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

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

Par BACH JOHANN SEBASTIAN. In its various reconstructed and completed version, Johann Sebastian Bach’s St. Mark Passion BWV 247 occupies a fixed place in the pre-Easter concert repertoire. As the third of what were originally five Passions, not only was it the latest to be written, it is also the most enigmatic of the known Good Friday works composed by the Kantor of the Thomasschule. The fundamental approach behind the present version of the St. Mark Passion is to attempt to get as close as possible stylistically to the performed versions of 1731 and 1744. It is hoped that in the service of church music practice, this complete reconstruction will thus help to transform the third of Bach’s Passion works into a stylistically unified whole. / Choral Music / Répertoire / Voix Mixtes

Par HAENDEL GEORG FRIEDRICH. Messiah occupies a unique position in Handel ’s work. Even if it does not represent the absolute zenith – several other oratorios could challenge it in this respect – its strongly universal character and directness of expression, which appeal to men of all creeds, make it the most renowned work in the whole of the composer’s monumental output. That this oratorio is unquestionably a work of individual character is shown by all its features: its material, which presents liturgical traditions alongside popular elements; its structure, which combines an ever-changing variety of elements from opera, cantata, concerto and anthem; its musicalorganization, which at once unifies and dramatically juxtaposes the various styles. All are united in an extraordinary manner, with great artistry, most accomplished technique and superb invention. Urtext of the Halle Handel Edition Full score and performance material (BA4012), vocal score (BA4012-73 English; BA4012-90 English-German) and study score format 22. 5 x 16. 5cm (TP175) available for sale./ Répertoire / Partition de Poche