SATB Choir and Orchestra SKU: BT.DVPF-21442 Pian & Forte Vol. 151....(+)
SATB Choir and Orchestra
SKU: BT.DVPF-21442
Pian & Forte Vol.
151. By Antonio
Frige. By Giovanni
Battista Casali.
Contemporary Music. Set
(Score & Parts). Composed
2019. 60 pages. Da Vinci
Publishing #DVPF 21442.
Published by Da Vinci
Publishing
(BT.DVPF-21442).
Choral SATB choir SKU: CF.CM9606 Composed by Paul Salerni. Fold. Performa...(+)
Choral SATB choir
SKU:
CF.CM9606
Composed by
Paul Salerni. Fold.
Performance. 8 pages.
Duration 3 minutes, 17
seconds. Carl Fischer
Music #CM9606. Published
by Carl Fischer Music
(CF.CM9606).
ISBN
9781491154281. UPC:
680160912780. 6.875 x
10.5 inches. Key: C
major. English. Charles
A. Coffin
(1844-1926).
Be
thlehem Carol was
the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedrals music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem
Carol was the result
of a commission in 2000
from the Cathedral Church
of the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedralas music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for athe cave of
Bethlehema and athe child
of poverty.a)A But most
of all, I wanted to
capture the sense of joy
and peace brought by the
arrival of the Christ
Child. Bethlehem
Carol was the result
of a commission in 2000
from the Cathedral Church
of the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral's music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem Carol
was the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral's music
director, Russell
Jackson; he had very much
liked the Italian Fable
cum Violin Concerto (The
Big Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem Carol
was the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral’s music
director, Russell
Jackson; he had very much
liked the Italian Fable
cum Violin Concerto (The
Big Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for “the cave
of Bethlehem†and
“the child of
poverty.â€) But
most of all, I wanted to
capture the sense of joy
and peace brought by the
arrival of the Christ
Child.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002705
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Choral Score. 8 pages.
Duration 8 minutes. Carus
Verlag #CV 10.027/05.
Published by Carus Verlag
(CA.1002705).
ISBN
9790007181338. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score available
separately - see item
CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002711
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Single Part, Viola 1. 4
pages. Duration 8
minutes. Carus Verlag #CV
10.027/11. Published by
Carus Verlag
(CA.1002711).
ISBN
9790007189327. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and part
available separately -
see item CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002709
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext. 1x
10.027/31 trombone 1, 1x
10.027/32 2 trombones, 1x
10.027/33 trombone 3, 1x
10.027/34 trombone 4.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Set of Orchestra Parts.
Duration 8 minutes. Carus
Verlag #CV 10.027/09.
Published by Carus Verlag
(CA.1002709).
ISBN
9790007189310. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and parts
available separately -
see item CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002719
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Set of Orchestra Parts.
Duration 8 minutes. Carus
Verlag #CV 10.027/19.
Published by Carus Verlag
(CA.1002719).
ISBN
9790007181413. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and parts
available separately -
see item CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002714
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Single Part, Viola 4. 4
pages. Duration 8
minutes. Carus Verlag #CV
10.027/14. Published by
Carus Verlag
(CA.1002714).
ISBN
9790007189358. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and part
available separately -
see item CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002715
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Single Part, basso
continuo. 4 pages.
Duration 8 minutes. Carus
Verlag #CV 10.027/15.
Published by Carus Verlag
(CA.1002715).
ISBN
9790007189365. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and part
available separately -
see item CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002706
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Choral Score. 4 pages.
Duration 8 minutes. Carus
Verlag #CV 10.027/06.
Published by Carus Verlag
(CA.1002706).
ISBN
9790007181345. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score available
separately - see item
CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002712
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Single Part, Viola 2. 4
pages. Duration 8
minutes. Carus Verlag #CV
10.027/12. Published by
Carus Verlag
(CA.1002712).
ISBN
9790007189334. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and part
available separately -
see item CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002749
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Single Part, Organ. 8
pages. Duration 8
minutes. Carus Verlag #CV
10.027/49. Published by
Carus Verlag
(CA.1002749).
ISBN
9790007189372. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and part
available separately -
see item CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002713
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Single Part, Viola 3. 4
pages. Duration 8
minutes. Carus Verlag #CV
10.027/13. Published by
Carus Verlag
(CA.1002713).
ISBN
9790007189341. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and part
available separately -
see item CA.1002700.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002700
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Full score. 24 pages.
Duration 8 minutes. Carus
Verlag #CV 10.027/00.
Published by Carus Verlag
(CA.1002700).
ISBN
9790007171728. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course.
SSATB choir, SATB ad lib., 5 instruments ad lib., basso continuo SKU: CA.1002...(+)
SSATB choir, SATB ad
lib., 5 instruments ad
lib., basso continuo
SKU: CA.1002849
Chorale concert.
Composed by Michael
Praetorius. Edited by Uwe
Wolf. This edition:
urtext. Stuttgart Urtext
Edition. Organ. Sacred
concertos, Sacred vocal
music, Advent. Single
Part, Organ. 4 pages.
Duration 4 minutes. Carus
Verlag #CV 10.028/49.
Published by Carus Verlag
(CA.1002849).
ISBN
9790007189389. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorael concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking chorale
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. In the
chorale setting Wie schon
leuchtet der Morgenstern
Praetorius wrote for a
five-part ensemble which
is joined in some
sections by a four-part
capella. For the
ensemble, Praetorius
suggested both voices and
instruments, which he
uses in a sophisticated
texture of sound, the
instruments sometimes
duplicating the voices
and sometimes alternating
with them. Score and part
available separately -
see item CA.1002800.
SSATB choir, SATB ad lib., 5 instruments ad lib., basso continuo SKU: CA.1002...(+)
SSATB choir, SATB ad
lib., 5 instruments ad
lib., basso continuo
SKU: CA.1002800
Chorale concert.
Composed by Michael
Praetorius. Edited by Uwe
Wolf. This edition:
urtext. Stuttgart Urtext
Edition. Sacred
concertos, Sacred vocal
music, Advent. Full
score. 12 pages. Duration
4 minutes. Carus Verlag
#CV 10.028/00. Published
by Carus Verlag
(CA.1002800).
ISBN
9790007171735. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorael concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking chorale
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. In the
chorale setting Wie schon
leuchtet der Morgenstern
Praetorius wrote for a
five-part ensemble which
is joined in some
sections by a four-part
capella. For the
ensemble, Praetorius
suggested both voices and
instruments, which he
uses in a sophisticated
texture of sound, the
instruments sometimes
duplicating the voices
and sometimes alternating
with them.
SSATB choir, SATB ad lib., 5 instruments ad lib., basso continuo SKU: CA.1002...(+)
SSATB choir, SATB ad
lib., 5 instruments ad
lib., basso continuo
SKU: CA.1002805
Chorale concert.
Composed by Michael
Praetorius. Edited by Uwe
Wolf. This edition:
urtext. Stuttgart Urtext
Edition. Sacred
concertos, Sacred vocal
music, Advent. Choral
Score. 8 pages. Duration
4 minutes. Carus Verlag
#CV 10.028/05. Published
by Carus Verlag
(CA.1002805).
ISBN
9790007181352. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorael concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking chorale
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. In the
chorale setting Wie schon
leuchtet der Morgenstern
Praetorius wrote for a
five-part ensemble which
is joined in some
sections by a four-part
capella. For the
ensemble, Praetorius
suggested both voices and
instruments, which he
uses in a sophisticated
texture of sound, the
instruments sometimes
duplicating the voices
and sometimes alternating
with them. Score
available separately -
see item CA.1002800.
SSATB choir, SATB ad lib., 5 instruments ad lib., basso continuo SKU: CA.1002...(+)
SSATB choir, SATB ad
lib., 5 instruments ad
lib., basso continuo
SKU: CA.1002819
Chorale concert.
Composed by Michael
Praetorius. Edited by Uwe
Wolf. This edition:
urtext. Stuttgart Urtext
Edition. Separate
instruments. Sacred
concertos, Sacred vocal
music, Advent. Set of
Orchestra Parts. Duration
4 minutes. Carus Verlag
#CV 10.028/19. Published
by Carus Verlag
(CA.1002819).
ISBN
9790007181420. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorael concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking chorale
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. In the
chorale setting Wie schon
leuchtet der Morgenstern
Praetorius wrote for a
five-part ensemble which
is joined in some
sections by a four-part
capella. For the
ensemble, Praetorius
suggested both voices and
instruments, which he
uses in a sophisticated
texture of sound, the
instruments sometimes
duplicating the voices
and sometimes alternating
with them. Score and
parts available
separately - see item
CA.1002800.
SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, ...(+)
SATB choir, assembly,
organ accompaniment,
trumpet 1 in B-flat,
trumpet 1 in C, trumpet 2
in B-flat, trumpet 2 in C
- Early intermediate
SKU: GI.G-2628
Concertato on ITALIAN
HYMN / MOSCOW.
Composed by Felice
Giardini. Arranged by
Noel Goemanne. Trinity
Sunday. Choral. Tune
Name: Italian Hymn,
Moscow. Sacred. Octavo. 8
pages. GIA Publications
#2628. Published by GIA
Publications (GI.G-2628).