SKU: BR.CHB-138-02

Richard Wagner wrote Tristan and Isolde in the years 1857 to 1859. The first edition was published by Breitkopf & Hartel in Leipzig in 1860. The world premiere took place in the Konigliches Hof- und National-Theater in Munich on 10 June 1865 u. Opera; Music theatre; Romantic. Choral score. 8 pages. Breitkopf and Haertel #ChB 138-02. Published by Breitkopf and Haertel (BR.CHB-138-02).

ISBN 9790004400791. 6 x 8.5 inches.

Translation s: engl. (H. und F. Comer), french (A. Ernst/P. Bruck) Place: Tristan's ship, King Mark's castle in Cornwall, Tristan's castle Characters: Tristan (tenor) - King Mark (bass) - Isolde (soprano) - Kurwenal (baritone) - Melot (tenor) - Brangane (mezzo-soprano) - Shephard (tenor) - Mate (baritone) - Voice of a young sailor (tenor)In 1856 pressing financial obligations forced Wagner to interrupt the composition of the Ring to work on Tristan und Isolde. He initially planned a work that was modest in its production and performance demands. The project was also given priority not least because of the prospect of the royalties which he would then receive. He once again turned to Breitkopf & Hartel for the performance material: 'Tristan und Isolde' is scheduled to be given its first performance at the end of this year. I still hope that it will take place in Karlsruhe under my guidance. Due to the celebrity that I have now acquired, I assume that a new and easily performable work of mine should be able to spread very quickly across the German stages in its first winter season. Wagner was wrong. although the publisher had spent a great deal of time and money in producing preliminary material, Wagner wrote to Breitkopf & Hartel from Munich in November 1864: The squalor of Germany's opera singers and the vile condition of its opera houses have so far dissuaded me from allowing a performance of 'Tristan und Isolde'. What I needed was an impassioned young monarch to restore my courage. Next spring you will hear about the work's premiere in Munich, and you will then hopefully become more confident about this publication.

Richa rd Wagner wrote Tristan and Isolde in the years 1857 to 1859. The first edition was published by Breitkopf & Hartel in Leipzig in 1860. The world premiere took place in the Konigliches Hof- und National-Theater in Munich on 10 June 1865 under the direction of Hans von Bulow.

SKU: BR.OB-32034-19

ISBN 9790004350911. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-15

ISBN 9790004350898. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.PB-32034

ISBN 9790004215678. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-11

ISBN 9790004350881. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-20

ISBN 9790004350928. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-26

ISBN 9790004350935. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.EB-32034

ISBN 9790004186398. 7.5 x 10.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-16

ISBN 9790004350904. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-54

ISBN 9790004350966. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-53

ISBN 9790004350959. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BA.BA07416

ISBN 9790006559206. 27 x 19 cm inches. Text Language: Latin.

Based on the well-known bible text “Sing unto the Lord a new song” (Psalm 96:1-3), this upbeat composition with strong dynamics and flowing block chords alternating with fast-paced polyphony brings across this joyful message and enthuses singers.

“My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings which life has to offer. This has led people to describe my music as ‘so sad that it sounds like birds who have lost their wings‘ but also as ‘the happiest classical music that we have ever heard’.
My compositions are almost all sacred. They express not only my own faith but also my appreciation and respect for the timeless texts that have been used for centuries and centuries.”

Mårten Jansson (b. 1965), elected member of the Föreningen svenska tonsättare (the Society of Swedish Composers), graduated from the Royal College of Music, Stockholm (KHM) with an MFA degree in Music Education, Dalcroze Eurhythmics and Voice. For more than ten years he was the music director and conductor of “Carmen”, one of the most prominent womens’ vocal ensembles in Sweden. He currently teaches choral conducting and music theory as well as giving vocal tuition at the Bolandgymnasiet and Musikskolan in his home town of Uppsala.

SKU: AP.41565

UPC: 038081466453. English.

Singers have long cherished this staple of the solo repertoire, and now it is beautifully set for choral groups of any size. Teach all of the same lessons you learned from your favorite vocal instructor as you share this baroque aria with a new generation. Not difficult, but rewarding.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SKU: AP.47620

UPC: 038081543130. English.

Divisi a cappella writing, with subtle shifts in dynamics and tempi, invites singers to new heights of artistry in this serene setting of Dona nobis pacem and its equivalent English words. Cluster chords, soaring melodies, expressive nuances, and rhapsodic phrases emerge from what begins and ends in utter tranquility. Destined to become a staple of the choral repertoire.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SKU: AP.50181

UPC: 038081573519. English. Mitchell Parish.

Bring the Ronettes' 1960s version of this instantly recognizable wintertime classic to life with Kirby Shaw's accessible arrangement. Singers will love recreating the Leroy Anderson staple, complete with that iconic whinnying horse and plenty of retro ring-a-ling-a-lings. Easy to assemble and hard to forget!

SKU: AP.50183

UPC: 038081573533. English. Mitchell Parish.

Bring the Ronettes' 1960s version of this instantly recognizable wintertime classic to life with Kirby Shaw's accessible arrangement. Singers will love recreating the Leroy Anderson staple, complete with that iconic whinnying horse and plenty of retro ring-a-ling-a-lings. Easy to assemble and hard to forget!

SKU: AP.50179

UPC: 038081573496. English. Mitchell Parish.

Bring the Ronettes' 1960s version of this instantly recognizable wintertime classic to life with Kirby Shaw's accessible arrangement. Singers will love recreating the Leroy Anderson staple, complete with that iconic whinnying horse and plenty of retro ring-a-ling-a-lings. Easy to assemble and hard to forget!

SKU: AP.50182

UPC: 038081573526. English. Mitchell Parish.

Bring the Ronettes' 1960s version of this instantly recognizable wintertime classic to life with Kirby Shaw's accessible arrangement. Singers will love recreating the Leroy Anderson staple, complete with that iconic whinnying horse and plenty of retro ring-a-ling-a-lings. Easy to assemble and hard to forget!

SKU: AP.50180

UPC: 038081573502. English. Mitchell Parish.

Bring the Ronettes' 1960s version of this instantly recognizable wintertime classic to life with Kirby Shaw's accessible arrangement. Singers will love recreating the Leroy Anderson staple, complete with that iconic whinnying horse and plenty of retro ring-a-ling-a-lings. Easy to assemble and hard to forget!

SKU: HL.1296080

ISBN 9798350106671. UPC: 196288170525. 6.75x10.5 inches.

Celebratory in style, the traditional Latin and inspirational English text of this original choral create a powerful concet and contest work for young singers. With its well-written harmonies and rhythmic drive, this is a sure staple for libraries of developing choirs.

SKU: BR.CHB-5381-00

ISBN 9790004413821. 7.5 x 10.5 inches. English.

As director of the Bavarian Radio Choir, Howard Arman has been actively engaged with international Christmas carols through various Christmas-related CD productions in the past years. This has resulted in a number of original arrangements for four- to eight-part mixed choir a cappella, shedding new light on well-known classics such as O du frohliche [O, you joyful], Stille Nacht [Silent Night] and Lasst uns froh und munter sein [Let us be happy and cheerful]. The first volume includes five Christmas carols from the German-speaking regions. They range from simple but harmonically intriguing settings such as Lieb Nachtigall, wach auf [Dear nightingale, wake up] to eight-part sound paintings with bell-like chimes as in O du frohliche and classical double choir settings such as Resonet in laudibus. The second volume includes five Christmas spirituals with English texts, forming a contrast to the solemn and festive character of the first. The choir can prove its swing and jazz qualities here; the stirring arrangements are a gain for classical Christmas concerts, too. Following the tradition of the spiritual, some settings also require soloists, which can, however, also be recruited from the choir if adequate singers are available. The first piece combines the spirituals It's a Birthday and Wasn't That a Mighty Day to form a medley, Ain't That a Rockin' gives a moment of tranquility before the likewise rousing spirituals Mary Had a Baby and Little David conclude the volume. In both volumes, Howard Arman provides a short preface in German and English, explaining the background of each piece and giving advice on performance.