SKU: CA.3115019
ISBN 9790007136819. Key: B minor. Language: German/English.
The cantata Nach dir, Herr, verlanget mich (O my Lord, I long for thee) BWV 150 is one of the earliest cantatas from Bach's Muhlhausen period. Its authenticity was long disputed, partly because of the stylistic characteristics of this early work, but also because the cantata only survives in sources dating from the period after Bach's death. However, in recent years a hidden dedication to Conrad Meckbach, a member of the Muhlhausen town council and patron of Bach, has been deciphered: the initial letters of the free poetry reveal the acrostic Doctor Conrad Meckbach (in the 18th century spelling), revealing a link to the city of Muhlhausen and almost certainly confirming Bach's authorship of the cantata. The occasion of the composition of the work is still unknown. The small instrumental scoring for just two violins, bassoon, and continuo, plus the fact that only the soprano is given a solo movement, suggest a performance with modest resources. Score and parts available separately - see item CA.3115000.
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.3913009
ISBN 9790007215842. Language: German/English.
The Frankfurt cantata for Whitsun, 1717, offers the choir and the four soloists rewarding tasks, while in the opening chorus and in two of the three arias a virtuoso recorder player is employed. Score and parts available separately - see item CA.3913000.
SKU: CA.5165219
ISBN 9790007313883. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâs Requiem. âAnother one?â you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃmayr version. Yet such is the enormous power of Mozartâs score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâs additions to Mozartâs great original show the requisite care and respect while incorporating many new insights.Armanâs approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâs 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 instrumentâs unique sound is given an opportunity to shine. Armanâs 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. Mozartâs fragment ends with the Hostias, and so does Armanâs 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 SüÃmayr, 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.Armanâs 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 Mozartâs masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.3913013
ISBN 9790007215873. Language: German/English.
The Frankfurt cantata for Whitsun, 1717, offers the choir and the four soloists rewarding tasks, while in the opening chorus and in two of the three arias a virtuoso recorder player is employed. Score and part available separately - see item CA.3913000.
SKU: CA.3913012
ISBN 9790007215866. Language: German/English.
SKU: CA.3913014
ISBN 9790007215880. Language: German/English.
SKU: CA.3913005
ISBN 9790007103620. Language: German/English.
The Frankfurt cantata for Whitsun, 1717, offers the choir and the four soloists rewarding tasks, while in the opening chorus and in two of the three arias a virtuoso recorder player is employed. Score available separately - see item CA.3913000.
SKU: CA.5199009
ISBN 9790007225452. Language: German/English. Text: von Swieten, Gottfried. Text: Baron von Swieten.
The primary source on which the new Carus Urtext edition is based is the first edition of the score from 1800. Contrary to normal custom, Haydn published the score himself in order to avoid unauthorized publications and to present an optimally designed edition from an authentic hand. With this original document, which has been compared with additional relevant sources, Carus now offers a musical text based on the latest musicological findings. The critical report provides all of the important data concerning the edition in a compact form suitable for practical use [practical performance]. A detailed foreword offers insight into the genesis of the work, its construction and reception and illuminates compositional and theological and spiritual-historical aspects. In addition to the score, with singing texts in two languages (G. van Swieten's original German and English text), in the interest of legibility, vocal and choral scores will be offered in two separate editions (German or English). This work is now available in carus music, the choir app. Score and parts available separately - see item CA.5199000.
SKU: CA.5199015
ISBN 9790007225506. Language: German/English. Text: von Swieten, Gottfried. Text: Baron von Swieten.
The primary source on which the new Carus Urtext edition is based is the first edition of the score from 1800. Contrary to normal custom, Haydn published the score himself in order to avoid unauthorized publications and to present an optimally designed edition from an authentic hand. With this original document, which has been compared with additional relevant sources, Carus now offers a musical text based on the latest musicological findings. The critical report provides all of the important data concerning the edition in a compact form suitable for practical use [practical performance]. A detailed foreword offers insight into the genesis of the work, its construction and reception and illuminates compositional and theological and spiritual-historical aspects. In addition to the score, with singing texts in two languages (G. van Swieten's original German and English text), in the interest of legibility, vocal and choral scores will be offered in two separate editions (German or English). This work is now available in carus music, the choir app. Score and part available separately - see item CA.5199000.
SKU: CA.5199002
ISBN M-007-24967-0. German/English. Text: von Swieten, Gottfried.
The primary source on which the new Carus Urtext edition is based is the first edition of the score from 1800. Contrary to normal custom, Haydn published the score himself in order to avoid unauthorized publications and to present an optimally designed edition from an authentic hand. With this original document, which has been compared with additional relevant sources, Carus now offers a musical text based on the latest musicological findings. The critical report provides all of the important data concerning the edition in a compact form suitable for practical use [practical performance]. A detailed foreword offers insight into the genesis of the work, its construction and reception and illuminates compositional and theological and spiritual-historical aspects. In addition to the score, with singing texts in two languages (G. van Swieten's original German and English text), in the interest of legibility, vocal and choral scores will be offered in two separate editions (German or English). This work is now available in carus music, the choir app. Score available separately - see item CA.5199000.
SKU: CA.5165209
ISBN 9790007313838. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartââ¬â¢s Requiem. ââ¬ÅAnother one?ââ¬Â you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozartââ¬â¢s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanââ¬â¢s additions to Mozartââ¬â¢s great original show the requisite care and respect while incorporating many new insights.Armanââ¬â¢s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartââ¬â¢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 instrumentââ¬â¢s unique sound is given an opportunity to shine. Armanââ¬â¢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 ââ¬â in the spirit of Mozart ââ¬â on creating a sense of drama and illuminating the theme in all its possible facets. Mozartââ¬â¢s fragment ends with the Hostias, and so does Armanââ¬â¢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 Süßmayr, 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.Armanââ¬â¢s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike ââ¬â and celebrated as offering a scholarly, entirely fresh perspective on Mozartââ¬â¢s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.5165205
ISBN 9790007314286. Key: D minor. Latin.
SKU: CA.3113909
ISBN 9790007208233. 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.3113919
ISBN 9790007181277. Text language: German/English. Text: Rube, Johann Chr.
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.3113914
ISBN 9790007208271. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113915
ISBN 9790007208288. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113911
ISBN 9790007208240. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113912
ISBN 9790007208257. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113913
ISBN 9790007208264. Text language: German/English. Text: Rube, Johann Chr.
SKU: CA.3113900
ISBN 9790007170479. 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.
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.5199093
Language: German. Text: von Swieten, Gottfried.
SKU: CA.5199092
