Die Chorsätze, von leichtem bis mittlerem Schwierigkeitsgrad, sind vorwiegend vierstimmig, einige auch drei- und fünfstimmig. „Vorliegender Band enthält 58 Sätze von Thomaskantoren oder Komponisten, die in der Leipziger Tradition stehen und standen, und bietet reichlich Stoff für die Festtage der Advents- und Weihnachtszeit. Die stilistische Bandbreite reicht von der Renaissance bis zur gemäßigten Moderne und vom schlichten Chorsatz bis zur kleinen Motette. Einige Erstveröffentlichungen erhöhen den Reiz dieser sich ohnehin schon durch einen hohen Gebrauchswert auszeichnenden Publikation. “ [Cantate Nov. /Dez. 2001]/ Répertoire / Choeur Mixte

Fassung Ii. Par BACH JOHANN SEBASTIAN. The St. John Passion ranks alongside the St. Matthew Passion, the Christmas Oratorio, the Magnificat and the B minor Mass as one of the great vocal works from Johann Sebastian Bach’s Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he substantially revised the general concept of the piece and also changed numerous details. All previous editions of the St. John Passion have combined readings from various layers of sources and thus present the work in a form which was never heard during Bach’s lifetime. Consequently, the wish often expressed by conductors to perform anauthentic version by Bach could not be easily achieved. The present critical, new edition of the St. John Passion fulfills this wish and for the first time makes available the complete music of the second version of the work as it was performed under Bach’s direction in 1725. Since a number of movements were replaced by others, including the opening chorus, this version differs most dramatically from the “standard” version which is well known today. J. S. Bach's Johannes Passion BWV 245 for SATB and Piano. Die Johannespassion zählt neben der doppelchörigen Matthäuspassion, dem Weihnachtsoratorium, dem Magnificat und der h-Moll-Messe zu den groß en Vokalwerken der Leipziger Jahre Johann Sebastian Bachs. Im Gegensatz zu den ubrigen oratorischen Werken hat Bach / Musique religieuse / Date parution : 2005-12-01/ Répertoire / Solistes SATBB, Choeur SATB, 2 Flûtes Traversières

Kirchenkantate, Bwv 192, 1730Ca. Par BACH JOHANN SEBASTIAN. The cantata 'Nun danket alle Gott” (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig)./ Répertoire / Chœur Mixte et Piano

Aus: Israelsbrünnlein. Par SCHEIN JOHANN HERMANN. Johann Hermann Schein’s Israelsbrünnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written “in the Italian madrigal manner” 23 are settings of Old Testament texts, a fact to which the collection owes its title. The source for the text of this collection is the “inexhaustible fountain” of the Psalms, the books of Moses, the Prophets, the Songs of Solomon, and other books of the Old Testament. / Mottet / Répertoire / Choeur SSATB

Aus: Israelsbrünnlein. Geistliche Madrigale. Par SCHEIN JOHANN HERMANN. Johann Hermann Schein’s Israelsbrünnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written “in the Italian madrigal manner” 23 are settings of Old Testament texts, a fact to which the collection owes its title. The source for the text of this collection is the “inexhaustible fountain” of the Psalms, the books of Moses, the Prophets, the Songs of Solomon, and other books of the Old Testament./ Répertoire / Choeur SSATB

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

Chorbuch + CD / Choral Score with CD. Par HEMPFLING VOLKER. Christmas is celebrated throughout the world - sometimes at the end of December, sometimes at the beginning of January. And everywhere, singing Christmas carols is part of the celebrations. Some carols, such as Adeste fideles or Stille Nacht are sung throughout the world, but many countries have their own particular carols which reflect their own customs and traditions. These Christmas carols from all over the world feature in the latest instalment of the LIEDERPROJEKT which is published in autumn 2015. The new choral anthology Christmas carols of the world will enrich the Christmas repertoire for choirs, with lots of exciting choral arrangements of a selection of 85 international Christmas carols. It is edited by Volker Hempfling and contains arrangements by composers from 23 countries in their original languages, including John Rutter, John Høybye, Mark Sirett, Wolfram Buchenberg, Matti Hyökki and Fredo Jung. The settings for mixed choir a cappellare extremely varied, ranging from easy to difficult. Some have accompaniment for keyboard instrument. A CD with samples from the book sung by the Calmus Ensemble Leipzig and the Athesinus Consort Berlin is included to the director's score./ Répertoire / Choeur Mixte (SATB) et Piano

Cross Staff Cantata (Kreuzstabkantate). Par BACH JOHANN SEBASTIAN. Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56 Cantata for the 19th Sunday after Trinity Bach ’s solo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenth Sunday after Trinity. Urtext of the New Bach Edition Performance material (BA10056), vocal score (BA10056-90) & study score format 22. 5 x 16cm (TP1056) available for sale/ Répertoire / Basse, Choeur Mixte (SATB) et Orchestre

Par BACH JOHANN SEBASTIAN. Version of 1736 (final version) Bach 's St. Matthew Passion passed through several stages in its progress towards its final form, stages that today cannot be completely reconstructed. It may be taken as certain that the work was performed on Good Friday 1729 in St. Thomas's Church, Leipzig, in a version of which the copy made by Bach 's son-in-law Johann Christoph Altnickol gives us an approximate idea. There is no earlier extant autograph score than that of the later version, which may probably be dated 1736, and on which the present edition is based. - Study score format 22. 5 x 16. 5cm - Urtext ofthe New Bach Edition - Full score, performance material (BA5038), vocal score (BA5038-90) and study score (TP196) available for sale / Musique religieuse / Répertoire / Solistes (T (Evangelist), B (Jesus), SATB), 2 Choe

Par BACH JOHANN SEBASTIAN. Bach ’s Christmas Oratorio, composed in 1734, narrates the story of the birth of Jesus in a cycle of six cantatas with a text probably by Christian Friedrich Henrici (known as Picander) who provided several libretti for Bach during his Leipzig period. Like the St. Matthew and St. John Passions, the Christmas Oratorio is narrated by an Evangelist and includes devices from Italian opera such as the recitative and aria. It was written to be performed during the thirteen days of Christmas of the Lutheran Church calendar (25 December – 6 January) allowing the wondrous story of the Gospel to gradually unfold. - Fullscore and performance material (BA5014), vocal score (BA5014-90) and study score (TP85) available for sale. - Urtext of the New Bach Edition. / Oratorio / Répertoire / Solistes, Choeur Mixte et Orchestre

Par GADE NIELS WILHELM. The Danish composer Niels W. Gade wrote these five a cappella choral pieces in the 1840s, during his years in Leipzig, when he was studying with Felix Mendelssohn Bartholdy, to whom he felt a lifelong bond. The pieces are homophonic, clearly worked out movements with modest chromaticism. All five pieces are based on the romantic nature poetry of Emanuel Geibel, who was a representative in his time of the widely known “Munich School of Poets. ” The themes are: spring, autumn, morning mood, water lilies and wandering through the forest./ Répertoire / Choeur Mixte

Niels W. Gade. Works Iv-9. Par WILHELM GADE NIELS. Works for Mixed Choir Niels W. Gade. Werks Volume IV/9 Niels Wilhelm Gade (1817& 1890) Works Edited by the Foundation for the Publication of the Works of Niels W. Gade, Copenhagen Niels W. Gade is one of the leading Danish composers of the nineteenth century. However only about half of his prolific œ uvre has appeared in print. Given this fact and the growing current interest in Gade, there is an urgent need for a scholarly-critical Urtext edition of his music to meet the demands of both scholars and performers. This edition will contain all of Gade's completed compositions and separate movements as well as the arrangements he madeof his own works and those of other composers. In general, the main text presents the ; definitive version based on Gade's personal copy of the printed work. However, all the remaining sources have also been consulted for purposes of comparison. Every editorial decision is mentioned and justified in the critical report (English). Gade's interest in choral music spanned his entire career. This volume presents more than 40 of his shorter works for mixed chorus, both without and with accompaniment (piano, organ, harmonium or, in one case, brass ensemble). They occupy a no less prominent place in his oeuvre than his large-scale choral works with orchestra. Written between 1839 and 1885, they were intended for many different areas of application: songs for school chorus stand alongside liturgical music, pièces d'occasion, chorales and freely composed works for amateur choirs. The best-known are his Five Songs (op. 13) on poems by Emmanuel Geibel and Ludwig Tieck and the motet O du, der du die Liebe bist, both composed in Leipzig in 1846./ Répertoire / Choeur Mixte