SA vocal soli, SATB choir, 2 oboe, 2 horn, 2 violin, viola, basso continuo

SKU: CA.3810449

Responsorium. Composed by Johann Christian Bach. Edited by Guido Erdmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Domine Ad Adiuvandum Me Festina E14. Sacred vocal music, Psalms, Latin. Single Part, Organ. Warb E 14. 4 pages. Duration 5 minutes. Carus Verlag #CV 38.104/49. Published by Carus Verlag (CA.3810449).

ISBN 9790007215125. Language: Latin.

At the age of just 20, Johann Christian Bach, the youngest son of Johann Sebastian Bach, the Kantor of St. Thomas's, left behind the Lutheran musical tradition of his family: he went to Italy, converted to Catholicism there and successfully composed operas for Turin, Milan and Naples. Frequently overlooked are the Catholic Bach's exquisite church music works, almost all written in the years 1757-1760, and which had a significant influence on his time in Italy. These include large-scale Vesper settings with impressive, symphonic-style instrumental introductions, sometimes anticipating Mozartian idioms. Bach's Domine ad adjuvandum me, an immediately captivating work, was written for the opening of Vespers; it seems to be carried along by a sense of euphoric purpose and a dynamic lightheartedness which positively radiates southern European temperament. The work is published in the authoritative Stuttgart Urtext edition, based on the rediscovered Hamburg autograph manuscript. Score and part available separately - see item CA.3810400.

SA vocal soli, SATB choir, 2 oboe, 2 horn, 2 violin, viola, basso continuo

SKU: CA.3810414

Responsorium. Composed by Johann Christian Bach. Edited by Guido Erdmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Domine Ad Adiuvandum Me Festina E14. Sacred vocal music, Psalms, Latin. Single Part, basso continuo. Warb E 14. 4 pages. Duration 5 minutes. Carus Verlag #CV 38.104/14. Published by Carus Verlag (CA.3810414).

ISBN 9790007215101. Language: Latin.

At the age of just 20, Johann Christian Bach, the youngest son of Johann Sebastian Bach, the Kantor of St. Thomas's, left behind the Lutheran musical tradition of his family: he went to Italy, converted to Catholicism there and successfully composed operas for Turin, Milan and Naples. Frequently overlooked are the Catholic Bach's exquisite church music works, almost all written in the years 1757-1760, and which had a significant influence on his time in Italy. These include large-scale Vesper settings with impressive, symphonic-style instrumental introductions, sometimes anticipating Mozartian idioms. Bach's Domine ad adjuvandum me, an immediately captivating work, was written for the opening of Vespers; it seems to be carried along by a sense of euphoric purpose and a dynamic lightheartedness which positively radiates southern European temperament. The work is published in the authoritative Stuttgart Urtext edition, based on the rediscovered Hamburg autograph manuscript. Score and part available separately - see item CA.3810400.

Orchestra SATB vocal soli, SATB/SATB choir, 2 orchestras: 2 oboes, 2 trumpets, 2 violins, viola, basso continuo, [timpani] - Grade 4

SKU: CA.4000718

Composed by Antonio Vivaldi. This edition: urtext. Stuttgart Urtext Edition: Vivaldi-Archiv. German title: Dixit. Sacred, Cantatas, Motets; Stuttgart Urtext editions; Occasions: Daily hours; Use during church year: Epiphany. Single Part, Choir 2: Basso cont. RV 594. 12 pages. Duration 25 minutes. Carus Verlag #CV 40.007/18. Published by Carus Verlag (CA.4000718).

ISBN 9790007057671. Language: Latin/English.

Dixi t Dominus (Ps 109), a psalm setting for double choir, is one of Vivaldi's most significant sacred works. In it, he takes up the old Venetian polychoral tradition, combining its compositional techniques with those of the instrumental concerto, the cantata and the opera. The broadly conceived cycle of movements, consisting of eight psalm verses and the doxology, is characterized by an expansive arch of tonalities connecting the two framing outer movements in D major (these are also thematically related): Dixit Dominus and Gloria Patri. The contrasting and varied inner movements are perfect examples of Vivaldi's skill in vividly portraying linguistic figures in music. Score and part available separately - see item CA.4000700.

Viola (solos: SATB - choir: SATB - picc.2.2.2.2.dble bsn - 4.2.3.0 - timp.perc - str)

SKU: BR.OB-14619-19

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Beate Angelika Kraus. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Classical. Part. 36 pages. Duration 65'. Breitkopf and Haertel #OB 14619-19. Published by Breitkopf and Haertel (BR.OB-14619-19).

ISBN 9790004344798. 10 x 12.5 inches.

Since 2001 the Ninth has been included in UNESCO's Memory of the World Register. Beethoven was preoccupied with his unique work for many years, since at least 1815, and still shortly before his death, according to the highly complex source situation. The work will now finally be available as an edition produced from the new Beethoven Complete Edition in time for the 2020 anniversary year commemorating the composer's 250th birthday. Not all doubtful cases can be clarified, not all gaps closed, but numerous aspects have been further illuminated in this edition. New findings and source evaluations taken into account here, appear, for instance, pertaining to the work's title, the tradition of the metronome indications, the contrabassoon part, and the underlying vocal text in the finale, as well as in the original rendering of the sforzato and forte markings. The edition is to be considered, according to its editor Beate Angelika Kraus, as a contribution to the understanding of a work in which there is a discrepancy between its significance in musical life and the critical appreciation of its musical text..

Orchestra SATB vocal soli, SATB/SATB choir, 2 orchestras: 2 oboes, 2 trumpets, 2 violins, viola, basso continuo, [timpani] - Grade 4

SKU: CA.4000714

Composed by Antonio Vivaldi. This edition: urtext. Stuttgart Urtext Edition: Vivaldi-Archiv. German title: Dixit. Sacred, Cantatas, Motets; Stuttgart Urtext editions; Occasions: Daily hours; Use during church year: Epiphany. Single Part, Choir 1: Basso cont. RV 594. 12 pages. Duration 25 minutes. Carus Verlag #CV 40.007/14. Published by Carus Verlag (CA.4000714).

ISBN 9790007057633. Language: Latin/English.

Dixi t Dominus (Ps 109), a psalm setting for double choir, is one of Vivaldi's most significant sacred works. In it, he takes up the old Venetian polychoral tradition, combining its compositional techniques with those of the instrumental concerto, the cantata and the opera. The broadly conceived cycle of movements, consisting of eight psalm verses and the doxology, is characterized by an expansive arch of tonalities connecting the two framing outer movements in D major (these are also thematically related): Dixit Dominus and Gloria Patri. The contrasting and varied inner movements are perfect examples of Vivaldi's skill in vividly portraying linguistic figures in music. Score and part available separately - see item CA.4000700.

Orchestra SATB vocal soli, SATB/SATB choir, 2 orchestras: 2 oboes, 2 trumpets, 2 violins, viola, basso continuo, [timpani] - Grade 4

SKU: CA.4000712

Composed by Antonio Vivaldi. This edition: urtext. Stuttgart Urtext Edition: Vivaldi-Archiv. German title: Dixit. Sacred, Cantatas, Motets; Stuttgart Urtext editions; Occasions: Daily hours; Use during church year: Epiphany. Single Part, Choir 1: Violin 2. RV 594. 12 pages. Duration 25 minutes. Carus Verlag #CV 40.007/12. Published by Carus Verlag (CA.4000712).

ISBN 9790007057619. Language: Latin/English.

Dixi t Dominus (Ps 109), a psalm setting for double choir, is one of Vivaldi's most significant sacred works. In it, he takes up the old Venetian polychoral tradition, combining its compositional techniques with those of the instrumental concerto, the cantata and the opera. The broadly conceived cycle of movements, consisting of eight psalm verses and the doxology, is characterized by an expansive arch of tonalities connecting the two framing outer movements in D major (these are also thematically related): Dixit Dominus and Gloria Patri. The contrasting and varied inner movements are perfect examples of Vivaldi's skill in vividly portraying linguistic figures in music. Score and part available separately - see item CA.4000700.

Orchestra SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, 2 trumpets, timpani, 2 violins, viola, cello/contrabass, organ [1 flute, 2 horns]

SKU: CA.2300712

Composed by Anton Diabelli. German title: Messe in Es. Sacred vocal music, Masses, Latin. Single Part, Violin 2. Op. 107. 12 pages. Duration 25 minutes. Carus Verlag #CV 23.007/12. Published by Carus Verlag (CA.2300712).

ISBN 9790007037697. Key: E flat major. Language: Latin.

In the musical-historical context Anton Diabelli is among a transitional group of Biedermeier composers who cannot be classed as either classical or romantic. Diabelli's intention was to publish this Mass in accordance with the tradition of his teacher Michael Haydn as a Country Mass, although its technical demands and also its length far exceeded those customary in a Country Mass and Missa brevis. The extant sources offer scope for performance in various different versions as regards the instrumentation used, all these versions having the right to be considered authentic. Score and part available separately - see item CA.2300700.

Orchestra SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, 2 trumpets, timpani, 2 violins, viola, cello/contrabass, organ [1 flute, 2 horns]

SKU: CA.2300714

Composed by Anton Diabelli. German title: Messe in Es. Sacred vocal music, Masses, Latin. Single Part, Cello/Double Bass. Op. 107. 12 pages. Duration 25 minutes. Carus Verlag #CV 23.007/14. Published by Carus Verlag (CA.2300714).

ISBN 9790007037710. Key: E flat major. Language: Latin.

In the musical-historical context Anton Diabelli is among a transitional group of Biedermeier composers who cannot be classed as either classical or romantic. Diabelli's intention was to publish this Mass in accordance with the tradition of his teacher Michael Haydn as a Country Mass, although its technical demands and also its length far exceeded those customary in a Country Mass and Missa brevis. The extant sources offer scope for performance in various different versions as regards the instrumentation used, all these versions having the right to be considered authentic. Score and part available separately - see item CA.2300700.

Orchestra SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, 2 trumpets, timpani, 2 violins, viola, cello/contrabass, organ [1 flute, 2 horns]

SKU: CA.2300711

Composed by Anton Diabelli. German title: Messe in Es. Sacred vocal music, Masses, Latin. Single Part, Violin 1. Op. 107. 12 pages. Duration 25 minutes. Carus Verlag #CV 23.007/11. Published by Carus Verlag (CA.2300711).

ISBN 9790007037680. Key: E flat major. Language: Latin.

In the musical-historical context Anton Diabelli is among a transitional group of Biedermeier composers who cannot be classed as either classical or romantic. Diabelli's intention was to publish this Mass in accordance with the tradition of his teacher Michael Haydn as a Country Mass, although its technical demands and also its length far exceeded those customary in a Country Mass and Missa brevis. The extant sources offer scope for performance in various different versions as regards the instrumentation used, all these versions having the right to be considered authentic. Score and part available separately - see item CA.2300700.

Female choir (SSAA) and instruments - level 4

SKU: M2.MOS-69449-01

Composed by Alfred Koerppen. Choral score. Möseler Verlag #MOS 69449-01. Published by Möseler Verlag (M2.MOS-69449-01).

ISBN 9790203755685.

1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.

Female choir (SSAA) and instruments - level 4

SKU: M2.MOS-69449

Composed by Alfred Koerppen. Score. 56 pages. Möseler Verlag #MOS 69449. Published by Möseler Verlag (M2.MOS-69449).

ISBN 9790203755678.

1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.

Viola 1 (solos: SSATB - choir: SATB - 2./2rec.0.0.0 - 0.0.0.0 - 2vl.2va.vc - bc(org))

SKU: BR.EOS-8041-19

Composed by Marc-Antoine Charpentier. Edited by Jean-Paul Montagnier. Choir; stapled. Eulenburg Orchestral Series. Mass; Renaissance/early Baroque; Baroque. Part. 12 pages. Duration 20'. Breitkopf and Haertel #EOS 8041-19. Published by Breitkopf and Haertel (BR.EOS-8041-19).

ISBN 9790004789636. 8.5 x 11.5 inches.

Of the 11 surviving settings of the Mass by Charpentier, the present work, ,Messe de Minuit', ist without doubt one of the most popular. The work belongs to the tradition of the parody-Mass: the composer adapted 10 noels - whose titles are given in the autograph - to the text of the Ordinary. The resulting music is fresh, charming and jubilant.
The single extant source is book 66 of the 25th volume 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.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung.

Viola 2 (solos: SSATB - choir: SATB - 2./2rec.0.0.0 - 0.0.0.0 - 2vl.2va.vc - bc(org))

SKU: BR.EOS-8041-20

Composed by Marc-Antoine Charpentier. Edited by Jean-Paul Montagnier. Choir; stapled. Eulenburg Orchestral Series. Mass; Renaissance/early Baroque; Baroque. Part. 20 pages. Duration 20'. Breitkopf and Haertel #EOS 8041-20. Published by Breitkopf and Haertel (BR.EOS-8041-20).

ISBN 9790004789643. 8.5 x 11.5 inches.

Of the 11 surviving settings of the Mass by Charpentier, the present work, ,Messe de Minuit', ist without doubt one of the most popular. The work belongs to the tradition of the parody-Mass: the composer adapted 10 noels - whose titles are given in the autograph - to the text of the Ordinary. The resulting music is fresh, charming and jubilant.
The single extant source is book 66 of the 25th volume 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.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung.

Viola (solos: SSAATB - choir: SSATB - 0.0.0.0. - 0.2.0.0. - str - bc(hps))

SKU: BR.EOS-1064-19

For St. Cecilia's Day 1694. Composed by Henry Purcell. Edited by Denis Arnold. Choir; stapled. Eulenburg Orchestral Series. Cantata; Renaissance/early Baroque; Baroque. Part. 8 pages. Duration 20'. Breitkopf and Haertel #EOS 1064-19. Published by Breitkopf and Haertel (BR.EOS-1064-19).

ISBN 9790004785706. 8.5 x 11.5 inches.

St. Cecilia's Day was celebrated in England during Restoration times with a great festival of music. The soloists were among the best singers of the day, and their music was deliberately florid to show their virtuosity. It is in this tradition that Purcell wrote his festal ,Te Deum and Jubilate'. It was composed for St. Cecilia's Day, 1694, and shows the same ornate style as he odes composed in previous years. It was the grand manner which assured the popularity of the work. After the initial performance, it was given annually on St. Cecilia's day for many years. This fame ensured that the work was printed in score.
The present edition has been prepared from the second edition, a copy of which is now in the possession of Glasgow University.
(Denis Arnold) Die einzige bekannte Quelle befindet sich in Heft 66 von Band 25 der Meslanges-Autographen die an die Bibliotheque Royale (heute Bibliotheque Nationale) Paris verkauft wurde. Das Manuskript ist sehr sorgfaltig geschrieben. Alle Zusatze des Herausgebers stehen in eckigen Klammern.
(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.

Soli SATB, Coro SATB, 2Vl, Va, 2 Ob, 2 Cor, Bc

SKU: CA.3810213

Composed by Johann Christian Bach. Edited by Gunter Graulich. Stuttgart Urtext Edition: Bach vocal. Viola. Sacred vocal music. Part. Warb E 22. Duration 12 minutes. Carus Verlag #CV 38.102/13. Published by Carus Verlag (CA.3810213).

ISBN M-007-25260-1. Latin.

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach's church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SSATB vocal soli, SSATB choir, 2 clarinos/trumpets, 3 trumpets, 3 trombones, timpani, 2 violins, 3 viola, basso continuo (cello/bassoon/contrabass , organ)

SKU: CA.4067609

Composed by Heinrich Ignaz Franz von Biber. Edited by Armin Kircher. Arranged by Paul Horn. Sacred music from Salzburg. Missa Sti Henrici. Sacred vocal music, Masses, Latin. Set of Orchestra Parts. Composed 1696. 48 pages. Carus Verlag #CV 40.676/09. Published by Carus Verlag (CA.4067609).

ISBN 9790007220082. Language: Latin.

The Missa Sancti Henrici is a work of Biber's later years. It is one of his largest and most mature pieces of church music. With the skillful alternation of the stile antico and the stile moderno, as well as the contrast between Solo and Tutti, Biber attained a structure within the individual movements rich in variety. In its original architectural conception, Salzburg Cathedral had four galleries, each with its own organ, on the piers supporting the dome at the crossing. This conception created the spatial prerequisite for double- and polychoral performance tradition on the Venetian model. Biber's magnificent sacred music brought this tradition to a point of culmination in a ,,colossal style that was unique in transalpine Europe. Score and parts available separately - see item CA.4067600.

SSATB vocal soli, SSATB choir, 2 clarinets/trumpets, 3 trumpets, 3 trombones, timpani, 2 violins, 3 viola, basso continuo (cello/bassoon/contrabass , organ)

SKU: CA.4067619

Composed by Heinrich Ignaz Franz von Biber. Edited by Armin Kircher. Arranged by Paul Horn. Sacred music from Salzburg. Missa Sti Henrici. Sacred vocal music, Masses, Latin. Set of Orchestra Parts. Composed 1696. Carus Verlag #CV 40.676/19. Published by Carus Verlag (CA.4067619).

ISBN 9790007220150. Language: Latin.

The Missa Sancti Henrici is a work of Biber's later years. It is one of his largest and most mature pieces of church music. With the skillful alternation of the stile antico and the stile moderno, as well as the contrast between Solo and Tutti, Biber attained a structure within the individual movements rich in variety. In its original architectural conception, Salzburg Cathedral had four galleries, each with its own organ, on the piers supporting the dome at the crossing. This conception created the spatial prerequisite for double- and polychoral performance tradition on the Venetian model. Biber's magnificent sacred music brought this tradition to a point of culmination in a ,,colossal style that was unique in transalpine Europe. Score and parts available separately - see item CA.4067600.

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3

SKU: CF.CAS159

Composed by Charles Francois Gounod. Arranged by Caryn Wiegand Neidhold. Cas. Set of Score and Parts. Duration 2 minutes, 37 seconds. Carl Fischer Music #CAS159. Published by Carl Fischer Music (CF.CAS159).

ISBN 9781491165041. UPC: 680160923953. Key: D minor.

Charles Gounod (1818–1893) was a French composer who was well-known and well-regarded in his lifetime. His legacy included breaking from the grand opera tradition and influencing the next generation of Frenchcomposers. March of the Marionette was originally a piano solo titled Funeral March of a Marionette. Gounod wrote the piece to make fun of the music critic, Henry Chorley. The marionette dies in a duel, possibly a musical imitation of a public argument about the merits of Gounod’s compositions. The marionette’s friends have a funeral for him, creating a procession through the streets, with a brief stop for refreshments, illustrated in the D major section. This now-familiar theme has been used frequently in advertisements, movies, and television shows. It was used as the theme music for Alfred Hitchcock Presents television show (1956–66) introducing dramas, mysteries, and thrillers.The prevailing bow strokes in this piece range from spiccato stroke to a light brush stroke for all eighth notes, regardless of articulation markings. Students should experiment with bow distribution to discover the appropriate placement for different dynamics. Students just learning the spiccato bow stroke will be more successful if they start this bow stroke close to their bow hand. Encourage students to discuss the character of the music and how to bring the storyline to life as an ensemble.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Soli SSATB, SSATB Choir, 2 Violins, 2 Violas, Basso continuo

SKU: CA.5523819

Psalm 127. Composed by George Frideric Handel. Edited by Christine Martin. This edition: urtext. Stuttgart Urtext Edition: Handel. Complete orchestral parts. Innovative practice aids, Sacred vocal music, Psalms, Latin, Psalms. Set of Orchestra Parts. Composed 1707. HWV 238. Duration 13 minutes. Carus Verlag #CV 55.238/19. Published by Carus Verlag (CA.5523819).

ISBN 9790007138462. Language: Latin.

Handel's Vesper psalm Nisi Dominus HWV 238, was composed in Rome in 1707 for the Feast of the Madonna del Monte Carmel. It is entirely in the tradition of the polychoral, concertante motet which was cultivated especially in Rome during the late baroque era. In spite of the liturgical brevity required for the individual movements, this setting of Psalm 127, presented here in a new critical edition, is impressive on account of the festive fullness of the sound, the charming contrasts in the alternating scoring and, typical for Handel, the power of the images and the conciseness of the musical material. This work is now available in carus music, the choir app! Score and parts available separately - see item CA.5523800.

SSATB vocal soli, SATB choir, 2 flutes (horn), 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3911509

Composed by Georg Philipp Telemann. Edited by Klaus Hofmann. This edition: urtext. 2x 39.115/21 flute 1, 2x 39.115/22 flute 2, 1x 39.115/23 oboe 1, 1x 39.115/24 oboe 2. Stuttgart Urtext Edition: Telemann-Archiv. Harmony parts. Sacred vocal music, Cantatas, Christmas. Set of Orchestra Parts. TVWV 1:1452. 16 pages. Duration 22 minutes. Carus Verlag #CV 39.115/09. Published by Carus Verlag (CA.3911509).

ISBN 9790007215590. Language: German.

Uns ist ein Kind geboren is one of Telemann's most beautiful Christmas cantatas, which features an opening duet for two sopranos based on Polish-Moravian folklore, as well as two substantial choral movements. The two horns allotted to the second choral movement to the text Ehre sei Gott in der Hohe can be replaced by two flutes. This is supported by a source from the Telemann tradition in Frankfurt, in which these parts are present. Score and parts available separately - see item CA.3911500.

SSATB vocal soli, SATB choir, 2 flutes (horn), 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3911519

Composed by Georg Philipp Telemann. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Telemann-Archiv. German title: Uns ist ein Kind geboren. Sacred vocal music, Cantatas, Christmas. Set of Orchestra Parts. TVWV 1:1452. Duration 22 minutes. Carus Verlag #CV 39.115/19. Published by Carus Verlag (CA.3911519).

ISBN 9790007139346. Language: German.

Uns ist ein Kind geboren is one of Telemann's most beautiful Christmas cantatas, which features an opening duet for two sopranos based on Polish-Moravian folklore, as well as two substantial choral movements. The two horns allotted to the second choral movement to the text Ehre sei Gott in der Hohe can be replaced by two flutes. This is supported by a source from the Telemann tradition in Frankfurt, in which these parts are present. Score and parts available separately - see item CA.3911500.

Orchestra 2 oboes, 2 clarinets, bassoon, contrabassoon, 2 horns, 2 trumpets, 3 trombones, percussion, 2 violins, viola, cello, double bass

SKU: CA.1650209

Composed by Luigi Cherubini. Edited by Oliver Schwarz-Roosmann. 1x 16.502/21 oboe 1, 1x 16.502/22 oboe 2, 1x 16.502/23 clarinet 1, 1x 16.502/24 clarinet 2, 1x 16.502/25 bassoon 1, 1x 16.502/26 bassoon 2, 1x 16.502/27 double bassoon, 1x 16.502/31 horn 1, 1x 16.502/32 horn 2, 1x 16.502/33 trumpet 1, 1x 16.502/34 trumpet. Harmony parts. Mourning, death. Set of Orchestra Parts. 32 pages. Duration 7 minutes. Carus Verlag #CV 16.502/09. Published by Carus Verlag (CA.1650209).

Language: all languages.

Cherubin i's Marche funebre is in the tradition of the funeral music of the French Revolution. The work was composed in 1820 on the occasion of the solemn funeral services for Charles Ferdinand of Bourbon, the Duke of Berry, who was the victim of an assassination when leaving the Paris Opera. In the piece the regular, penetrating beat of the tam tams and the drum roll which follows, the dark-sounding colors and the painful dissonances leave their mark on the funeral march, which suggests that for a performance this work could be combined with either of Cherubini's settings of the Requiem text. Score and parts available separately - see item CA.1650200.