SKU: BA.BA25025
ISBN 9790006569410. 29.7 x 21 cm inches. Language: German.
The sacred a cappella choral works by Johannes Brahms are amongst the most important Romantic works in their genre.These works published as a collection in BA 7575 are now available separately in performing editions (BA 25018 â?? BA 25037).
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.48025430
ISBN 9798350126297. UPC: 196288210825. 6.75x10.5 inches.
“Waloyo Yamoni (We Overcome the Wind)†is the grand finale to Christopher Tin's second album 'The Drop That Contained the Sea'. The lyrics are a setting of a Lango rainmaking prayer. It was commissioned by the St. Matthews Chamber Orchestra, and recorded by the Royal Philharmonic Orchestra with the Soweto Gospel Choir. New York Concert Review wrote of the Carnegie Hall premiere “The audience reacted after the final notes with the loudest and longest standing ovation I have ever heard at any concertâ€, while The York Press wrote “We Overcome The Wind was an outpouring of joy; a unanimous standing ovation evinced the sense of togetherness at the heart of this concert.â€.
SKU: CA.964100
ISBN 9790007143541. Text language: Latin.
The Good Friday Responsory Tenebrae factae sunt for six-part chorus was commissioned in 2012 for Peking University Student Choir and was premiered at the World Choir Games in Cincinnati, Ohio, USA conducted by Hou Xijin. It is an ambitious work with a fervent intensity. Matsushita sets the two last words of Jesus, Deus meus, ut quid me dereliquisti? [My God, why hast thou forsaken me] and Pater, in manus tuas commendo spiritum meum [Father, into thy hands I commend my spirit] as pained outcries in Stravinskyian harshness, in chords characterized by tritones, as a truly superhuman work of redemption whose Easter message of hope only appears in the last conciliatory F major chord. Although this work lies slightly beyond the upper limit of the musical and vocal technical demands of the Carus Contemporary series, it is well within the abilities of ambitious chamber choirs.
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