Kantate zum 2. Pfingsttag-The Frankfurt cantata for Whitsun 1717 offers the choir and the four soloists rewarding tasks while in the opening chorus and in two of the three arias a virtuoso recorder player is employed. Georg Philipp Telemann's Daran Ist Erschienen Die Liebe Gottes for SATB. The Frankfurt cantata for Whitsun 1717 offers the choir and the four soloists rewarding tasks while in the opening chorus and in two of the three arias a virtuoso recorder player is employed.

Beethoven Für Chor

Orgelsonate Nr. 19 In G-Moll Op. 193

Hob XXI:3

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.

D Dorian - SWV 43

BuxWV 119 - 65

Hommage a Beethoven

2nd Version 1882 - WAB 27

Flauto e Voce XIII

Cantique De Jean Racine

Ode To Joy

stimmband XL. Lieder und Songs

4th and 5th movement-Nicholas Kok’s newly-created vocal score of the 4th and 5th movements of Mahler’s 2nd Symphony is aimed particularly at vocal soloists and choral singers who wish to practice the two vocal movements in this work: it is available on sale as is the chorus score. To ensure a secure entry at the attacca beginning of the 4th movement the vocal score begins earlier in the 3rd movement. The rehearsal letters in the prevalently used orchestral materials have been taken into consideration so that the vocal score and chorus score are compatible with all the available music editions. In his 2nd Symphony premiered in 1895 after a seven-year gestation period Gustav Mahler combineddifferent work concepts which he had previously tried out in various independent compositions: the 1st movement with the original title Todtenfeier was conceived as a symphonic poem the 3rd movement is based on the original song for voice and piano St Anthony of Padua’s Sermon to the Fishes the 4th movement is the orchestral song Urlicht for alto with text like the 3rd movement from Des Knaben Wunderhorn and the 5th is a setting and elaboration of the Klopstock Ode Die Auferstehung for soprano and alto solo with mixed chorus. Mahler created a work in the vocal-symphonic tradition founded by Beethoven and despite its challenges in extent and scoring it remains one of his most popular compositions.

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.

Despite many newly-composed interpolations ranging from stylistic copies to modern interpretations performing the Gospel text in Bach’s lost St. Mark Passion continues to present many challenges for performers. With his recitations for narrator gamba and cello Peter Uehling has found a way of maintaining the musical flow while nevertheless preserving the fragmentary character of the work. The reduced musical language of the recitations places so to speak bare walls between Bach’s colorful figured “tonal language”. An important point for performance: despite the free tonal harmony the recitations lead convincingly into the opening notes of the chorales. Thecello part comprises also all the other pieces from the St. Mark Passion Carus 31.247.

Potpourri Handwerkerlieder

E minor - Op. 83 1-Paul Verlaine spent 555 days in prison because he had shot his fellow poet and companion Arthur Rimbaud with a revolver whilst in a drunken state. This spell in prison evidently fostered his artistic inspiration so at least it did his literary career some good. The world of French literature even gave Verlaine the unofficial title “Prince des Poètes”. In the poem Prison the author was able to draw on his very own experiences: the monotony behind bars (expressed musically in Gabriel Fauré’s setting through the repeated target note of b) the inner rebelling against this monotonous stillness (surprising forte dynamic) and the reproachful self-questioning: “Was hast du getan?... Was hast du mit deiner Jugend getan?” [What have you done? ... What have you done with your youth?] (diminishing piano). Denis Rouger founder and director of the figure humaine chamber choir has arranged art songs for solo voice and piano for his ensemble in the process carefully adapting these to the needs and expressive possibilities offered by a larger ensemble. Music edition for the successful CD “Kennst du das Land...” (Carus 83.495).

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.

Potpourri Seemannslieder