SKU: BR.DV-9515A-15
ISBN 9790200490602. 9 x 12 inches. German.
In the latter half of the 18th and in the 19th century the Old Preface Testament Christmas prophecy (Isaiah 9, 1-6) formed the basis for numerous motetto- and cantata-like compositions originating from the Erzgebirge and the Vogtland of Saxony. From very early times, this text was included in Matins for Christmas day, hut until the period specified it was usually intoned on a reciting note. The present cantata is one of the few surviving testimonies to musical activity in the small Thuringian town of Schleiz. The prophecy Das Volk, so im Finstern wandelt was written - probably for performance at court services - in all likelihood by Johann Georg Reichard, a magistrate in the Grafschaft (County) of Reuss who later held higher judicial appointments. Reichard was born at Oels (Olefoica) in Silesia in 1710 and studied law at Leipzig from 1732. He then went to Schleiz and rose from the position of archivist to high legal office, at the same time succeeding Gottfried Siegmund Liebich (d. 1736) as director of the court chapel. He died in Schleiz on 2 June 1782. A few of his church cantatas and other pieces (serenades etc) written for the court at Schleiz once belonged to the Fursten- and Landesschule of St Augustine at Grimma whose music holdings are now preserved in Dresden. Some of Reichard's compositions are autograph, some in copies made by his son Heinrich Gottfried Reichard (1742-1801) who pursued an active career at Grimma both in music and ancient philology, first as cantor, finally as co-rector. The 'Prophecy' cantata survives anonymously in a score copied by Heinrich Gottfried Reichard who may well have sung it himself when he was fourteen, before bis voice broke - as the date Anno 17 56 suggests. He probably prepared the score in bis later years from the original parts, now no langer existent, as he did in the case of other works of his father's. Whether he revised the musical text, and to what extent, cannot now be established. This short and attractive work has all the lightness and exuberance of the rococo as well as genuine emotional depth. In addition, it is easy to perform and should prove very popular. Liturgically, it still occupies a place in Christmas matins or vespers. Permission for this publication was kindly given by Dr. Wolfgang Reich of the Sachsische Landesbibliothek Dresden, Musikabteilung. Wolfram Steude, Dresden, January 1972.
SKU: CA.3140200
ISBN 9790007295066. German/English. Text: Henrici (Picander), Christian Friedrich.
Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor? The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph.
SKU: CA.3119799
ISBN 9790007210571. Language: German/English.
Gott ist unsre Zuversicht BWV 197 was probably written in the second half of the 1730s for a wedding, no further details of which are known. In the opening chorus in particular, it features quite a sizeable orchestra. The text of the cantata has one major theme - trust in God! In a magnificent lullaby (movement 3) all cares are sung to sleep. The other arias, with their exceptionally exquisite combinations of scorings, make the cantata into a quite special work, albeit one which is associated with a particular occasion. The wedding cantata BWV 197 draws on older material for some of its movements. Two movements are parodies on arias from the incomplete surviving Christmas cantata Ehre sei Gott in der Hohe, BWV 197a, including the lullaby O du angenehmes Paar, of which only the last quarter survives from the Christmas cantata - it is O du angenehmer Schatz there. By using the later version, Diethard Hellmann has been able to reconstruct the original version of this dreamlike beautiful movement; however, the complete Christmas cantata cannot be reconstructed from the sources. Score and part available separately - see item CA.3119700.
SKU: CA.3119763
ISBN 9790007210540. Text language: German/English.
SKU: CA.3119750
ISBN 9790007186685. Language: German/English.
Gott ist unsre Zuversicht BWV 197 was probably written in the second half of the 1730s for a wedding, no further details of which are known. In the opening chorus in particular, it features quite a sizeable orchestra. The text of the cantata has one major theme - trust in God! In a magnificent lullaby (movement 3) all cares are sung to sleep. The other arias, with their exceptionally exquisite combinations of scorings, make the cantata into a quite special work, albeit one which is associated with a particular occasion. The wedding cantata BWV 197 draws on older material for some of its movements. Two movements are parodies on arias from the incomplete surviving Christmas cantata Ehre sei Gott in der Hohe, BWV 197a, including the lullaby O du angenehmes Paar, of which only the last quarter survives from the Christmas cantata - it is O du angenehmer Schatz there. By using the later version, Diethard Hellmann has been able to reconstruct the original version of this dreamlike beautiful movement; however, the complete Christmas cantata cannot be reconstructed from the sources. Score available separately - see item CA.3119700.
SKU: CA.3119707
ISBN 9790007242428. Key: G major. Language: German. Text: Henrici (Picander), Christian Friedrich.
Only a fragment of the score survives of Bach's Christmas cantata Ehre sei Gott in der Hohe BWV 197a, composed to a text from the Picander cycle of 1728, insufficient to allow a reconstruction of the complete cantata. The fragment begins with the end section of an aria which Bach later transferred into his wedding cantata Gott ist unsre Zuversicht BWV 197. The movement, a lullaby of dreamlike beauty, has long been known as a particular jewel amongst Bach's cantatas. Starting with the surviving end section from the fragmentary score plus Bach's later revision, Diethard Hellmann has convincingly reconstructed the original version so that this aria can also be performed at Christmas. Bach's Wedding Cantata BWV 197 is available separately (Carus 31.197/50). Score available separately - see item CA.3119700.
SKU: CA.3119709
ISBN 9790007050849. Key: G major. Language: German. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).
Only a fragment of the score survives of Bach's Christmas cantata Ehre sei Gott in der Hohe BWV 197a, composed to a text from the Picander cycle of 1728, insufficient to allow a reconstruction of the complete cantata. The fragment begins with the end section of an aria which Bach later transferred into his wedding cantata Gott ist unsre Zuversicht BWV 197. The movement, a lullaby of dreamlike beauty, has long been known as a particular jewel amongst Bach's cantatas. Starting with the surviving end section from the fragmentary score plus Bach's later revision, Diethard Hellmann has convincingly reconstructed the original version so that this aria can also be performed at Christmas. Bach's Wedding Cantata BWV 197 is available separately (Carus 31.197/50). Score and parts available separately - see item CA.3119700.
SKU: CA.3119769
ISBN 9790007210564. Language: German/English.
Gott ist unsre Zuversicht BWV 197 was probably written in the second half of the 1730s for a wedding, no further details of which are known. In the opening chorus in particular, it features quite a sizeable orchestra. The text of the cantata has one major theme - trust in God! In a magnificent lullaby (movement 3) all cares are sung to sleep. The other arias, with their exceptionally exquisite combinations of scorings, make the cantata into a quite special work, albeit one which is associated with a particular occasion. The wedding cantata BWV 197 draws on older material for some of its movements. Two movements are parodies on arias from the incomplete surviving Christmas cantata Ehre sei Gott in der Hohe, BWV 197a, including the lullaby O du angenehmes Paar, of which only the last quarter survives from the Christmas cantata - it is O du angenehmer Schatz there. By using the later version, Diethard Hellmann has been able to reconstruct the original version of this dreamlike beautiful movement; however, the complete Christmas cantata cannot be reconstructed from the sources. Score and parts available separately - see item CA.3119700.
SKU: CA.3140209
ISBN 9790007301576. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: BR.DV-9515A-16
ISBN 9790200490619. 9 x 12 inches. German.
SKU: CA.3140219
ISBN 9790007300258. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.2091800
ISBN 9790007186982.
At the age of eighty-six Heinrich Schutz composed his last work in 1671 with his monumental setting of Psalm 119, complemented in an appendix with a setting of Psalm 100, and a setting of a German Magnificat. This group of works, called Schwanengesang [Swansong], is scored for eight vocal parts, but two were lost so that it is not performable in its surviving form. However, as the composition is in a strictly regular style, and the two choirs often have common motivic material, it has been possible to attempt a reconstruction of the missing material from what survives. In 1984 a version reconstructed by the Dresden Schutz scholar Wolfram Steude was published for the first time, and has been performed many times since then. The new edition by Werner Breig as part of the Stuttgarter Schutz-Ausgabe is another attempt to create a performable version. In the process, other reconstruction options have been suggested for many passages, and in addition to this, some previously undiscovered mistakes have been corrected.
SKU: CA.3140214
ISBN 9790007301613. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3119761
ISBN 9790007210526. Text language: German/English.
SKU: CA.3105019
ISBN 9790007136178. Key: D major. Language: German/English.
Composed in the late period, around 1740 A lively discussion about the choral movement Nun ist das Heil und die Kraft has been carried on, in which not only all previous assumptions have been called into question - including Bach's authorship - but also show how little we know about the history of this magnificent movement. Even though there is little to refute the 1982 presumption that the work was handed down in the form of an arrangement, the question remains open concerning the identity of the arranger, as well as the alleged form of the original design. Therefore it seemed appropriate to forego any attempts at reconstruct-ion. Rather, for the present new edition the music has been critically examined and commented upon based on the surviving copy from Bach's circle. Score and parts available separately - see item CA.3105000.
SKU: HL.48019978
9.0x12.0x0.098 inches.
Zigmund Schul, who was born in Chemnitz in 1916 and died in the Theresienstadt ghetto in 1944, is one of the artists neglected in efforts to explore the music of the so-called 'Theresienstadt composers'. In collaboration with the TerezÃn Music Memorial Project in Tel Aviv and the memorial site Yad Vashem, Bote & Bock is publishing, in no particular order, amongst the works of other composers, the complete works of Schul, who was a pupil of Hindemith and Hába. These works include chamber music for strings, vocal and choir works as well as a fugue for piano. The 'Duo', written in 1943, is one of Schul's most extensive surviving works and is one of the most important works ever written for this duo formation – it is an invaluable addition to the repertoire.
SKU: BR.OB-15115-16
In Cooperation with G. Henle Verlag
ISBN 9790004340653. 10 x 12.5 inches.
Tchaikovsky had the printing of his epoch-making violin concerto supervised with great care, and he even examined the proofs himself for the publication of the version for violin and piano in 1878, which was followed by the orchestral parts the following year and the score in 1888. After many editions and respective arrangements by Leopold Auer in 1899, Fritz Kreisler in 1939 and, most recently, by Konstantin G. Mostras and David Oistrakh, based on Auer comes an Urtext edition that takes into account all surviving sources and critically evaluates them, a matter of great importance for both scholars and performing artists.
SKU: ST.EC45
ISBN 9790220221248.
Both large-scale masses by Robert Fayrfax included in this volume are believed to be late works. O quam glorifica, in particular, was composed in 1511 for his supplication for the degree of Doctor of Music at Oxford, and in it the composer comprehensively explores the possibilities of extended structural planning. A feature of this edition is the restoration of the metrical character of the original, distorted in all surviving copies. Probably predating O quam glorifica, Tecum principium exhibits a simpler form, and is remarkable for the stylistic feature of unprepared dissonant fourths in the final section of the Agnus dei.
SKU: BR.EOS-8042-20
ISBN 9790004789704. 8.5 x 11.5 inches.
Of the four surviving settings of the ,Te Deum' by Charpentier the present one, H 146, is undoubtedly his most famous work thanks to the television producers who chose its opening prelude to be the Eurovision signature-tune in the early 1950s.The single extant source of this work is book 62 of the Volume X of Charpentier's autograph ,Meslanges' which was sold to the Bibliotheque Royale (now Bibliotheque Nationale) Paris. The manuscript is extremely clear. All editorial additions are placed in square brackets.(Jean-Paul Montagnier) (Jean-Paul Montagnier) The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected. (Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.Nach der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles.
SKU: CA.5505692
Text language: English. Text: Jennens, Charles.
George Frideric Handel is considered England's first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759. In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions. Score available separately - see item CA.5505600.
SKU: CA.3112014
ISBN 9790007207311. Text language: German/English.
The second movement of the cantata Gott, man lobet dich in der Stille BWV 120 became particularly well-known through its re-use in the Credo of the Mass in B minor. The cantata is one of six surviving cantatas for inaugurations of the Leipzig Town Council from the pen of Johann Sebastian Bach. Although the autograph manuscript score can be dated to around 1742, it is not known precisely which town council inauguration the work was performed at. Score and part available separately - see item CA.3112000.
SKU: CA.3121212
ISBN 9790007239565. Language: German/English.
The Peasant Cantata BWV 212 is unique in Bach's cantata output both in content and musically. Although it belongs to Bach's homage cantatas, the text deals only indirectly with praise for a new chamberlain. Rather, the eloquent characters portray situations from rural life, which are also reflected in the music: Bach often drew on well-known dance movements and folk tunes. Because of this the cantata as a whole seems less 'academic' than his (surviving) sacred vocal music. Just two arias were composed in the typical da capo structure in which the musicians' abilities are put to the test. But because of the shortness of the other movements, the cantata is extremely varied. Picander's humorous text makes the cantata extremely versatile, far beyond its original purpose. Score and part available separately - see item CA.3121200.
SKU: CA.3601900
ISBN 9790007090869. Language: German.
There is a lot to be said for the argument that the oratorio Wacht! Euch zum Streit gefasset macht, which has been handed down anonymously, is actually the only surviving Abendmusik from Dieterich Buxtehude and that he composed this work, also known as Das Jungste Gericht, for St. Mary's Church in Lubeck, where it was probably performed around 1683. For the first time this full-length work, with its richly contrasting style and dramatic action, is made accessible for performance in its original form. Ton Koopman reconstructed the parts which were missing from the source.
SKU: CA.2709437
Key: F minor. Latin.
Bruckner’s mighty Mass in F minor is one of his most significant creations and one of the great 19th-century choral works. The composer uniquely succeeds in exploring faith through the lens of music. In doing so, he ventures into extreme forms of expression, which caused some disgruntlement among the musicians at rehearsals for the premiere in November 1868. In subsequent years, however, the work has gradually become more accepted, and today presents a highly appealing challenge to advanced choirs. The Carus edition presents the Mass in F minor as the final 1893 version based on the autograph and the surviving copies from the copyist. As an Urtext edition it follows the latest scholarly standards ready for the Bruckner anniversary year in 2024!
SKU: CA.2718712
ISBN 9790007303549. Latin.
As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s Å“uvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts.
SKU: BR.OB-5235-27
The conductor's score contains only a shortened version of the extensive Critical Report that was published separately in book form: Brown: A New Appraisal of the Sources of Beethoven's Fifth SymphonyISBN 9790004332344. 10 x 12.5 inches.
The present Urtext edition is based on the known surviving primary sources, and also incorporates two further, previously ignored sources, including a copy of the score made presumably in Vienna around 1820.The score contains a summarizing Critical Report in which the annotations and divergences from familiar editions that seem to be particularly important are brought out through bold print. In the separately published study Die Neubewertung der Quellen von Beethovens Funfter Symphonie (Wiesbaden: Breitkopf & Hartel, 1996), there is an extensive discussion of the source dependencies as well as facts on the origin and transmission of the work.Words are not enough to praise this exemplary edition, resulting from many years of systematic editorial work on the sources. Breitkopfs source-critical, practice-oriented edition by Clive Brown and Peter Hauschild will provide valuable new impulses in the interpretation of Beethovens music. (Kurt Masur)The conductor's score contains only a shortened version of the extensive Critical Report that was published separately in book form: Brown: A New Appraisal of the Sources of Beethoven's Fifth Symphony.
SKU: BR.OB-14679-19
The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag.
ISBN 9790004340905. 10 x 12.5 inches.
Mozart no doubt proved a powerful source of inspiration in the genre of the piano concerto when Ludwig van Beethoven was composing his first work in this genre (B-flat major op. 19) in Bonn. In 1793 the young composer first wrote a final rondo with an inserted Andante, as Mozart had done in his Concerto K. 482. Beethoven then selected a different closing solution and kept the score of the B-flat major Rondo in his desk. There the work was rediscovered only after the composers death, and printed shortly afterward. The autograph thus represents Beethovens earliest surviving and complete orchestral score. The new Urtext edition of the score and orchestral parts is based on the new Beethoven Complete Edition (Henle).
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