Requiem (Arman-Fassung) Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Carus Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165219
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Set of
Orchestra Parts. KV 626.
Duration 50 minutes.
Carus Verlag #5165219.
Published by Carus Verlag
(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.
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
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.
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
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Requiem Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Vocal Score] Carus Verlag
Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Tim...(+)
Solo voices, SATB chorus,
orchestra (2 Corni di
bassetto, 2 Fg, 2 Tr, 3
Trb, Timp, 2 Vl, Va, Bc)
SKU: CA.5165203
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Vocal
score. KV 626. Duration
50 minutes. Carus Verlag
#5165203. Published by
Carus Verlag
(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 Sü�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.
Composed
by Antonio Salieri.
Edited by Rudolf Kelber.
This edition: Paperbound.
German title: La Passione
di Gesu Cristo. Sacred
vocal music, Passions,
Lent and Passiontide,
Holy Week. Full score.
Composed 1776. 272 pages.
Duration 105 minutes.
Carus Verlag #CV
40.942/00. Published by
Carus Verlag
(CA.4094200).
ISBN
9790007078423. Key: B
flat major. Language:
Italian. Text:
Metastasio, Pietro. Text:
Pietro
Metastasio.
Pietro
Metastasio's libretto to
azione sacra La Passione
di Gesu Cristo (1730) is
a prototype for the
Italian Catholic oratorio
of the 18th century, in
which the Biblical text
is entirely transformed
into free verse.
Originally written for
Antonio Caldara, the text
has been set to music
many times. However, the
famous poet wrote in a
letter to the 26-year-old
composer that the
setting, in the style of
Italian Opera seria, was
the most expressive music
that has ever been
written for this poem.
German and English
translations of the
libretto are provided in
this edition.
By Antonio Salieri (1750-1825). Edited by Kelber, Rudolf. For SATB Soli, SATB Ch...(+)
By Antonio Salieri
(1750-1825). Edited by
Kelber, Rudolf. For SATB
Soli, SATB Choir, 2
Flutes, 2 Oboes, 2
Bassoons, 2 Horns, 2
Contrabassoons, Timpani,
2 Violins, Viola, Basso
Continuo. This edition:
paperbound. Full score
available separately -
see item CA.4094200.
Passions; Use during
church year: Lent and
Passiontide, Holy Week.
Piano/Vocal score.
Language: Latin. Composed
1776. 160 pages. Duration
105 min
Composed
by Antonio Salieri.
Edited by Rudolf Kelber.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Choral Score. Composed
1776. 16 pages. Duration
105 minutes. Carus Verlag
#CV 40.942/05. Published
by Carus Verlag
(CA.4094205).
ISBN
9790007078447. Key: B
flat major. Language:
Italian. Text:
Metastasio, Pietro. Text:
Pietro
Metastasio.
Pietro
Metastasio's libretto to
azione sacra La Passione
di Gesu Cristo (1730) is
a prototype for the
Italian Catholic oratorio
of the 18th century, in
which the Biblical text
is entirely transformed
into free verse.
Originally written for
Antonio Caldara, the text
has been set to music
many times. However, the
famous poet wrote in a
letter to the 26-year-old
composer that the
setting, in the style of
Italian Opera seria, was
the most expressive music
that has ever been
written for this poem.
German and English
translations of the
libretto are provided in
this edition. Score
available separately -
see item CA.4094200.
Oratorio in Three
Acts. Composed by
George Frideric Handel.
Edited by Hans Dieter
Clausen. This edition:
complete edition, urtext
edition. Linen. Complete
edition, Score. HWV 67.
Duration 2 hours, 30
minutes. Baerenreiter
Verlag #BA10709_01.
Published by Baerenreiter
Verlag (BA.BA10709-01).
ISBN 9790006550180. 33
x 25.5 cm inches. Text
Language: English.
Preface: Hans Dieter
Clausen.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Oratorio in three
acts. Composed by
George Frideric Handel.
Edited by Kenneth Nott.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series I,
Volume 30. Complete
edition, Score. HWV 70.
Baerenreiter Verlag
#BA04014_00. Published by
Baerenreiter Verlag
(BA.BA04014).
ISBN
9790006442935. 33 x 26 cm
inches. Text Language:
English. Preface: Nott,
Kenneth. Text: Thomas
Morell.
“Jeph
tha†is
Handel’s last
oratorio. Handel had to
break off from composing
several times because of
his increasing blindness
in 1751. The first
performance at the Covent
Garden Theatre in
February 1752 was the
last performance he
conducted before he went
completely blind. In
“Jephthaâ€,
Handel succeeded in
achieving the perfect
fusion between a biblical
plot and the spirit of
classical tragedy. With
great intensity and
dramatic expression he
highlighted in particular
the fates of Jephtha and
Iphis , thereby
portraying convincing and
complex
characters.
The
chorus “How Dark, O
Lord, are Thy
Decrees†at the end
of part two is of crucial
importance in the work
and is regarded as the
dramatic high point of
the oratorio.
The
vocal score is based on
volume I/30 of the
“Halle Handel
Edition†(BA 4014),
which contains the
complete critical version
of the music of the
oratorio for the first
time.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Oratorio in three
acts. Composed by
George Frideric Handel.
Edited by Hans Dieter
Clausen. This edition:
complete edition, urtext
edition. Linen. Halle
Handel Edition (HHA)
Series I, Voume 18, Nos.
1 2. Complete edition,
Score. Composed 1743. HWV
57. Duration 3 hours.
Baerenreiter Verlag
#BA04099_00. Published by
Baerenreiter Verlag
(BA.BA04099).
ISBN
9790006550111. 33 x 25.7
cm inches. Text Language:
English. Preface: Hans
Dieter Clausen. Text:
Newburgh
Hamilton.
Handel
composed Samson directly
after completing the
Messiah. After its
premiere in 1743 in the
Covent Garden Theatre in
London, the work rapidly
became one of the
composerâ??s most
successful oratorios
alongside Esther and
Judas Maccabaeus. This
probably had as much to
do with the popular Old
Testament story of the
libretto as with
Handelâ??s masterly
shaping of the arias and
choruses.
By
including some movements
in the appendix, this
edition makes it possible
for the first time to
perform the work in its
original 1741 version.
The edition is based
on the complete edition
volume of the Halle
Handel Edition (BA 4099),
offering the complete
music text of the
oratorio for the first
time.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165205
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Choral
Score. KV 626. Duration
50 minutes. Carus Verlag
#5165205. Published by
Carus Verlag
(CA.5165205).
ISBN
9790007314286. 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.
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
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.
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
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.