(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165219

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Set of Orchestra Parts. KV 626. Duration 50 minutes. Carus Verlag #5165219. Published by Carus Verlag (CA.5165219).

ISBN 9790007313883. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” 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 Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’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 instrument’s unique sound is given an opportunity to shine. Arman’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 – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’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.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Soloists, Mixed choir, Orchestra

SKU: BA.BA04025-01

Composed by George Frideric Handel. Edited by Georg-Friedrich-Händel-Gesellschaft e. V. Risinger and Mark. This edition: Complete edition. Linen. Complete edition, Score. HWV 58. Baerenreiter Verlag #BA04025-01. Published by Baerenreiter Verlag (BA.BA04025-01).

ISBN 9790006443222. 33 x 26 cm inches. Text Language: English.

Handelâ??s â??Semeleâ?, which premiered in February 1744, is based on an adapted version of William Congreveâ??s opera libretto titled â??The Story of Semeleâ?, originally published in 1706. However, neither Handel nor his librettist referred to â??Semeleâ? as an opera or an oratorio, which, according to the understanding at the time, would have required a biblical and/or Christian subject matter. Contemporary audiences also disagreed on the genre. The problematic classification as an oratorio has persisted into the present day, likely due to the edition labeled as such by Chrysander. The â??Halle Handel Editionâ? (HHA) distances itself from this classification and, considering the available sources, refrains from assigning a genre label.

Congreve deviates from the mythological source multiple times in order to create tensions among the characters. The desired marriage between Semele and Athamas, whom she does not love, is an addition by Congreve to provoke the envy of her sister Ino, who desires Athamas herself. Therefore, Ino sees her own advantage in Semeleâ??s abduction by Jupiter. While Jupiterâ??s wife Juno decides to destroy Semele out of jealousy for his relationship with her, Jupiter brings Ino to his palace to console Semele. The vengeful Juno takes advantage of Inoâ??s presence and transforms into her likeness, persuading Semele to carry out a plan that later proves fatal. In the end, Ino emerges as the winner, as she is able to convince their father, Cadmus, to marry her to Athamas. The appearance of Apollo in the final scene to announce that Semeleâ??s immortal son Bacchus was saved from her ashes provides little consolation. However, this twist allows the drama to conclude with exuberant joy and a magnificent final chorus after the tragic scenes in the third act, culminating in the death of the protagonist.

Handelâ??s autograph score shows significant deviations from and numerous revisions of the original version premiered. All surviving early versions, the musical movements deleted before the premiere, and the version of the December 1744, are given in the appendix to the HHA.

(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165209

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Set of Orchestra Parts. KV 626. Duration 50 minutes. Carus Verlag #5165209. Published by Carus Verlag (CA.5165209).

ISBN 9790007313838. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” 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 Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’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 instrument’s unique sound is given an opportunity to shine. Arman’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 – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’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.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102649

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig Pod. Sacred vocal music, End of the church year, Mourning, death. Single Part, Organ. Composed 1724. BWV 26. 12 pages. Duration 17 minutes. Carus Verlag #CV 31.026/49. Published by Carus Verlag (CA.3102649).

ISBN 9790007205300. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and part available separately - see item CA.3102600.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102609

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. 1x 31.026/21 flute, 1x 31.026/22 oboe 1, 1x 31.026/23 oboe 2, 1x 31.026/24 oboe 3, 1x 31.026/31 horn. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig 5. Sacred vocal music, End of the church year, Mourning, death. Set of Orchestra Parts. Composed 1724. BWV 26. 26 pages. Duration 17 minutes. Carus Verlag #CV 31.026/09. Published by Carus Verlag (CA.3102609).

ISBN 9790007205256. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and parts available separately - see item CA.3102600.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102619

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig. Sacred vocal music, End of the church year, Mourning, death. Set of Orchestra Parts. Composed 1724. BWV 26. Duration 17 minutes. Carus Verlag #CV 31.026/19. Published by Carus Verlag (CA.3102619).

ISBN 9790007136048. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and parts available separately - see item CA.3102600.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102614

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig. Sacred vocal music, End of the church year, Mourning, death. Single Part, basso continuo. Composed 1724. BWV 26. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.026/14. Published by Carus Verlag (CA.3102614).

ISBN 9790007205294. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and part available separately - see item CA.3102600.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102600

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig. Sacred vocal music, End of the church year, Mourning, death. Full score. Composed 1724. BWV 26. 40 pages. Duration 17 minutes. Carus Verlag #CV 31.026/00. Published by Carus Verlag (CA.3102600).

ISBN 9790007090784. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity..

SATB vocal soli, SATB choir, 2 Violins, Viola, Basso continuo

SKU: CA.2706813

Kyrie-Gloria-Messe. Composed by Johann Christoph Altnickol. Edited by Clemens Harasim. Viola. Sacred vocal music, Masses, Latin. Single Part, Viola. 8 pages. Carus Verlag #CV 27.068/13. Published by Carus Verlag (CA.2706813).

ISBN 9790007199869. Language: Latin.

The Missa in d, composed around 1750, is one of the few surviving compositions of Altnickol. He was the student and later son-in-law of Johann Sebastian Bach. The wealth of forms and at the same time, the clarity of this composition show the influence of his teacher, but above all it shows the expression of an individual style of church music. With its contrapuntal mastery and musical depth this Kyrie-Gloria Mass, presented here in a first edition, represents a high point in this widely disseminated genre. Score and part available separately - see item CA.2706800.

SATB vocal soli, SATB choir, 2 Violins, Viola, Basso continuo

SKU: CA.2706811

Kyrie-Gloria-Messe. Composed by Johann Christoph Altnickol. Edited by Clemens Harasim. Violin 1. Sacred vocal music, Masses, Latin. Single Part, Violin 1. 8 pages. Carus Verlag #CV 27.068/11. Published by Carus Verlag (CA.2706811).

ISBN 9790007199845. Language: Latin.

The Missa in d, composed around 1750, is one of the few surviving compositions of Altnickol. He was the student and later son-in-law of Johann Sebastian Bach. The wealth of forms and at the same time, the clarity of this composition show the influence of his teacher, but above all it shows the expression of an individual style of church music. With its contrapuntal mastery and musical depth this Kyrie-Gloria Mass, presented here in a first edition, represents a high point in this widely disseminated genre. Score and part available separately - see item CA.2706800.

SATB vocal soli, SATB choir, 2 Violins, Viola, Basso continuo

SKU: CA.2706814

Kyrie-Gloria-Messe. Composed by Johann Christoph Altnickol. Edited by Clemens Harasim. Violoncello/double bass. Sacred vocal music, Masses, Latin. Single Part, Cello/Double Bass. 8 pages. Carus Verlag #CV 27.068/14. Published by Carus Verlag (CA.2706814).

ISBN 9790007199876. Language: Latin.

The Missa in d, composed around 1750, is one of the few surviving compositions of Altnickol. He was the student and later son-in-law of Johann Sebastian Bach. The wealth of forms and at the same time, the clarity of this composition show the influence of his teacher, but above all it shows the expression of an individual style of church music. With its contrapuntal mastery and musical depth this Kyrie-Gloria Mass, presented here in a first edition, represents a high point in this widely disseminated genre. Score and part available separately - see item CA.2706800.

SATB vocal soli, SATB choir, 2 Violins, Viola, Basso continuo

SKU: CA.2706800

Kyrie-Gloria-Messe. Composed by Johann Christoph Altnickol. Edited by Clemens Harasim. This edition: Paperbound. German title: Missa in D. Sacred vocal music, Masses, Latin. Full score. Carus Verlag #CV 27.068/00. Published by Carus Verlag (CA.2706800).

ISBN 9790007090692. Language: Latin.

The Missa in d, composed around 1750, is one of the few surviving compositions of Altnickol. He was the student and later son-in-law of Johann Sebastian Bach. The wealth of forms and at the same time, the clarity of this composition show the influence of his teacher, but above all it shows the expression of an individual style of church music. With its contrapuntal mastery and musical depth this Kyrie-Gloria Mass, presented here in a first edition, represents a high point in this widely disseminated genre.