Messa d'morti. Par DURANTE FRANCESCO. The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. - First publication - Urtext edition - Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) - Full score and orchestral material also available (EP73044) The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. - First publication - Urtext edition - Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) - Full score and orchestral material also available (EP73044)./ Répertoire / Solistes, Choeurs et Piano

Passionskantate. Par HOMILIUS GOTTFRIED AUGUST. He was without argument our greatest church composer, wrote the lexicographer E. L. Gerber a few years after Homilius's death in 1785. As a result of the destruction of the Kreuzkirche during the Seven Years War, the longtime Kreuzkantor, a pupil of Bach, performed his professional musical duties primarily at the Frauenkirche in Dresden. The Passionskantate was well received and widely disseminated during the 18th and 19th centuries: Thanks to its popularity it was published in 1775 by Breitkopf as a full score - a rare honor, accorded to only one other Passion in the 18th century [Graun's 'Tod Jesu']. The text describes the events of the Passion from a very personal pointof view: The story focuses less on the actual events, then upon the feelings of the observers of these events. The subjective nature of the narrative is reflected in a very dramatically marked style of recitative, which presents a charming contrast to the expressive choral writing and the melodically accented arias. With the release of a new music editions and a SACD/CD the Passionskantate can now be 'rediscovered. '/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Passionskantate. Par HOMILIUS GOTTFRIED AUGUST. He was without argument our greatest church composer, wrote the lexicographer E. L. Gerber a few years after Homilius's death in 1785. As a result of the destruction of the Kreuzkirche during the Seven Years War, the longtime Kreuzkantor, a pupil of Bach, performed his professional musical duties primarily at the Frauenkirche in Dresden. The Passionskantate was well received and widely disseminated during the 18th and 19th centuries: Thanks to its popularity it was published in 1775 by Breitkopf as a full score - a rare honor, accorded to only one other Passion in the 18th century [Graun's 'Tod Jesu']. The text describes the events of the Passion from a very personal pointof view: The story focuses less on the actual events, then upon the feelings of the observers of these events. The subjective nature of the narrative is reflected in a very dramatically marked style of recitative, which presents a charming contrast to the expressive choral writing and the melodically accented arias. With the release of a new music editions and a SACD/CD the Passionskantate can now be 'rediscovered. '/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Passionskantate. Par HOMILIUS GOTTFRIED AUGUST. He was without argument our greatest church composer, wrote the lexicographer E. L. Gerber a few years after Homilius's death in 1785. As a result of the destruction of the Kreuzkirche during the Seven Years War, the longtime Kreuzkantor, a pupil of Bach, performed his professional musical duties primarily at the Frauenkirche in Dresden. The Passionskantate was well received and widely disseminated during the 18th and 19th centuries: Thanks to its popularity it was published in 1775 by Breitkopf as a full score - a rare honor, accorded to only one other Passion in the 18th century [Graun's 'Tod Jesu']. The text describes the events of the Passion from a very personal pointof view: The story focuses less on the actual events, then upon the feelings of the observers of these events. The subjective nature of the narrative is reflected in a very dramatically marked style of recitative, which presents a charming contrast to the expressive choral writing and the melodically accented arias. With the release of a new music editions and a SACD/CD the Passionskantate can now be 'rediscovered. '/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Passionskantate. Par HOMILIUS GOTTFRIED AUGUST. He was without argument our greatest church composer, wrote the lexicographer E. L. Gerber a few years after Homilius's death in 1785. As a result of the destruction of the Kreuzkirche during the Seven Years War, the longtime Kreuzkantor, a pupil of Bach, performed his professional musical duties primarily at the Frauenkirche in Dresden. The Passionskantate was well received and widely disseminated during the 18th and 19th centuries: Thanks to its popularity it was published in 1775 by Breitkopf as a full score - a rare honor, accorded to only one other Passion in the 18th century [Graun's 'Tod Jesu']. The text describes the events of the Passion from a very personal pointof view: The story focuses less on the actual events, then upon the feelings of the observers of these events. The subjective nature of the narrative is reflected in a very dramatically marked style of recitative, which presents a charming contrast to the expressive choral writing and the melodically accented arias. With the release of a new music editions and a SACD/CD the Passionskantate can now be 'rediscovered. '/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

The six collections of 'Vierstimmige Motetten und Arien' published by Johann Adam Hiller offer a selection of motets, mostly from the second half of the 18th century. They show us the products of a new age of achievement in which the motet was again able to flourish after this genre had led only a shadowlike existence for more than a century. The editor of those collections, Johann Adam Hiller, was active as a composer of Singspie, editor of various musical periodicals, leader of the Gewandhaus concerts, University Director of Music, musical director of the Neukirche, and finally, from 1789, Thomaskantor in Leipzig. Upon Hiller's assumption of the office of Thomaskantor theolder motets were replaced in Leipzig church services by contemporary compositions. Printed texts which have been preserved show that Hiller's collections were used widely. A Critical Report from the editor, Uwe Wolf, with additional information concerning the motets and their composers, will be published to cover all the collections. / Mottet / Répertoire / Choeur Mixte

Boyce-Tillman June (Ed). Par BOYCE-TILLMAN JUNE. Compiled by June Boyce-Tillman 32 Galliard Spirituals has been compiled by June Boyce-Tillman after working for many years with children and adults of all races and creeds. In the collection, she traces through the songs the authentic record of how the Negro community thought, felt and managed to survive in 18th century Maryland and 19th century Louisiana on the hope of freedom still echoed in Dr Martin Luther King's famous I have a dream speech. The songs are not only history but they are amongst the most moving and beautiful of all Western songs both in their poetry and in their simple, direct melody. . . and above all in their freedom to sing rhythmagainst a steady beat. ISBN 0 85249 587 0/ Recueil / Recueil de Chansons

Böhmische Hirtenmesse. Par RYBA JAN JAKUB. Freely rhymed Mass settings; available either in German or Czech. The Bohemian Christmas masses are a typical product from the end of the 18th century. Jan Jakub Ryba’s Pastoral Mass from 1796 is a prototype of this genre. It was set in Czechoslovakian and filled with a conscious simple, folk-like musicality, which every villager in Ryba’s time could understand. Correspondingly, Ryba’s work became so popular that in the course of time – according to Milan Kuna, the editor of the Mass – “it was felt to be a symbol of Czechoslovakian Christmas. ” In addition to the original text the music also includes a German singing text. / Messe / Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 C

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Böhmische Hirtenmesse. Par RYBA JAN JAKUB. Freely rhymed Mass settings; available either in German or Czech. The Bohemian Christmas masses are a typical product from the end of the 18th century. Jan Jakub Ryba’s Pastoral Mass from 1796 is a prototype of this genre. It was set in Czechoslovakian and filled with a conscious simple, folk-like musicality, which every villager in Ryba’s time could understand. Correspondingly, Ryba’s work became so popular that in the course of time – according to Milan Kuna, the editor of the Mass – “it was felt to be a symbol of Czechoslovakian Christmas. ” In addition to the original text the music also includes a German singing text. / Messe / Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 C

Böhmische Hirtenmesse. Par RYBA JAN JAKUB. Freely rhymed Mass settings; available either in German or Czech. The Bohemian Christmas masses are a typical product from the end of the 18th century. Jan Jakub Ryba’s Pastoral Mass from 1796 is a prototype of this genre. It was set in Czechoslovakian and filled with a conscious simple, folk-like musicality, which every villager in Ryba’s time could understand. Correspondingly, Ryba’s work became so popular that in the course of time – according to Milan Kuna, the editor of the Mass – “it was felt to be a symbol of Czechoslovakian Christmas. ” In addition to the original text the music also includes a German singing text. / Messe / Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 C

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Offertorium für Weihnachten. Par EBERLIN JOHANN ERNST. Next to Leopold Mozart, Wolfgang Amadeus Mozart and Johann Michael Haydn, Johann Ernst Eberlin is regarded as one of the most important musicians who worked at the Court of the Archbishop in the 18th century. As Court Music Director, organist and composer he had a lasting influence on musical life in both Salzburg, as well as in the entire south-German region. His extensive oeuvre comprises over 300 works, and his compositions served as models for the young Mozart./ Répertoire / Solistes SATB, Choeur SATB, 3 Trombones, 2 Violons

Böhmische Hirtenmesse. Par RYBA JAN JAKUB. Freely rhymed Mass settings; available either in German or Czech. The Bohemian Christmas masses are a typical product from the end of the 18th century. Jan Jakub Ryba’s Pastoral Mass from 1796 is a prototype of this genre. It was set in Czechoslovakian and filled with a conscious simple, folk-like musicality, which every villager in Ryba’s time could understand. Correspondingly, Ryba’s work became so popular that in the course of time – according to Milan Kuna, the editor of the Mass – “it was felt to be a symbol of Czechoslovakian Christmas. ” In addition to the original text the music also includes a German singing text. / Messe / Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 C