SKU: HL.49043972

ISBN 9790001196826. Latin - German.

Die 'Missa juvenalis' entstand als Auftragskompostion der Chore an St. Georg in Bensheim. Sie ist eine moderne Orchestermesse fur zweistimmigen Jugendchor und vierstimmigen Erwachsenenchor, Orchester, Sopransolo und zwei Perkussionisten. Die ca. 30minutige Messe vereint den klassischen, lateinischen Messtext mit deutschen Erganzungen von Dag Hammarskjold und Meister Eckhart. In 'Kyrie' und 'Agnus Dei eingeschoben, geben Sie dem zeitlosen Messtext eine beruckende Aktualitat. Die Messe bewegt sich stilistisch zwischen klassischen Modellen, Musical und Jazz. Entsprechend uppig ist die notwendige Ausstattung an Schlagwerk, das zu den Streichern und Holzblasern hinzutritt.

SKU: CA.4041814

ISBN 9790007067199. Language: Latin.

After musical training in Naples Niccolo Jommelli began to make his name as an opera composer from the end of the 1730ies onwards. From 1750 until 1753 he was assistant director of music at St. Peter's, Rome, and responsible for the music at the Cappella Giulia - years which were decisive for Jommelli's sacred music. During those years he also composed the three-movement setting of the Whitsun hymn Veni Creator Spiritus for solo soprano, mixed-voice choir, string orchestra and continuo. It is marked by the maturity of the writing for the solo voice, modelled on the example of composers such as Johann Adolf Hasse, and by stylistic hallmarks of Jommelli's music, such as his relatively simple yet highly effective choral writing. Score and part available separately - see item CA.4041800.

SKU: CA.4041811

ISBN 9790007067168. Language: Latin.

After musical training in Naples Niccolo Jommelli began to make his name as an opera composer from the end of the 1730ies onwards. From 1750 until 1753 he was assistant director of music at St. Peter's, Rome, and responsible for the music at the Cappella Giulia - years which were decisive for Jommelli's sacred music. During those years he also composed the three-movement setting of the Whitsun hymn Veni Creator Spiritus for solo soprano, mixed-voice choir, string orchestra and continuo. It is marked by the maturity of the writing for the solo voice, modelled on the example of composers such as Johann Adolf Hasse, and by stylistic hallmarks of Jommelli's music, such as his relatively simple yet highly effective choral writing. Score and part available separately - see item CA.4041800.

SKU: CA.2706005

ISBN 9790007187095. Language: Latin.

Carus-Verlag is now publishing this early work by Camille Saint-Saens in a critical new edition. Among the sacred works by Saint-Saens there are just two settings of the mass: the Messe de Requiem op. 54 from his middle period (1878), and the Mass op. 4 dating from 1856. This was first performed on 21 April 1857. Camille Saint-Saens was a devoted follower of historicism as part of the reform movement in French church music. This is more evident in the mass published here than anywhere else. The model for this work is the unison Messe Royale by Henry DuMont (1610-1683). Saint-Saens combined its Gregorian style in a convincing manner with contemporary elements of Romantic composition, an expressive chromaticism, which determines the harmonic progression. Alongside the orchestral forces, the Grand Orgue plays an important role. Used as a solo instrument, it is an equal partner in the composition. Score available separately - see item CA.2706000.

SKU: CA.3550348

ISBN 9790007213497. Language: Latin.

Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score and part available separately - see item CA.3550300.

SKU: CA.3550319

ISBN 9790007213480. Text language: Latin.

Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score and parts available separately - see item CA.3550300.

SKU: CA.2706019

ISBN 9790007199784. Language: Latin.

Carus-Verlag is now publishing this early work by Camille Saint-Saens in a critical new edition. Among the sacred works by Saint-Saens there are just two settings of the mass: the Messe de Requiem op. 54 from his middle period (1878), and the Mass op. 4 dating from 1856. This was first performed on 21 April 1857. Camille Saint-Saens was a devoted follower of historicism as part of the reform movement in French church music. This is more evident in the mass published here than anywhere else. The model for this work is the unison Messe Royale by Henry DuMont (1610-1683). Saint-Saens combined its Gregorian style in a convincing manner with contemporary elements of Romantic composition, an expressive chromaticism, which determines the harmonic progression. Alongside the orchestral forces, the Grand Orgue plays an important role. Used as a solo instrument, it is an equal partner in the composition. Score and parts available separately - see item CA.2706000.

SKU: CA.2706003

ISBN 9790007187088. Language: Latin.

Carus-Verlag is now publishing this early work by Camille Saint-Saens in a critical new edition. Among the sacred works by Saint-Saens there are just two settings of the mass: the Messe de Requiem op. 54 from his middle period (1878), and the Mass op. 4 dating from 1856. This was first performed on 21 April 1857. Camille Saint-Saens was a devoted follower of historicism as part of the reform movement in French church music. This is more evident in the mass published here than anywhere else. The model for this work is the unison Messe Royale by Henry DuMont (1610-1683). Saint-Saens combined its Gregorian style in a convincing manner with contemporary elements of Romantic composition, an expressive chromaticism, which determines the harmonic progression. Alongside the orchestral forces, the Grand Orgue plays an important role. Used as a solo instrument, it is an equal partner in the composition. Score available separately - see item CA.2706000.

SKU: CA.2706015

Language: Latin.

Carus-Verlag is now publishing this early work by Camille Saint-Saens in a critical new edition. Among the sacred works by Saint-Saens there are just two settings of the mass: the Messe de Requiem op. 54 from his middle period (1878), and the Mass op. 4 dating from 1856. This was first performed on 21 April 1857. Camille Saint-Saens was a devoted follower of historicism as part of the reform movement in French church music. This is more evident in the mass published here than anywhere else. The model for this work is the unison Messe Royale by Henry DuMont (1610-1683). Saint-Saens combined its Gregorian style in a convincing manner with contemporary elements of Romantic composition, an expressive chromaticism, which determines the harmonic progression. Alongside the orchestral forces, the Grand Orgue plays an important role. Used as a solo instrument, it is an equal partner in the composition. Score and part available separately - see item CA.2706000.

SKU: CA.3608100

ISBN 9790007188290. Language: German. Text: Hembold, Ludwig.

The cantata Nun lasst uns Gott, den Herren (BuxWV 81) is based on a chorale text by Ludwig Helmbold of 1575. Buxtehude set the eight verses of the chorale, which Helmbold conceived as a song of thanks after a meal, in the form of a strophic hymn with instrumental interludes. His sensitive approach to the textual model emphasizes inner details of the hymn, the content of which extends far beyond a mere musical grace.

SKU: CA.3608119

ISBN 9790007239787. Language: German. Text: Hembold, Ludwig.

The cantata Nun lasst uns Gott, den Herren (BuxWV 81) is based on a chorale text by Ludwig Helmbold of 1575. Buxtehude set the eight verses of the chorale, which Helmbold conceived as a song of thanks after a meal, in the form of a strophic hymn with instrumental interludes. His sensitive approach to the textual model emphasizes inner details of the hymn, the content of which extends far beyond a mere musical grace. Score and parts available separately - see item CA.3608100.

SKU: CA.3608149

ISBN 9790007239978. Language: German. Text: Hembold, Ludwig.

The cantata Nun lasst uns Gott, den Herren (BuxWV 81) is based on a chorale text by Ludwig Helmbold of 1575. Buxtehude set the eight verses of the chorale, which Helmbold conceived as a song of thanks after a meal, in the form of a strophic hymn with instrumental interludes. His sensitive approach to the textual model emphasizes inner details of the hymn, the content of which extends far beyond a mere musical grace. Score and part available separately - see item CA.3608100.

SKU: CA.3103205

ISBN 9790007042493. Key: E minor / g major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

The text of the cantata Dearest Jesus, sore I need Thee for the 1st Epiphany Sunday 1726 was written by the Darmstadt poet Georg Christian Lehms. It is conceived as a dialog between Jesus and the Faithful Soul. Bach titled his cantata Concerto in Dialogo and accordingly, it is structured as a dialog between soprano and bass, set in the voice types that were - not only for Bach - typically used for the soul (soprano) and Jesus (bass). The cantata is based on the narrative of the twelve-year-old boy Jesus in the temple; however, in spite of closely following the gospel text, it is interpreted more widely here: it is through Jesus that the believer finds God's dwelling. Bach creates a great arch from the opening aria full of yearning and searching through to the joyful duet Nun verschwinden alle Plagen. He himself added the four-part closing chorale to the text model, thus communicating the sense of joyous certainty to the congregation of believers. Score available separately - see item CA.3103200.

SKU: CA.3103213

ISBN 9790007042523. Key: E minor / g major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

The text of the cantata Dearest Jesus, sore I need Thee for the 1st Epiphany Sunday 1726 was written by the Darmstadt poet Georg Christian Lehms. It is conceived as a dialog between Jesus and the Faithful Soul. Bach titled his cantata Concerto in Dialogo and accordingly, it is structured as a dialog between soprano and bass, set in the voice types that were - not only for Bach - typically used for the soul (soprano) and Jesus (bass). The cantata is based on the narrative of the twelve-year-old boy Jesus in the temple; however, in spite of closely following the gospel text, it is interpreted more widely here: it is through Jesus that the believer finds God's dwelling. Bach creates a great arch from the opening aria full of yearning and searching through to the joyful duet Nun verschwinden alle Plagen. He himself added the four-part closing chorale to the text model, thus communicating the sense of joyous certainty to the congregation of believers. Score and part available separately - see item CA.3103200.