Par FRANCK MELCHIOR / PRAETORIUS MICHAEL. Gattungen: Motetten - / Mottet / Répertoire / Choeur Mixte

Bei dir, Herr, bin ich geborgen. Par RUPPEL PAUL-ERNST / SCHWEIZER ROLF. Gattungen: Kirchenlieder, einstimmig, Psalmen, deutsch -/ Répertoire / Choeur Mixte

Herr, mein Nächster ruft mich - Ihr werdet Kraft empfangen. Par SCHWEIZER ROLF. / Répertoire / Choeur Mixte

Cantata for Whit Tuesday. Par BACH JOHANN SEBASTIAN. Er rufet seinen Schafen mit Namen (He calleth His own sheep each by name) BWV 175 Cantata for Whit Tuesday The text of the present cantata was written by Mariane von Ziegler and was set by Bach for the third day of Whitsun in the year 1725. Bach made considerable alterations to the text when setting it. The pastorale atmosphere is created by three recorders, through the inkoduction of which the opening words from the scriptures become a charming accompagnato; it is followed by an alto aria in the same orchestration - a combination that Bach uses nowhere else. - Urtext of the New Bach Edition - Performance material (BA10175), vocal score (BA10175-90) & study score format 22. 5 x 16. 5cm (TP1175) available for sale/ Répertoire / Partition de Poche

Actus tragicus. Par BACH JOHANN SEBASTIAN. Gottes Zeit ist die allerbeste Zeit (Mighty God, His time is ever best) BWV 106 'Actus tragicus' Cantata for a funeral service. Since there are no original sources or documents concerning the first performance of the funeral cantata Gottes Zeit ist die allerbeste Zeit BWV 106, it is impossible to establish the year of origin of this work, called Actus tragicus by Bach. The striking resemblance to the cantatas BWV 131 Aus der Tiefen rufe ich, Herr, zu Dir (presumably 1707), and BWV 71 Gott ist mein König (1708) – both of which were composed in Mühlhausen – suggests that the funeral cantata was also written in Mühlhausen in1707. Urtext of the New Bach Edition Performance material (BA10106), vocal score (BA10106-90) & study score format 22. 5 x 16. 5cm (TP1106) available for sale./ Répertoire / Partition de Poche

Das Motto 'Völker wandern zu deinem Licht - Lebt als Kinder des Lichts' [Jes 60, 3a - Eph 5, 8b] ist der Leitfaden für die Sammlung der über 60 Chorwerke, welche die unterschiedlichen Möglichkeiten von Kinder-, Knaben-, Mädchen- und Jugendchören in mehrfacher Hinsicht berücksichtigen will. Das Chorbuch enthält Kanons, homophone gleich- und gemischtstimmige Chorsätze und Rufe [z. B. Taizé], Ordinariusmteile deutscher Komponisten aus verschiedenen Epochen sowie ausgewählte Motetten./ Répertoire / Choeur Mixte

Les sacrées a cappella des oeuvres chorales de Johannes Brahms figurent parmi les oeuvres romantiques les plus importantes du genre.Cette nouvelle édition est basée sur des sources fiables qui comprennent des manuscrits autographes, les copies de graveur et des premières éditions.La collection contient le 7 op 'Marienlieder'. 22, 'Deux Motets', op. 29, 'Trois Choeurs sacrés' pour voix de femmes op. 37, 'Deux Motets', op. 74, 'Festund Gedenksprüche' op. 109 et op 'Trois Motets'. 110. Tous sacrées a cappella oeuvres chorales en un volume Autorité édition savante critique Informatif avantpropos (Ger / Eng) Commentaire critique (Eng) Commentaire critique détaillée (Ger) disponible en téléchargement / Choeur A Cappella

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre