SKU: CA.4060749

ISBN 9790007073220. Key: C major. Language: Latin.

The Missa in tempore belli by Joseph Haydn is an interesting work in several respecst. Firstly this setting of the Mass provides pointers to the situation of Austrian church music as it had been affected by imperial decrees. Secondly the political situation, with the imminent invasion of Austria by Napoleon's troops, had reached a crisis point which is reflected in the description of this composition as a Mass in time of war. Last but not least, this work is the first of the group of six settings of the Latin Mass which, together with the oratorios The Creation and The Seasons, form the body of Haydn's last period vocal works, and which unquestionably belong among his supreme creative achievements. This work is now available in carus music, the choir app! Score and part available separately - see item CA.4060700.

SKU: CA.4060705

ISBN 9790007073169. Key: C major. Language: Latin.

The Missa in tempore belli by Joseph Haydn is an interesting work in several respecst. Firstly this setting of the Mass provides pointers to the situation of Austrian church music as it had been affected by imperial decrees. Secondly the political situation, with the imminent invasion of Austria by Napoleon's troops, had reached a crisis point which is reflected in the description of this composition as a Mass in time of war. Last but not least, this work is the first of the group of six settings of the Latin Mass which, together with the oratorios The Creation and The Seasons, form the body of Haydn's last period vocal works, and which unquestionably belong among his supreme creative achievements. This work is now available in carus music, the choir app! Score available separately - see item CA.4060700.

SKU: CA.3100613

ISBN 9790007041755. Key: C minor / g minor. Language: German/English.

Bach composed the cantata Stay with us, for it draws on toward evening BWV 6 for Easter Monday 1725. In fact, it is certain that a chorale cantata had been planned for that feast day, but for some unknown reason, the annual cycle of chorale cantatas broke off just before Easter 1725. For BWV 6, Bach fell back on a text by an author whose texts he had already set numerous times in his first Leipzig annual cycle of cantatas (which are conspicuous by their ever constant structure and use of two chorale settings). From the gospel for Easter Monday, the story of the Emmaus disciples, only the disappearing daylight and the fear of being left alone are made the subject of discussion. A truly magnificent choral movement opens the cantata. The first chorale for soprano and violoncello piccolo, which Bach later included in his Schubler-Chorale, is also well-known outside of the cantata. Score and part available separately - see item CA.3100600.

SKU: CA.3100609

ISBN 9790007041724. Key: C minor / g minor. Language: German/English.

Bach composed the cantata Stay with us, for it draws on toward evening BWV 6 for Easter Monday 1725. In fact, it is certain that a chorale cantata had been planned for that feast day, but for some unknown reason, the annual cycle of chorale cantatas broke off just before Easter 1725. For BWV 6, Bach fell back on a text by an author whose texts he had already set numerous times in his first Leipzig annual cycle of cantatas (which are conspicuous by their ever constant structure and use of two chorale settings). From the gospel for Easter Monday, the story of the Emmaus disciples, only the disappearing daylight and the fear of being left alone are made the subject of discussion. A truly magnificent choral movement opens the cantata. The first chorale for soprano and violoncello piccolo, which Bach later included in his Schubler-Chorale, is also well-known outside of the cantata. Score and parts available separately - see item CA.3100600.

SKU: CA.3100612

ISBN 9790007041748. Key: C minor / g minor. Language: German/English.

Bach composed the cantata Stay with us, for it draws on toward evening BWV 6 for Easter Monday 1725. In fact, it is certain that a chorale cantata had been planned for that feast day, but for some unknown reason, the annual cycle of chorale cantatas broke off just before Easter 1725. For BWV 6, Bach fell back on a text by an author whose texts he had already set numerous times in his first Leipzig annual cycle of cantatas (which are conspicuous by their ever constant structure and use of two chorale settings). From the gospel for Easter Monday, the story of the Emmaus disciples, only the disappearing daylight and the fear of being left alone are made the subject of discussion. A truly magnificent choral movement opens the cantata. The first chorale for soprano and violoncello piccolo, which Bach later included in his Schubler-Chorale, is also well-known outside of the cantata. Score and part available separately - see item CA.3100600.

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 Sü�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.5165209

ISBN 9790007313838. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” 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 Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’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 instrument’s unique sound is given an opportunity to shine. Arman’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 – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’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.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

SKU: MN.56-0108

UPC: 688670221255. English, Latin. Psalms 142; Jeremiah 3:48, 52, 56.

Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This excerpt is scored for soprano solo, SATB choir and piano. This fourth movement of the larger work is inspired by the extraordinary story of Irena Sendler née Krzyżanowska, a Polish nurse and head of Żegota, the Polish Council to Aid Jews in the Second World War, whose personal interventions saved the lives of approximately 2,500 Jewish children in the Warsaw Ghetto, smuggling them to safety, acts of humanitarian bravery that eventually caused her arrest and torture by the Gestapo. She is honoured as Righteous Amongst the Nations at Yad Vashem, Jerusalem. The Latin texts of this movement are taken from the Book of Lamentations (“My eye hath run down with streams of water, for the destruction of the daughter of my people. My enemies have chased me and caught me like a bird, without cause…”) and from Psalm 142, the Old Testament being the meeting-point of Sendler’s Catholicism and the Jewish tradition of those whose lives she saved. Duration 6:19.

SKU: CA.4060793

Key: C major. Latin.

The Missa in tempore belli by Joseph Haydn is an interesting work in several respecst. Firstly this setting of the Mass provides pointers to the situation of Austrian church music as it had been affected by imperial decrees. Secondly the political situation, with the imminent invasion of Austria by Napoleon's troops, had reached a crisis point which is reflected in the description of this composition as a Mass in time of war. Last but not least, this work is the first of the group of six settings of the Latin Mass which, together with the oratorios The Creation and The Seasons, form the body of Haydn's last period vocal works, and which unquestionably belong among his supreme creative achievements. Score available separately - see item CA.4060700.