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.3500511

ISBN 9790007212889. Language: German/English.

Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils. Score and part available separately - see item CA.3500500.

SKU: CA.3500549

ISBN 9790007212926. Language: German/English.

Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils. Score and part available separately - see item CA.3500500.

SKU: CA.3500514

ISBN 9790007212919. Language: German/English.

Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils. Score and part available separately - see item CA.3500500.

SKU: CA.3500500

ISBN 9790007103439. Language: German/English.

Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils.

SKU: CA.5505694

Text language: English. Text: Jennens, Charles.

George Frideric Handel is considered England's first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759. In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions. Score available separately - see item CA.5505600.