SKU: CA.4068719
ISBN 9790007311384. Key: C minor. Latin.
A mass setting by Robert Schumann? This is still likely to cause surprise among audiences â after all, Schumann is not generally viewed as a sacred composer. Indeed, his little-known late work, the Missa sacra, Op. 147, is a discovery not just for listeners but often for the performers themselves. The mass combines an acute fascination with sacred liturgy typical of Schumannâs time with the pragmatism of its intended use by a local choral society. The composer employs his considerable skills to create a captivating and varied score that is almost ethereal in the Kyrie, leading to passages of an intimate and lyrical piano that alternate with fortissimo for words of praise, while always displaying the utmost sensitivity and a delight in dissonance. The composer declared his setting to be âfashioned with great loveâ. The demanding orchestral mass can be realized with limited means. The solo parts can be filled from the choir. The work, which the composer himself did not have published, is here reissued on the basis of Schumannâs partial autograph score. Carus has also produced an arrangement of the work for choir and organ, enabling performances without orchestra in smaller venues (Carus 40.687/45).. Score and parts available separately - see item CA.4068700.
SKU: CA.4068709
ISBN 9790007311322. Key: C minor. Latin.
SKU: CA.4068706
ISBN 9790007239725. Key: C minor. Latin.
A mass setting by Robert Schumann? This is still likely to cause surprise among audiences â after all, Schumann is not generally viewed as a sacred composer. Indeed, his little-known late work, the Missa sacra, Op. 147, is a discovery not just for listeners but often for the performers themselves. The mass combines an acute fascination with sacred liturgy typical of Schumannâs time with the pragmatism of its intended use by a local choral society. The composer employs his considerable skills to create a captivating and varied score that is almost ethereal in the Kyrie, leading to passages of an intimate and lyrical piano that alternate with fortissimo for words of praise, while always displaying the utmost sensitivity and a delight in dissonance. The composer declared his setting to be âfashioned with great loveâ. The demanding orchestral mass can be realized with limited means. The solo parts can be filled from the choir. The work, which the composer himself did not have published, is here reissued on the basis of Schumannâs partial autograph score. Carus has also produced an arrangement of the work for choir and organ, enabling performances without orchestra in smaller venues (Carus 40.687/45).. Score available separately - see item CA.4068700.
SKU: BA.BA05935-01
ISBN 9790006556304. 33 x 26 cm inches. Key: B minor. Text Language: Latin. Preface: Uwe Wolf.
New revised version.
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: CA.2709246
ISBN 9790007310868. Key: D minor. Latin.
In the 19th and early 20th centuries, transcriptions of large (choral) symphonic works for two pianos were extremely popular, as they enabled a large audience to get to know classical compositions in an age before recorded music. In many cases, world-famous pieces were first performed in such a version ââ¬â including Brucknerââ¬â¢s Te Deum. The Stuttgart composer, pianist and experienced piano-duo performer Sebastian Bartmann was commissioned by the Landesakademie für die musizierende Jugend in Baden-Württemberg Ochsenhausen to newly arrange Brucknerââ¬â¢s Te Deum and the Mass in D minor for soloists, choir, and two pianos. A timpani part (ad libitum) provides additional color. The arrangements are based on the original Carus editions. The vocal scores and choral scores of the original version can also be used.While Brucknerââ¬â¢s symphonic approach becomes evident for the first time in the Mass in D minor from 1864, the work does not place the same high demands on the performers as the two later masses. This arrangement for soloists, choir and 2 pianos has an air of transparency, rather like a work of chamber music.. Score and parts available separately - see item CA.2709200.
SKU: CA.2709244
ISBN 9790007303358. Key: D minor. Latin.
In the 19th and early 20th centuries, transcriptions of large (choral) symphonic works for two pianos were extremely popular, as they enabled a large audience to get to know classical compositions in an age before recorded music. In many cases, world-famous pieces were first performed in such a version â?? including Brucknerâ??s Te Deum. The Stuttgart composer, pianist and experienced piano-duo performer Sebastian Bartmann was commissioned by the Landesakademie für die musizierende Jugend in Baden-Württemberg Ochsenhausen to newly arrange Brucknerâ??s Te Deum and the Mass in D minor for soloists, choir, and two pianos. A timpani part (ad libitum) provides additional color. The arrangements are based on the original Carus editions. The vocal scores and choral scores of the original version can also be used.While Brucknerâ??s symphonic approach becomes evident for the first time in the Mass in D minor from 1864, the work does not place the same high demands on the performers as the two later masses. This arrangement for soloists, choir and 2 pianos has an air of transparency, rather like a work of chamber music.. Score available separately - see item CA.2709200.
SKU: CA.5032109
ISBN 9790007081003. Key: C minor. Language: Latin.
Johann Michael Haydn's Requiem in C minor heavily influenced W. A. Mozart's Requiem. In just two weeks Michael Haydn composed his work in December 1771, on the occasion of the death of his employer, Prince Bishop Sigismund Count Schrattenbach, who was beloved among the people and was a great patron of the arts. The work was written under the impression of personal tragedy: Haydn's only child, Aloisia Josepha, died in January 1771, before completing her first year of life. Parts of the Schrattenbach-Requiem were played together with the completed movements from his second, unfinished Requiem during his own furneral service. During the funeral service in Vienna for Joseph Haydn, parts of his younger brother's C-minor Requiem were also performed. Score and parts available separately - see item CA.5032100.
SKU: CA.5032119
ISBN 9790007133566. Key: C minor. Language: Latin.
SKU: CA.5032105
ISBN 9790007080990. Key: C minor. Language: Latin.
Johann Michael Haydn's Requiem in C minor heavily influenced W. A. Mozart's Requiem. In just two weeks Michael Haydn composed his work in December 1771, on the occasion of the death of his employer, Prince Bishop Sigismund Count Schrattenbach, who was beloved among the people and was a great patron of the arts. The work was written under the impression of personal tragedy: Haydn's only child, Aloisia Josepha, died in January 1771, before completing her first year of life. Parts of the Schrattenbach-Requiem were played together with the completed movements from his second, unfinished Requiem during his own furneral service. During the funeral service in Vienna for Joseph Haydn, parts of his younger brother's C-minor Requiem were also performed. Score available separately - see item CA.5032100.
SKU: CA.4068700
ISBN 9790007239701. Key: C minor. Latin.
A mass setting by Robert Schumann? This is still likely to cause surprise among audiences â?? after all, Schumann is not generally viewed as a sacred composer. Indeed, his little-known late work, the Missa sacra, Op. 147, is a discovery not just for listeners but often for the performers themselves. The mass combines an acute fascination with sacred liturgy typical of Schumannâ??s time with the pragmatism of its intended use by a local choral society. The composer employs his considerable skills to create a captivating and varied score that is almost ethereal in the Kyrie, leading to passages of an intimate and lyrical piano that alternate with fortissimo for words of praise, while always displaying the utmost sensitivity and a delight in dissonance. The composer declared his setting to be â??fashioned with great loveâ?. The demanding orchestral mass can be realized with limited means. The solo parts can be filled from the choir. The work, which the composer himself did not have published, is here reissued on the basis of Schumannâ??s partial autograph score. Carus has also produced an arrangement of the work for choir and organ, enabling performances without orchestra in smaller venues (Carus 40.687/45).
SKU: CA.4068703
ISBN 9790007239718. Key: C minor. Latin.
A mass setting by Robert Schumann? This is still likely to cause surprise among audiences ââ¬â after all, Schumann is not generally viewed as a sacred composer. Indeed, his little-known late work, the Missa sacra, Op. 147, is a discovery not just for listeners but often for the performers themselves. The mass combines an acute fascination with sacred liturgy typical of Schumannââ¬â¢s time with the pragmatism of its intended use by a local choral society. The composer employs his considerable skills to create a captivating and varied score that is almost ethereal in the Kyrie, leading to passages of an intimate and lyrical piano that alternate with fortissimo for words of praise, while always displaying the utmost sensitivity and a delight in dissonance. The composer declared his setting to be ââ¬Åfashioned with great loveââ¬Â. The demanding orchestral mass can be realized with limited means. The solo parts can be filled from the choir. The work, which the composer himself did not have published, is here reissued on the basis of Schumannââ¬â¢s partial autograph score. Carus has also produced an arrangement of the work for choir and organ, enabling performances without orchestra in smaller venues (Carus 40.687/45).
