Kyrie eleison-Gloria in excelsis deo-The five volume editorial project Repertorium Troporum Bohemiae Medii Aevi presents the textual and musical edition of troped mass chants from Bohemian sources from the 11th to the 16th century.The second volume of the complete edition of mass tropes from Bohemian manuscripts of the 12th to 16th century includes 45 Kyrie tropes and 7 Gloria tropes. They represent thee distinct traditions as they developed in Bohemia in the High and Late Middle Ages: those of Cathedral the Prague Diocese and the late Utraquist liturgy. A considerable number of texts and melodies are presented for the first time in this publication.As in the first volume theedition is complemented by comprehensive commentaries an introduction and plates. The tropes are edited along with their native chants as such this publication will be of interest to both the academic community as well as those interested in performance.Hana Vlhová-Wörner studied musicology in Prague and Basel Switzerland. From 1993 to 2006 she worked at the Institute for Musicology Charles University Prague (Ph.D. 2000 Habilitation 2009). Since 2006 she has lived in the U.S.A. where she has taught at Duke University and UNC Chapel Hill. She is the author of numerous publications on church music and Latin liturgical poetry in Bohemia and Central Europe from the 11th to 16th centuries and one of the editors of the Jistebnice Kancionál..Also available:- Part 1: Tropi ordinarii missae. Tropi proprii missae H7878- Part 3: Tropi ordinarii missae. Sanctus H8017- Part 4: Tropi ordinarii missae. Agnus Dei H8030

Mass Tropes I.The five volume editorial project Repertorium Troporum Bohemiae Medii Aevi presents the textual and musical edition of troped mass chants from Bohemian sources from the 11th to the 16th century.Many of the texts and melodies in this publication are made accessible for the very first time. The first volume (Tropi Proprii Missae) includes the troped chants of the Proper of the Mass along with an intorduction commentaries and plates. The tropes are published unabridged with the original chants making this edition suitable not only for the professional public but also for practical performances.HanaVlhová-Wörner studied musicology in Prague and Basel Switzerland. Since 2006 she has lived in the U.S.A. She is the author of numerous publications on church music and Latin liturgical poetry in Bohemia and Central Europe from the 11th to the 16th centuries and is one of the editors of the Jistebnice Kancionál.Also available:- Part 2: Tropi ordinarii missae. Kyrie eleison / Gloria in excelsis deo H7959- Part 3: Tropi ordinarii missae. Sanctus H8017- Part 4: Tropi ordinarii missae. Agnus Dei H8030

?I asked my friend the poet Einar Askestad if he could write a poem for me about love between father and son brothers and God. I felt that these forms of love are seldom sung about. The poem moved me greatly and I have tried to put music to these words which is simple yet full of beauty. In the four movements of this suite-like piece various aspects of these relationships are conveyed?. - MÃ¥rten JanssonBiography:My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings life consists of. This has led people todescribe my music as both ?so sad that it sounds like birds who have lost their wings? and ?the happiest classical music we ever heard?. I have also always preferred beautiful music to atonal music and that is surely the reason why the most part of my music is more on the sad side but what a dream it would be to be able to create beautiful music that?s bubbling over with joy! My compositions consist of almost only sacral music. This is to express my own faith but also my appreciation and respect for the timeless texts that have been used for centuries after centuries.In 1994 I was lucky enough to start conducting the female choir Carmen and I conducted them until we decided to disunite 2010. This is of course the biggest reason why most of my compositions are for female choirs the knowledge that what I write during the night will be tested the next evening is a driving force that not so many are lucky enough to have.I work as a voice music theory and conducting teacher and conductor in Uppsala were I was born -65 and still live. My education is in short: two years of musicology at Uppsala University and a MFA in Music Education and Dalcroize Rhythmics at the Royal Academy of Music in Stockholm.- Choral works a cappella.- Sample pages for download: www.baerenreiter.com.

2016 marks the first centenary of the death of Max Reger. In addition to his best-known field of creativity Organ music his choral compositions form another major part of his oeuvre.This edition contains a selection of his sacred a cappella choral works. Their scoring level of difficulty and length make them ideal for choirs who are wary of tackling the large-scale Op.110 motets. For the first time the selection of works includes the previously unpublished Acht Grabgesänge (1900). The pieces are arranged in chronological order culminating in the well-known cycle of Acht geistliche Gesänge op. 138 (1914).ContentsTantum ergoSacramentum (1895)Maria Himmelsfreud! (1899-1900)Acht Grabgesänge (ca. 1900)Acht Marienlieder op. 61d (1901)Sechs Trauergesänge op. 61g (1901)Palmsonntagmorgen (1902)Vier Kirchengesänge (1904)Easter motet: Lasset uns den Herren preisen (1911)Abschiedslied (1914)Acht geistliche Gesänge op. 138 (1914)The EditorMichael Chizzali has been a scholarly assistant at the Institute of Musicology in Weimar-Jena (Germany) since 2014. His dissertation on Reger?s contemporary the Tyrolean composer Josef Gasser (1873-1957) was published in Innsbruck in 2014.All extant sources consultedEdition for the first centenary of Reger?s deathCross-section of Reger?s music for a cappella choirForeword (Ger/Eng) and Critical Commentary (Eng)

Choralkantate. Par REGER MAX. Reger´s cantata for Good Friday, based on the famous Passion hymn by Paul Gerhardt, was composed in 1904 and belongs to a group with 4 further choral cantatas – Reger´s independent and most comprehensive contribution to a key family of protestant church music. The Carus edition of these works is intended to make Reger´s choral cantatas accessible for musical practice and musicological reasearch for the first time in a modern critical edition. In order to encourage the spread of Reger´s choral works in the anglo-saxon countries, a singable English translation has been added./ Répertoire / Solo à (S ou T), Choeur SATB, Hautbois, Violon et

Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction

Oper in 3 Akten. Par HASSE JOHANN ADOLF. Hasse's Cleofide of 1731 can be regarded as the zenith of his creative output – not least of all because he integrated several of his greatest arias from earlier works into this opera. The theme from antiquity 'Alexander's conquests in India' was perfectly suited to flatter August the Strong, a rather unsuccessful commander-in-chief, who at that moment was occupied with the reorganization of his armies. For performance at the Court of Dresden, Metastasio's original libretto was reworked by Michelangelo Boccardi. As a result, the title of the opera was changed from 'Alessandro nell' Indie' to 'Cleofide' and Faustina Bordoni, the prima donna and wife of Johann AdolfHasse, became the protagonist of the story. Musically, the opera reflected the style of the time. Hasse's expressive and natural style was admired and appreciated by the public professional musicians alike. The vocal parts were 'tailor-made' for the singers and in performing this work the outstanding soloists and the orchestra could shine. Hasse always tried to get the utmost from his musicians and in the case of 'Cleofide' he achieved a 100% success. The Carus edition of 'Cleofide, ' which has been published as a part of the Hasse-Werkausgabe, is the very first printed edition of this work. It is based primarily on the original parts used for the first performance in 1731 and presents both an accurate musicological rendering of the sources as well as a practical performance edition. / Opéra-opérette / Répertoire / Solistes, Choeur, 2 Flûtes Traversières, 2 Hautboi

Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction

Study score format 22.5 x 16.5 cm; With an introduction in English and German by Alfred Dürr.The 2nd version with the 4 inserts from the E-flat major version (transposed into D major).Barenreiter Urtext:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter ?Urtext? ismore than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Choralkantate. Par REGER MAX. Reger´s cantata for Good Friday, based on the famous Passion hymn by Paul Gerhardt, was composed in 1904 and belongs to a group with 4 further choral cantatas – Reger´s independent and most comprehensive contribution to a key family of protestant church music. The Carus edition of these works is intended to make Reger´s choral cantatas accessible for musical practice and musicological reasearch for the first time in a modern critical edition. In order to encourage the spread of Reger´s choral works in the anglo-saxon countries, a singable English translation has been added./ Répertoire / Solo à (S ou T), Choeur SATB, Hautbois, Violon et

Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction

Liederkreis, op. 24 u.a.. Par SCHUMANN ROBERT. The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works. It is the aim of the edition to reproduce authentic texts which – having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions – will approach as closely as is possible the intention of the originals. The critical edition will form the basis of accurate performance material for Robert Schumann‘s work. / Date parution : 2022-05-31/ Recueil / Chant

Opera in 3 acts; Also available for sale full score (BA4079) and performance material for hire.'Ariodante? was the first work which Handel composed for the Theatre Royal in Covent Garden after his contract with the King?s Theatre Haymarket ran out in mid-1734.?Ariodante? stands out amongst Handel?s opera works by means of its combination of excellent and challenging music coupled with a first-class plot. There is probably no other Handel opera which contains such a wealth of striking and catchy arias as are found in the first act of ? Ariodante ? alone. The three wide-ranging arias composed for thecastrato Carestini are amongst the greatest bravura pieces.The plot is based on an episode in Ariosto?s epic ? Orlando furioso ? (1516). The central event of the drama the trick with which Duke Polinesso convinces his commander Ariodante that Ginevra is unfaithful was also used by Shakespeare in ?Much Ado About Nothing?.The Vocal score is based on Donald Burrows? 2007 Urtext edition in the ?Halle Handel? Edition (Series II/32). It therefore reflects the latest in musicological research. Based on the Urtext of the Halle Handel EditionStraightforward and easy-to-play Piano reductionOriginal Italian text with German singing translation

In spite of the most enthusiastic reception at the work's premiere, the famous pianist and conductor Hans von Bülow criticized Verdi's Messa da Requiem as 'an opera in ecclesiastical robes?. Nonetheless, or maybe precisely for this quality, the work has conquered concert podiums worldwide.For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem - some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the 'Liber scriptus?, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the 'Liber scriptus? for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.- Verdi's monumental work in a Bärenreiter Urtext edition- Trilingual preface (Ital/Eng/Ger)- Critical Commentary (Eng) in the score- Idiomatic well-presented piano reduction / Violon I

Sir Richard Runciman Terry (1865-1938) was a British organist musicologist and editor often known as simply R. R. Terry. He was the first Director of Music at Westminster Cathedral where he also lead agreat revival in English Renaissance music especially the Latin works of composers like Tallis Byrd and Morley. While Terry is best remembered for his contribution to Tudor Church music he also did much topreserve the shanty tunes that died out as the age of the sailing ship came to an end. His two volumes of The Shanty Book have been considered the prime musicological work on the subject for generations. In SailorShanties these tunes have been arranged for TTBB chorus with solo Voice and Piano accompaniment.