Composed by Howard Goodall (1958-). Multi-Movement/Large Choral Work. Holy Wee...(+)
Composed by Howard
Goodall
(1958-).
Multi-Movement/Large
Choral Work. Holy Week,
Lent,
Triduum/Three Days,
Tenebrae,
21st Century.
Vocal/choral
score. Published by
MorningStar Music
Publishers
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.
Semele, HWV 58 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Soloists, Mixed choir, Orchestra SKU: BA.BA04025-01 Composed by George Fr...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA04025-01
Composed by George
Frideric Handel. Edited
by
Georg-Friedrich-Händel
-Gesellschaft e. V.
Risinger and Mark. This
edition: Complete
edition. Linen. Complete
edition, Score. HWV 58.
Baerenreiter Verlag
#BA04025-01. Published by
Baerenreiter Verlag
(BA.BA04025-01).
ISBN
9790006443222. 33 x 26 cm
inches. Text Language:
English.
Handelâ??
s â??Semeleâ?, which
premiered in February
1744, is based on an
adapted version of
William Congreveâ??s
opera libretto titled
â??The Story of
Semeleâ?, originally
published in 1706.
However, neither Handel
nor his librettist
referred to
â??Semeleâ? as an
opera or an oratorio,
which, according to the
understanding at the
time, would have required
a biblical and/or
Christian subject matter.
Contemporary audiences
also disagreed on the
genre. The problematic
classification as an
oratorio has persisted
into the present day,
likely due to the edition
labeled as such by
Chrysander. The â??Halle
Handel Editionâ? (HHA)
distances itself from
this classification and,
considering the available
sources, refrains from
assigning a genre
label.
Congreve
deviates from the
mythological source
multiple times in order
to create tensions among
the characters. The
desired marriage between
Semele and Athamas, whom
she does not love, is an
addition by Congreve to
provoke the envy of her
sister Ino, who desires
Athamas herself.
Therefore, Ino sees her
own advantage in
Semeleâ??s abduction by
Jupiter. While
Jupiterâ??s wife Juno
decides to destroy Semele
out of jealousy for his
relationship with her,
Jupiter brings Ino to his
palace to console Semele.
The vengeful Juno takes
advantage of Inoâ??s
presence and transforms
into her likeness,
persuading Semele to
carry out a plan that
later proves fatal. In
the end, Ino emerges as
the winner, as she is
able to convince their
father, Cadmus, to marry
her to Athamas. The
appearance of Apollo in
the final scene to
announce that Semeleâ??s
immortal son Bacchus was
saved from her ashes
provides little
consolation. However,
this twist allows the
drama to conclude with
exuberant joy and a
magnificent final chorus
after the tragic scenes
in the third act,
culminating in the death
of the
protagonist.
Hande
lâ??s autograph score
shows significant
deviations from and
numerous revisions of the
original version
premiered. All surviving
early versions, the
musical movements deleted
before the premiere, and
the version of the
December 1744, are given
in the appendix to the
HHA.
(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.
(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.5165209
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 #5165209.
Published by Carus Verlag
(CA.5165209).
ISBN
9790007313838. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartââ¬â¢s
Requiem.
ââ¬ÅAnother
one?ââ¬Â 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
Mozartââ¬â¢s
score that the challenge
and appeal of completing
it remain undiminished.
After two decades of
intensive study, Howard
Armanââ¬â¢s
additions to
Mozartââ¬â¢s
great original show the
requisite care and
respect while
incorporating many new
insights.
ArmanÃ
â¬â¢s approach
is particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartââ¬â¢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
instrumentââ¬â
s unique sound is given
an opportunity to shine.
Armanââ¬â¢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 ââ¬â
in the spirit of Mozart
ââ¬â on
creating a sense of drama
and illuminating the
theme in all its possible
facets.
Mozartââ¬â¢s
fragment ends with the
Hostias, and so does
Armanââ¬â¢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.
Armanââ
¬â¢s version has
already proven its
practical value. The
premiere with the
Bavarian Radio Choir was
enthusiastically received
by audiences and press
alike ââ¬â
and celebrated as
offering a scholarly,
entirely fresh
perspective on
Mozartââ¬â¢s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
(Soli ATB, Coro SSATB, 2 Ob, Fg, 3 Tr, Timp, 2 Vl, Va, Bc) SKU: CA.5528348(+)
(Soli ATB, Coro SSATB, 2
Ob, Fg, 3 Tr, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5528348
Dettingen Te Deum.
Composed by George
Frideric Handel. Carus
Choir Coach (audio only).
Composed 1743. HWV 283.
Duration 38 minutes.
Carus Verlag #5528348.
Published by Carus Verlag
(CA.5528348).
English/German.
Great occasions call for
great music
The
Dettingen Te Deum is a
brilliant example of how
Handel could capture the
tone for festive
occasions as had never
been done before. The
expression of the exalted
character of this
official work is imparted
through Handelâs
express use of timpani
and trumpets. Gentler and
more serious movements
effectively complement
the work.
The
basis for the present
critical edition of this
work is the London
autograph, which has
survived and from which
Handel probably conducted
the first performance. In
addition, the initial
concluding version of the
chorus âMake them to
be numberâdâ
has been published in
this edition. In this
version Handel strived
for a more compact and
stricter voice
leading.
Edition
based on the autograph,
from which Handel
conducted the first
performance Detailed
foreword in three
languages Critical
report with information
about the source
situation, the edition,
and containing the
individual readings
(alternative readings,
etc.). Score available
separately - see item
CA.5528300.
Dettingen Te Deum Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] Carus Verlag
(Dettinger Te Deum). By George Frideric Handel (1685-1759). Edited by Benedikt P...(+)
(Dettinger Te Deum). By
George Frideric Handel
(1685-1759). Edited by
Benedikt Poensgen. For
Soli ATB, SSATB choir, 2
oboes, bassoon, 3
trumpets, timpani, 2
violin, viola, basso
continuo. This edition:
Paperbound. Praise and
thanks. Full score.
Language: English/German.
Composed 1743. HWV 283.
144 pages. Duration 40
min. Published by Carus
Verlag
(Soli ATB, Coro SSATB, 2 Ob, Fg, 3 Tr, Timp, 2 Vl, Va, Bc) SKU: CA.5528346(+)
(Soli ATB, Coro SSATB, 2
Ob, Fg, 3 Tr, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5528346
Dettingen Te Deum.
Composed by George
Frideric Handel. Carus
Choir Coach (audio only).
Composed 1743. HWV 283.
Duration 38 minutes.
Carus Verlag #5528346.
Published by Carus Verlag
(CA.5528346).
English/German.
Great occasions call for
great music
The
Dettingen Te Deum is a
brilliant example of how
Handel could capture the
tone for festive
occasions as had never
been done before. The
expression of the exalted
character of this
official work is imparted
through Handelâs
express use of timpani
and trumpets. Gentler and
more serious movements
effectively complement
the work.
The
basis for the present
critical edition of this
work is the London
autograph, which has
survived and from which
Handel probably conducted
the first performance. In
addition, the initial
concluding version of the
chorus âMake them to
be numberâdâ
has been published in
this edition. In this
version Handel strived
for a more compact and
stricter voice
leading.
Edition
based on the autograph,
from which Handel
conducted the first
performance Detailed
foreword in three
languages Critical
report with information
about the source
situation, the edition,
and containing the
individual readings
(alternative readings,
etc.). Score available
separately - see item
CA.5528300.
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
Kyrie-Gloria-Messe
. Composed by Johann
Christoph Altnickol.
Edited by Clemens
Harasim. This edition:
Paperbound. Sacred vocal
music, Masses, Latin.
Vocal score. Carus Verlag
#CV 27.068/03. Published
by Carus Verlag
(CA.2706803).
ISBN
9790007090708. Language:
Latin.
The Missa in
d, composed around 1750,
is one of the few
surviving compositions of
Altnickol. He was the
student and later
son-in-law of Johann
Sebastian Bach. The
wealth of forms and at
the same time, the
clarity of this
composition show the
influence of his teacher,
but above all it shows
the expression of an
individual style of
church music. With its
contrapuntal mastery and
musical depth this
Kyrie-Gloria Mass,
presented here in a first
edition, represents a
high point in this widely
disseminated genre. Score
available separately -
see item CA.2706800.
Kyrie-Gloria-Messe
. Composed by Johann
Christoph Altnickol.
Edited by Clemens
Harasim. This edition:
Paperbound. German title:
Missa in D. Sacred vocal
music, Masses, Latin.
Full score. Carus Verlag
#CV 27.068/00. Published
by Carus Verlag
(CA.2706800).
ISBN
9790007090692. Language:
Latin.
The Missa in
d, composed around 1750,
is one of the few
surviving compositions of
Altnickol. He was the
student and later
son-in-law of Johann
Sebastian Bach. The
wealth of forms and at
the same time, the
clarity of this
composition show the
influence of his teacher,
but above all it shows
the expression of an
individual style of
church music. With its
contrapuntal mastery and
musical depth this
Kyrie-Gloria Mass,
presented here in a first
edition, represents a
high point in this widely
disseminated genre.
Kyrie-Gloria-Messe
. Composed by Johann
Christoph Altnickol.
Edited by Clemens
Harasim. Viola. Sacred
vocal music, Masses,
Latin. Single Part,
Viola. 8 pages. Carus
Verlag #CV 27.068/13.
Published by Carus Verlag
(CA.2706813).
ISBN
9790007199869. Language:
Latin.
The Missa in
d, composed around 1750,
is one of the few
surviving compositions of
Altnickol. He was the
student and later
son-in-law of Johann
Sebastian Bach. The
wealth of forms and at
the same time, the
clarity of this
composition show the
influence of his teacher,
but above all it shows
the expression of an
individual style of
church music. With its
contrapuntal mastery and
musical depth this
Kyrie-Gloria Mass,
presented here in a first
edition, represents a
high point in this widely
disseminated genre. Score
and part available
separately - see item
CA.2706800.
Kyrie-Gloria-Messe
. Composed by Johann
Christoph Altnickol.
Edited by Clemens
Harasim. Complete
orchestral parts. Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. Carus Verlag #CV
27.068/19. Published by
Carus Verlag
(CA.2706819).
ISBN
9790007199883. Language:
Latin.
The Missa in
d, composed around 1750,
is one of the few
surviving compositions of
Altnickol. He was the
student and later
son-in-law of Johann
Sebastian Bach. The
wealth of forms and at
the same time, the
clarity of this
composition show the
influence of his teacher,
but above all it shows
the expression of an
individual style of
church music. With its
contrapuntal mastery and
musical depth this
Kyrie-Gloria Mass,
presented here in a first
edition, represents a
high point in this widely
disseminated genre. Score
and parts available
separately - see item
CA.2706800.
Kyrie-Gloria-Messe
. Composed by Johann
Christoph Altnickol.
Edited by Clemens
Harasim. Violin 1. Sacred
vocal music, Masses,
Latin. Single Part,
Violin 1. 8 pages. Carus
Verlag #CV 27.068/11.
Published by Carus Verlag
(CA.2706811).
ISBN
9790007199845. Language:
Latin.
The Missa in
d, composed around 1750,
is one of the few
surviving compositions of
Altnickol. He was the
student and later
son-in-law of Johann
Sebastian Bach. The
wealth of forms and at
the same time, the
clarity of this
composition show the
influence of his teacher,
but above all it shows
the expression of an
individual style of
church music. With its
contrapuntal mastery and
musical depth this
Kyrie-Gloria Mass,
presented here in a first
edition, represents a
high point in this widely
disseminated genre. Score
and part available
separately - see item
CA.2706800.
Kyrie-Gloria-Messe
. Composed by Johann
Christoph Altnickol.
Edited by Clemens
Harasim. Violin 2. Sacred
vocal music, Masses,
Latin. Single Part,
Violin 2. 8 pages. Carus
Verlag #CV 27.068/12.
Published by Carus Verlag
(CA.2706812).
ISBN
9790007199852. Language:
Latin.
The Missa in
d, composed around 1750,
is one of the few
surviving compositions of
Altnickol. He was the
student and later
son-in-law of Johann
Sebastian Bach. The
wealth of forms and at
the same time, the
clarity of this
composition show the
influence of his teacher,
but above all it shows
the expression of an
individual style of
church music. With its
contrapuntal mastery and
musical depth this
Kyrie-Gloria Mass,
presented here in a first
edition, represents a
high point in this widely
disseminated genre. Score
and part available
separately - see item
CA.2706800.
Kyrie-Gloria-Messe
. Composed by Johann
Christoph Altnickol.
Edited by Clemens
Harasim. Sacred vocal
music, Masses, Latin.
Choral Score. Carus
Verlag #CV 27.068/05.
Published by Carus Verlag
(CA.2706805).
ISBN
9790007113537. Language:
Latin.
The Missa in
d, composed around 1750,
is one of the few
surviving compositions of
Altnickol. He was the
student and later
son-in-law of Johann
Sebastian Bach. The
wealth of forms and at
the same time, the
clarity of this
composition show the
influence of his teacher,
but above all it shows
the expression of an
individual style of
church music. With its
contrapuntal mastery and
musical depth this
Kyrie-Gloria Mass,
presented here in a first
edition, represents a
high point in this widely
disseminated genre. Score
available separately -
see item CA.2706800.
Kyrie-Gloria-Messe
. Composed by Johann
Christoph Altnickol.
Edited by Clemens
Harasim.
Violoncello/double bass.
Sacred vocal music,
Masses, Latin. Single
Part, Cello/Double Bass.
8 pages. Carus Verlag #CV
27.068/14. Published by
Carus Verlag
(CA.2706814).
ISBN
9790007199876. Language:
Latin.
The Missa in
d, composed around 1750,
is one of the few
surviving compositions of
Altnickol. He was the
student and later
son-in-law of Johann
Sebastian Bach. The
wealth of forms and at
the same time, the
clarity of this
composition show the
influence of his teacher,
but above all it shows
the expression of an
individual style of
church music. With its
contrapuntal mastery and
musical depth this
Kyrie-Gloria Mass,
presented here in a first
edition, represents a
high point in this widely
disseminated genre. Score
and part available
separately - see item
CA.2706800.
Cantata
for 24th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Till
Reininghaus. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Ach wie fluchtig, ach wie
nichtig Pod. Sacred vocal
music, End of the church
year, Mourning, death.
Single Part, Organ.
Composed 1724. BWV 26. 12
pages. Duration 17
minutes. Carus Verlag #CV
31.026/49. Published by
Carus Verlag
(CA.3102649).
ISBN
9790007205300. Language:
German/English.
Bac
h's cantata BWV 26
belongs to the Leipzig
cycle of chorale
cantatas, 1724/25, and it
was first performed on 19
November 1724. The
underlying 13-vers hymn
by Michael Franck
provided Bach and his
unidentified librettist
with an abundance of
metaphors and comparisons
which, from verse to
verse and movement to
movement, illustrate the
fleeting and transitory
nature of earthly life:
an impressive
musical-poetic exposition
of potent baroque
pictures of vanity..
Score and part available
separately - see item
CA.3102600.
Cantata
for 24th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Till
Reininghaus. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Ach wie fluchtig, ach wie
nichtig. Sacred vocal
music, End of the church
year, Mourning, death.
Full score. Composed
1724. BWV 26. 40 pages.
Duration 17 minutes.
Carus Verlag #CV
31.026/00. Published by
Carus Verlag
(CA.3102600).
ISBN
9790007090784. Language:
German/English.
Bac
h's cantata BWV 26
belongs to the Leipzig
cycle of chorale
cantatas, 1724/25, and it
was first performed on 19
November 1724. The
underlying 13-vers hymn
by Michael Franck
provided Bach and his
unidentified librettist
with an abundance of
metaphors and comparisons
which, from verse to
verse and movement to
movement, illustrate the
fleeting and transitory
nature of earthly life:
an impressive
musical-poetic exposition
of potent baroque
pictures of vanity..
Cantata
for 24th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Till
Reininghaus. This
edition: urtext. 1x
31.026/21 flute, 1x
31.026/22 oboe 1, 1x
31.026/23 oboe 2, 1x
31.026/24 oboe 3, 1x
31.026/31 horn. Stuttgart
Urtext Edition: Bach
vocal. German title: Ach
wie fluchtig, ach wie
nichtig 5. Sacred vocal
music, End of the church
year, Mourning, death.
Set of Orchestra Parts.
Composed 1724. BWV 26. 26
pages. Duration 17
minutes. Carus Verlag #CV
31.026/09. Published by
Carus Verlag
(CA.3102609).
ISBN
9790007205256. Language:
German/English.
Bac
h's cantata BWV 26
belongs to the Leipzig
cycle of chorale
cantatas, 1724/25, and it
was first performed on 19
November 1724. The
underlying 13-vers hymn
by Michael Franck
provided Bach and his
unidentified librettist
with an abundance of
metaphors and comparisons
which, from verse to
verse and movement to
movement, illustrate the
fleeting and transitory
nature of earthly life:
an impressive
musical-poetic exposition
of potent baroque
pictures of vanity..
Score and parts available
separately - see item
CA.3102600.
Cantata
for 24th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Till
Reininghaus. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Ach wie fluchtig, ach wie
nichtig. Sacred vocal
music, End of the church
year, Mourning, death.
Single Part, Viola.
Composed 1724. BWV 26. 4
pages. Duration 17
minutes. Carus Verlag #CV
31.026/13. Published by
Carus Verlag
(CA.3102613).
ISBN
9790007205287. Language:
German/English.
Bac
h's cantata BWV 26
belongs to the Leipzig
cycle of chorale
cantatas, 1724/25, and it
was first performed on 19
November 1724. The
underlying 13-vers hymn
by Michael Franck
provided Bach and his
unidentified librettist
with an abundance of
metaphors and comparisons
which, from verse to
verse and movement to
movement, illustrate the
fleeting and transitory
nature of earthly life:
an impressive
musical-poetic exposition
of potent baroque
pictures of vanity..
Score and part available
separately - see item
CA.3102600.
Cantata
for 24th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Till
Reininghaus. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Ach wie fluchtig, ach wie
nichtig. Sacred vocal
music, End of the church
year, Mourning, death.
Set of Orchestra Parts.
Composed 1724. BWV 26.
Duration 17 minutes.
Carus Verlag #CV
31.026/19. Published by
Carus Verlag
(CA.3102619).
ISBN
9790007136048. Language:
German/English.
Bac
h's cantata BWV 26
belongs to the Leipzig
cycle of chorale
cantatas, 1724/25, and it
was first performed on 19
November 1724. The
underlying 13-vers hymn
by Michael Franck
provided Bach and his
unidentified librettist
with an abundance of
metaphors and comparisons
which, from verse to
verse and movement to
movement, illustrate the
fleeting and transitory
nature of earthly life:
an impressive
musical-poetic exposition
of potent baroque
pictures of vanity..
Score and parts available
separately - see item
CA.3102600.