SKU: CA.2718803
ISBN 9790007250911. Language: LAT/EN/DT.
After Missa Latina and Magnificat, Te Deum is now the third major composition by musician and composer Karl Albrecht âBobbiâ Fischer published by Carus. Fischerâs musical roots lie in classical music, which he combines with jazz elements and Latin American rhythms.All three styles appear in the Te Deum. In keeping with the proclamation âTe Deum laudamusâ (We praise thee, O God), the work begins with the festive (Cuban) energy, propelled by timpani and trumpet; the choir can also be heard imitating fanfares. Later, a cappella choruses become a recurring element, in which phrases set as Gregorian chant are presented against an ever-changing chordal background. But the score also features elements of swing and rhythm and blues, frenetic choral outbursts of joy, as well as moments of mystic contemplation. Moreover, the instrumentalists are given ample opportunity for improvised solos. Interwoven into the otherwise Latin text is the well-known German chorale GroÃer Gott, wir loben dich. Here several verses can be sung with the congregation; alongside the original German text, the score features the English translation âHoly God, we praise thy nameâ.- An exciting combination of classical choral music with elements of jazz and Latin American music- The congregation can take part in the performance (chorale)- Singers can choose between Latin/German or Latin/English- Varied mix of styles- An enrichment of our crossover program
SKU: CA.5165219
ISBN 9790007313883. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâs Requiem. âAnother one?â you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃmayr version. Yet such is the enormous power of Mozartâs score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâs additions to Mozartâs great original show the requisite care and respect while incorporating many new insights.Armanâs approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâs brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâs unique sound is given an opportunity to shine. Armanâs Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â in the spirit of Mozart â on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâs fragment ends with the Hostias, and so does Armanâs completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to SüÃmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanâs version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â and celebrated as offering a scholarly, entirely fresh perspective on Mozartâs masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.2302007
ISBN M-007-24884-0. German/English. Text: Franz Xaver Huber.
In his Passion oratorio Christus am Olberge [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 Schopfung 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 St Matthew Passion. Beethoven's Christus am Olberge 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 text; differences in the text in the libretto originally set by Beethoven are given as a second text, and a singable English translation is underlaid. Score available separately - see item CA.2302000.
SKU: CA.5165203
ISBN 9790007294243. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to SüÃ?mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: BA.BA10721-90
ISBN 9790006568680. 27 x 19 cm inches. Text Language: Italian. Preface: Annette Landgraf. Text: Pamphili, Benedetto.
Handel composed his first Italian oratorioLa Bellezza ravveduta nel trionfo del Tempo e del DisingannoHWV 46a in 1707. It is based on an allegorical moral libretto written by Cardinal Benedetto Pamphili who also commissioned this work.Disinganno (Illumination) and Tempo (Time) try to get the young, beautiful and frivolous Bellezza (Beauty) to recognise the true values of life and to act accordingly. The audience accompanies Bellezza in her spiritual development, in which she increasingly distances herself from Piacere (Pleasure) and listens more and more to Tempo and Disinganno.The oratorio contains some of the most beautiful music Handel ever composed. This includes the enchanting ariaLascia la spina, in which he uses the music of the sarabande from the operaAlmira, composed in Hamburg in 1704, and which then achieved immortal fame inRinaldo(1711) asLascia ch'io pianga.
SKU: CA.5528348
English/German.
Great occasions call for great musicThe Dettingen Te Deum is a brilliant example of how Handel could capture the tone for festive occasions as had never been done before. The expression of the exalted character of this official work is imparted through Handelâs express use of timpani and trumpets. Gentler and more serious movements effectively complement the work.The basis for the present critical edition of this work is the London autograph, which has survived and from which Handel probably conducted the first performance. In addition, the initial concluding version of the chorus âMake them to be numberâdâ has been published in this edition. In this version Handel strived for a more compact and stricter voice leading.Edition based on the autograph, from which Handel conducted the first performanceDetailed foreword in three languagesCritical report with information about the source situation, the edition, and containing the individual readings (alternative readings, etc.). Score available separately - see item CA.5528300.
SKU: CA.5528346
SKU: CA.1025009
ISBN 9790007329815. Key: D major. English.
âHail! bright Cecilia, hail to thee. Great patroness of us and harmony!â â this exclamation opens the final chorus of Henry Purcellâs eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Ceciliaâs Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexanderâs Feast, HWV 75 (Carus 55.075), and his Ode for St. Ceciliaâs Day, HWV 76 (Carus 55.076).Purcellâs magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the âOrpheus Britannicusâ, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century. Score and parts available separately - see item CA.1025000.
SKU: CA.1025049
ISBN 9790007329808. Key: D major. English.
âHail! bright Cecilia, hail to thee. Great patroness of us and harmony!â â this exclamation opens the final chorus of Henry Purcellâs eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Ceciliaâs Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexanderâs Feast, HWV 75 (Carus 55.075), and his Ode for St. Ceciliaâs Day, HWV 76 (Carus 55.076).Purcellâs magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the âOrpheus Britannicusâ, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century. Score and part available separately - see item CA.1025000.
SKU: CA.1025003
ISBN 9790007251833. Key: D major. English.
âHail! bright Cecilia, hail to thee. Great patroness of us and harmony!â â this exclamation opens the final chorus of Henry Purcellâs eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Ceciliaâs Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexanderâs Feast, HWV 75 (Carus 55.075), and his Ode for St. Ceciliaâs Day, HWV 76 (Carus 55.076).Purcellâs magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the âOrpheus Britannicusâ, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century. Score available separately - see item CA.1025000.
SKU: CA.1025005
ISBN 9790007251840. Key: D major. English.
SKU: CA.5165205
ISBN 9790007314286. Key: D minor. Latin.
SKU: CA.5165209
ISBN 9790007313838. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartââ¬â¢s Requiem. ââ¬ÅAnother one?ââ¬Â you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozartââ¬â¢s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanââ¬â¢s additions to Mozartââ¬â¢s great original show the requisite care and respect while incorporating many new insights.Armanââ¬â¢s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartââ¬â¢s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentââ¬â¢s unique sound is given an opportunity to shine. Armanââ¬â¢s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather ââ¬â in the spirit of Mozart ââ¬â on creating a sense of drama and illuminating the theme in all its possible facets. Mozartââ¬â¢s fragment ends with the Hostias, and so does Armanââ¬â¢s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanââ¬â¢s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike ââ¬â and celebrated as offering a scholarly, entirely fresh perspective on Mozartââ¬â¢s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.3912709
ISBN 9790007215774. Language: German.
Telemann's setting of Psalm 121 I lift up mine eyes to the hills reveals him to be an admirer of French music. Constructed on the example of a grand motet, each of the movements is patterned after the French model: the model of an overture for the first movement, the echoes of a chaconne in the second, the dotted gigue rhythms of the Canarie in the third. In addition there is the lively exchange between choir and solo ensemble, and much more. The music is full of poetic imagery, whenever the occasion arises, as at the very beginning with the words Ich hebe meine Augen auf, or in a later passage with the text Siehe, der Hüter Israel schläft noch schlummert nicht (Behold, he that keepeth Israel shall neither slumber nor sleep). Score and parts available separately - see item CA.3912700.
SKU: CA.3912714
ISBN 9790007215811. Language: German.
Telemann's setting of Psalm 121 I lift up mine eyes to the hills reveals him to be an admirer of French music. Constructed on the example of a grand motet, each of the movements is patterned after the French model: the model of an overture for the first movement, the echoes of a chaconne in the second, the dotted gigue rhythms of the Canarie in the third. In addition there is the lively exchange between choir and solo ensemble, and much more. The music is full of poetic imagery, whenever the occasion arises, as at the very beginning with the words Ich hebe meine Augen auf, or in a later passage with the text Siehe, der Hüter Israel schläft noch schlummert nicht (Behold, he that keepeth Israel shall neither slumber nor sleep). Score and part available separately - see item CA.3912700.
SKU: CA.3912712
ISBN 9790007215798. Language: German.
SKU: CA.3912713
ISBN 9790007215804. Language: German.
SKU: CA.3912711
ISBN 9790007215781. Language: German.
SKU: CA.3912749
ISBN 9790007164492. Language: German.
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