Chorale (for Concert Band, Fanfare Band and String Ensemble). Par SCHWARZ OTTO M.. Un ami a demandé à Otto M. Schwarz de composer un choral pour les funérailles de son enfant. Lux Aeterna (lumière éternelle) est en fait une partie d?un requiem mais dans cette composition il n?y a pas de rapport au texte latin original. Les personnes qui ont vécu des expériences de mort, mentionnent une lumière vive. La musique oscille entre des passages tristes, plein d'espoir et implorants, posant des questions sans réponse. Elle se conclue cependant par un accord majeur apaisé qui reflète le calme et la chaleur de cette lumière laquelle promet le salut. / Date parution : 2022-04-12/ Recueil / Ensemble flexible à 4 parties

Op. 89. Par BRAHMS JOHANNES. The Three Fates, or Parcae, were the goddesses of fate in Greek-Roman mythology, and sang on themes of curse and fate. The Parzenlied in Goethe?s verse drama ?Iphigenie auf Tauris? is concerned with these themes and became the model for Johannes Brahms?s setting. His Gesang der Parzen (Song of the Fates) op. 89 describes in thrilling, eruptive sounds the fight to overcome the mythical curse through the purity of truthful, noble actions and the power of hope.With a duration of around 12 minutes, the work can be combined with Brahms?s ?German Requiem? in concert. / Date parution : 2023-03-11/ Répertoire / SAATBB et Orchestre

Edition Complète. Par RAMEAU JEAN-PHILIPPE. Rameau's only surviving opera based on a libretto by Voltaire has survived in two versions (1745 and 1746), whereby the 1745 version was long considered lost. Volume IV.12 of the series ?Opera omnia Rameau? presents a complete edition which enables performances of both versions. Voltaire refers to Metastasio in his libretto in that he wishes to liberate the opera from the gallant milieu and to make it a moralizing stage work that is equally edifying and political. After a prologue dedicated to envy personified, the tyrants Bélus and Bacchus are chased out of the Hall of Fame and finally Trajan is crowned with laurels for defeating the rebels, forgiving them and ultimately turning the Hall of Fame into a public temple. The music contains many remarkable passages, such as a richly orchestrated overture, the famous monologue ?Profonds abîmes du Ténare? with obbligato bassoons, and Trajan's artful final scene ?Ramage d'oiseaux?./ Répertoire / Chant et Orchestre

Mozart's 'Missa in C major? (K. 220), nicknamed the 'Sparrow Mass? for its frequently recurring characteristic motifs in the violins, has retained a firm place in the choral repertoire to the present day. Now it has been arranged for female choir and is appearing as part of the recently started 'Bärenreiter Female Choir? series.Heribert Breuer has judiciously transferred the tenor and bass solos to the high voices and incorporated the original soprano and alto parts largely unchanged into the solo and chorus parts. He has thereby retained the work's original substance while giving it a wholly new and delightful sound.- Arrangement for female choir (SMezAA) based on the Urtext of the 'New Mozart Edition?- Idiomatic piano reductionHeribert Breuerwas professor of choral conducting and music theory at Berlin University of the Arts until 2010. He is the founder and director of the Berlin Bach Akademie and has made a name for himself with his many arrangements of works from Bach to Schubert. / Choeur Mixte Et Orchestre

Deux grands chefs-d'oeuvre de la musique sacrée en un seul volume: Messe de Requiem (Grande Messe des Morts), op. 5, et le Te Deum, op. 22. Inégalée dans la grandeur de sa conception Requiem, appelant à d'énormes forces orchestrales et un choeur d'au moins 200. Le Te Deum contient certaines des idées les plus inspirées et originales de Berlioz. / Voix Et Orchestre

The 'Missa in F? of 1734 for two or four choirs is probably Pergolesi's most important work for choir and orchestra.The nickname 'Missa Romana? was added later in reference to a performance given in Rome during Pergolesi's lifetime.This Urtext edition presents the work for the first time in the four-choir version that Pergolesi wrote for the above mentioned performance in Rome.Choirs III and IV are reproduced in smaller type and are added to the version for double choir in order to intensify the overall sound.This allows the work to be performed not only with two choirs but also in the delightful enlarged version for four choirs.Rounding off the edition are an informative Foreword (Eng/Ger) and a Critical Commentary (Eng).- First publication with choirs III and IV- Can be performed with both two or four choirs- Idiomatic, well-presented piano reduction / Orgue