SKU: CA.3501205

ISBN 9790007162078. Text language: Latin.

Mention the key words Johann Sebastian and Magnificat, and one thinks involuntarily of his well-known Magnificat in D major BWV 243 or in E flat major BWV 243a. However, during the time of his tenure as St. Thomas Kantor, several times Bach also referred back to older settings of the Magnificat text and arranged these for his own purposes. Thus, for the first time it can be documented that in its original version the double choir Magnificat in C major BWV Anh. 30 contained in Bach's music library, which was originally handed down anonymously, was composed by Pietro Torri. Torri was the Music Director at the Court of the Bavarian House of Wittelsbach. For performance purposes in Leipzig in ca. 1742 Bach retained the substance of the work but composed additional parts for a 3rd trumpet and timpani. For the first time ever this splendid work appears at Carus in a printed edition. Score available separately - see item CA.3501200.

SKU: SU.YR6M12

Three Partsongs by Hamish MacCunn, edited by Jennifer Oates. Words by Casimir, Richard Alison, and anonymousSATB Composed: 2012 Published by: Barton Rhodes Press Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.

SKU: CA.3601903

ISBN 9790007091644. Language: German.

There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score available separately - see item CA.3601900.

SKU: PE.EP68582

ISBN 9790300759791. 297 x 420mm inches.

This composition was commissioned anonymously and by the Brevard Music Center in honor of Evan Armstrong North (1982-2011)

"The task of writing a piece of music for someone who has left the world all too soon is not an easy one. Does one write celebratory music, in honor of his well-lived life? Or does one musically depict the loss of such a beloved young man? I tried to do something of both. The first movement begins with the musical depiction of the loss, a descending scale of despair. As it is a concerto, much of the piece is a dialogue between the soloist and the orchestra. For the most part, the piano is the voice of love and hope while the orchestra is the voice of despair and loss. How does one move forward to live after such a loss? What ensues in the process of the first movement represents a gradual triumph over despair." - Robert Livingston Aldridge

SKU: CA.3601913

ISBN 9790007213886. Language: German.

There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score and part available separately - see item CA.3601900.

SKU: CA.3501219

ISBN 9790007143374. Text language: Latin.

Mention the key words Johann Sebastian and Magnificat, and one thinks involuntarily of his well-known Magnificat in D major BWV 243 or in E flat major BWV 243a. However, during the time of his tenure as St. Thomas Kantor, several times Bach also referred back to older settings of the Magnificat text and arranged these for his own purposes. Thus, for the first time it can be documented that in its original version the double choir Magnificat in C major BWV Anh. 30 contained in Bach's music library, which was originally handed down anonymously, was composed by Pietro Torri. Torri was the Music Director at the Court of the Bavarian House of Wittelsbach. For performance purposes in Leipzig in ca. 1742 Bach retained the substance of the work but composed additional parts for a 3rd trumpet and timpani. For the first time ever this splendid work appears at Carus in a printed edition. Score and parts available separately - see item CA.3501200.

SKU: CA.3601919

ISBN 9790007096939. Language: German.

There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source. Score and parts available separately - see item CA.3601900.

SKU: CA.3501200

ISBN 9790007142612. Text language: Latin.

Mention the key words Johann Sebastian and Magnificat, and one thinks involuntarily of his well-known Magnificat in D major BWV 243 or in E flat major BWV 243a. However, during the time of his tenure as St. Thomas Kantor, several times Bach also referred back to older settings of the Magnificat text and arranged these for his own purposes. Thus, for the first time it can be documented that in its original version the double choir Magnificat in C major BWV Anh. 30 contained in Bach's music library, which was originally handed down anonymously, was composed by Pietro Torri. Torri was the Music Director at the Court of the Bavarian House of Wittelsbach. For performance purposes in Leipzig in ca. 1742 Bach retained the substance of the work but composed additional parts for a 3rd trumpet and timpani. For the first time ever this splendid work appears at Carus in a printed edition.

SKU: CA.3501203

ISBN 9790007143039. Text language: Latin.

Mention the key words Johann Sebastian and Magnificat, and one thinks involuntarily of his well-known Magnificat in D major BWV 243 or in E flat major BWV 243a. However, during the time of his tenure as St. Thomas Kantor, several times Bach also referred back to older settings of the Magnificat text and arranged these for his own purposes. Thus, for the first time it can be documented that in its original version the double choir Magnificat in C major BWV Anh. 30 contained in Bach's music library, which was originally handed down anonymously, was composed by Pietro Torri. Torri was the Music Director at the Court of the Bavarian House of Wittelsbach. For performance purposes in Leipzig in ca. 1742 Bach retained the substance of the work but composed additional parts for a 3rd trumpet and timpani. For the first time ever this splendid work appears at Carus in a printed edition. Score available separately - see item CA.3501200.

SKU: ST.PE12

ISBN 9790220222474.

Presented in a highly praised new production by Glyndebourne Opera in 2009, this edition of Purcell's third semi-opera, The Fairy Queen, offers a new and definitive version of words and music prepared by two leading scholars in the field. The playtext, anonymously adapted from Shakespeare's A Midsummer Night's Dream, is printed in full, and the role of the various sources, and the relationship of the manuscript theatre score to the printed word-books of 1692 and 1693, are thoroughly reappraised. The other sources include music manuscripts which have not previously been examined, and which prove to have a significant bearing on the musical text. Full account is taken of the varied instrumental resources and conventions accessible to the Restoration composer, reflected in the multi-purpose performing material for the edition which is available for rental (HL390).

SKU: BR.DV-9515A-16

ISBN 9790200490619. 9 x 12 inches. German.

In the latter half of the 18th and in the 19th century the Old Preface Testament Christmas prophecy (Isaiah 9, 1-6) formed the basis for numerous motetto- and cantata-like compositions originating from the Erzgebirge and the Vogtland of Saxony. From very early times, this text was included in Matins for Christmas day, hut until the period specified it was usually intoned on a reciting note. The present cantata is one of the few surviving testimonies to musical activity in the small Thuringian town of Schleiz. The prophecy Das Volk, so im Finstern wandelt was written - probably for performance at court services - in all likelihood by Johann Georg Reichard, a magistrate in the Grafschaft (County) of Reuss who later held higher judicial appointments. Reichard was born at Oels (Olefoica) in Silesia in 1710 and studied law at Leipzig from 1732. He then went to Schleiz and rose from the position of archivist to high legal office, at the same time succeeding Gottfried Siegmund Liebich (d. 1736) as director of the court chapel. He died in Schleiz on 2 June 1782. A few of his church cantatas and other pieces (serenades etc) written for the court at Schleiz once belonged to the Fursten- and Landesschule of St Augustine at Grimma whose music holdings are now preserved in Dresden. Some of Reichard's compositions are autograph, some in copies made by his son Heinrich Gottfried Reichard (1742-1801) who pursued an active career at Grimma both in music and ancient philology, first as cantor, finally as co-rector. The 'Prophecy' cantata survives anonymously in a score copied by Heinrich Gottfried Reichard who may well have sung it himself when he was fourteen, before bis voice broke - as the date Anno 17 56 suggests. He probably prepared the score in bis later years from the original parts, now no langer existent, as he did in the case of other works of his father's. Whether he revised the musical text, and to what extent, cannot now be established. This short and attractive work has all the lightness and exuberance of the rococo as well as genuine emotional depth. In addition, it is easy to perform and should prove very popular. Liturgically, it still occupies a place in Christmas matins or vespers. Permission for this publication was kindly given by Dr. Wolfgang Reich of the Sachsische Landesbibliothek Dresden, Musikabteilung. Wolfram Steude, Dresden, January 1972.