SKU: CA.3113911

ISBN 9790007208240. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and part available separately - see item CA.3113900.

SKU: CA.3113949

ISBN 9790007208295. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and part available separately - see item CA.3113900.

SKU: CA.3113915

ISBN 9790007208288. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and part available separately - see item CA.3113900.

SKU: CA.2102911

ISBN 9790007198190. Text language: Latin.

Marc-Antoine Charpentier's Christmas mass, the Messe de Minuit, is throughly in the French tradition, celebrating the joyful news of the Birth of Christ with cheerful happiness. In this midnight mass, composed in 1694, ten traditional French Christmas hymns have been rearranged, lending the work a dance-like energy alongside charming tone coloring. In independent movements the relatively small instrumental ensemble consisting of two flutes, strings and organ plays a significant role in the musical events of this mass, alternating with various combinations of the vocal parts. Solo voices are only used together in small ensembles and, in accordance with the practices of the period, the boundaries between solo ensemble and choir are fluid, meaning that these solo passages can also be sung by members of the choir. Score and part available separately - see item CA.2102900.

SKU: CA.3113919

ISBN 9790007181277. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and parts available separately - see item CA.3113900.

SKU: CA.3113905

ISBN 9790007181093. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score available separately - see item CA.3113900.

SKU: CA.2102913

ISBN 9790007198213. Text language: Latin.

Marc-Antoine Charpentier's Christmas mass, the Messe de Minuit, is throughly in the French tradition, celebrating the joyful news of the Birth of Christ with cheerful happiness. In this midnight mass, composed in 1694, ten traditional French Christmas hymns have been rearranged, lending the work a dance-like energy alongside charming tone coloring. In independent movements the relatively small instrumental ensemble consisting of two flutes, strings and organ plays a significant role in the musical events of this mass, alternating with various combinations of the vocal parts. Solo voices are only used together in small ensembles and, in accordance with the practices of the period, the boundaries between solo ensemble and choir are fluid, meaning that these solo passages can also be sung by members of the choir. Score and part available separately - see item CA.2102900.

SKU: BA.BA11310-90

ISBN 9790006569267. 27 x 19 cm inches. Text Language: Latin.

This publication offers a source-critical edition of Mozartâ??s fragmentary â??Requiemâ? as well as an alternative to the traditional SüÃ?mayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozartâ??s idiom taking into account historical additions by SüÃ?mayr and Eybler.

When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozartâ??s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the â??Requiemâ? fragment, is taken into account in those sections requiring completion or fresh composition.

At two points readers may choose between alternative movements (or sections), since proceeding from SüÃ?mayrâ??s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozartâ??s intentions: the â??Lacrimosaâ? may end with or without â??Amenâ? fugue, and the â??Sanctusâ? may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major â??Hosannaâ? from SüÃ?mayrâ??s autograph, a movement which, until now, has not been appreciated as compositionally flawless.

â?¢ Scholarly-critical edition of the â??Requiemâ? fragment
â?¢ With performance material for presentation of
1) the fragment,
2) a version with completions of the authentic Mozart sections or
3) a full completion consistent with Mozartâ??s musical idiom
â?¢ Missing sections were completed by drawing from other fragmentary sacred works by Mozart
â?¢ Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment
â?¢ Alternative performance options for the â??Lacrimosaâ?, â??Sanctusâ? and â??Benedictusâ?
â?¢ Easy-to-play piano reduction
â?¢ Extensive foreword (Ger/Eng) on the workâ??s history, reception and modern completions, with analytical stylistic critique
� Detailed Critical Commentary (Eng), partly available on the Bärenreiter website
â?¢ Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (â??Le Disque classique du jourâ? from francemusique.fr and three nominations for Opus Klassik 2021 in the categories â??Ensembleâ?, â??Choral Recordingâ? and â??Editorial Achievementâ?)

You will find a detailed brochure on the new completion of Mozart's Requiem here.

SKU: CA.5030549

ISBN 9790007223762. Key: C major. Language: Latin.

The Missa Beatissimae Virginis Maria was composed ca. 1758-1760, between the end of his tenure as a singer in the choir of St. Stephen's in Vienna and the beginning of his first position as violinist and music director for the Bishop of Grosswardein. The scoring of SATB (for soli as well as choir) and church trio was augmented by two trumpets (clarini) and timpani, as well as two trombones. The latter instruments double the alto and tenor voices in tutti passages but in the Et incarnatus est they are also employed in an obbligato role. On the one hand, as an early work this Mass is in the style of the festive baroque tradition, as practiced in south-German regions until the middle of the eighteenth century; on the other hand it already shows the subjective inspiration which distinguished it from many of the mass settings by Haydn's contemporaries. Score and part available separately - see item CA.5030500.

SKU: CA.7005312

ISBN 9790007228293. Key: D major. Language: Latin.

With a duration of about 10 minutes, Schubert's Magnificat D 486 in C major is one of the more concise settings of the well-known Marian canticles, originally for the service of Vespers. It was composed in late summer 1815, and is therefore probably one of a series of church music works Schubert wrote in his youth for Lichtenthal Parish Church. The work requires a large-scale orchestra with strings, woodwind, and brass. The four-part choir contrasts with four soloists; this quartet sings the peaceful middle section of the three-section work. For the Carus edition Schubert's own autograph manuscript of his Magnificat was consulted again for the first time since 1888. Until 1989 this had been thought to be lost. This work is now available in carus music, the choir app! Score and part available separately - see item CA.7005300.