SKU: CA.3119219
ISBN 9790007210281. Language: German/English.
The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and parts available separately - see item CA.3119200.
SKU: CA.5165203
ISBN 9790007294243. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to SüÃ?mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.3106211
ISBN 9790007043612. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.
Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.
SKU: TM.03842SC
Starts with recit: O figli, o fihli miei!. Sung by MacDuff and Malcolm. Act IV No. 18 sc pg 14-39.
SKU: TM.02296SET
Key of F (orig). Starts on Cavatina Casta Diva. See #14796 for Recitative (first part of No. 4) Sediziosi Voce.
SKU: TM.09053SC
Voices in score are in C clefs - not in modern clefs.
SKU: TM.09053SET
SKU: TM.03672SET
12 minutes with chorus; 9 minutes without chorus.
SKU: TM.03672SC
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