the key message of the composition.

G minor

F major

First Responsory of the Second Nocturn a 8

Passion oratorio

Adaptation of the motet Tristis est anima mea attributed to Johann Kuhnau. The motet Der Gerechte kommt um comes down to us as part of the Passion cantata Ein Lämmlein geht und trägt die Schuld by Carl Heinrich Graun into which movements by various other composers including Bach and Telemann were also later inserted. According to the research of Diethard Hellmann editor of this edition the motet was originally an a cappella composition by Johann Kuhnau with the text Tristis est anima mea which then was adapted – most likely by Bach – with a new text and the addition of instrumental parts. The motet Der Gerechte kommt um comes down to us as part of the Passioncantata Ein Lämmlein geht und trägt die Schuld by Carl Heinrich Graun into which movements by various other composers including Bach and Telemann were also later inserted. From the research of Diethard Hellmann editor of this edition the motet was originally an a cappella composition by Johann Kuhnau with the text Tristis est anima mea which then was adapted—most likely by Bach—with a new text and the addition of insturmental parts.

BWV 194 - Cantata for Trinity Sunday

BWV 1 - Feast of the Annunciation

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.

BWV 176 - Cantata for Trinity

aus: Drei geistliche Gesänge

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.

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.”

Passions-Oratorium

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.

Messa a 4 voci con orchestra SC6

Gott heilger Schöpfer aller Stern