SKU: BA.BA04193

ISBN 9790006444724. 27.5 x 19.5 cm inches.

Magnificat des Druckes Nurnberg 1567. 24 Kompositionen zu 6, 5 und 4 Stimmen, jeweils in den acht Tonen (Primi Toni - Octavi Toni). Anhang.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: BA.BA03401

ISBN 9790006433964. 27.5 x 19.5 cm inches.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: BA.BA04199

ISBN 9790006444786. 27.5 x 19.5 cm inches.

Sacrae lectiones ex Propheta Iob, Lectiones sacrae novem ex libris Hiob (Die Klagen des Hiob)/ Lectiones matutinae de nativitate Christi.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: BA.BA03408

ISBN 9790006434046. 27.5 x 19.5 cm inches.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: CA.928400

ISBN 9790007301002. German.

Dû bist mîn is probably the best-known love song written in old German that has survived from the Middle Ages. It is often attributed to the famous poet Walther von der Vogelweide, who died around 1230. Unfortunately, the original 12th-century melody to which these verses were possibly has not been handed down. In his setting, Wolfgang König (*1947) delightfully interweaves the sounds of the medieval period with 21st-century music. Parallel fifths are juxtaposed with major-minor harmonies and saxophone solos embellish the choral movements that are also supported by a simple piano accompaniment. The choir consists of six voices divided into two groups. The antiphonal calls between the male and female singers mirror the love song's text: “Dû bist min, ich bin dîn: des solt dû gewis sîn” (You are mine; I am thine; of this you can be sure).

SKU: CA.928421

ISBN 9790007302146. German.

Dû bist mîn is probably the best-known love song written in old German that has survived from the Middle Ages. It is often attributed to the famous poet Walther von der Vogelweide, who died around 1230. Unfortunately, the original 12th-century melody to which these verses were possibly has not been handed down. In his setting, Wolfgang König (*1947) delightfully interweaves the sounds of the medieval period with 21st-century music. Parallel fifths are juxtaposed with major-minor harmonies and saxophone solos embellish the choral movements that are also supported by a simple piano accompaniment. The choir consists of six voices divided into two groups. The antiphonal calls between the male and female singers mirror the love song's text: “Dû bist min, ich bin dîn: des solt dû gewis sîn” (You are mine; I am thine; of this you can be sure).

SKU: HL.277282

UPC: 840126915006. 6.75x10.5 inches.

Program note:

Looking Up is a piece for large chorus and orchestra, and is in three sections, played without pause. In the 16th century, a variety of psalters in meter were printed in England, with the idea of making psalm-singing something that could happen easily at home, with the rhyming meter being an aid to memorization. These translations are wonderful exercises in brevity and sometimes clumsy rhymemaking, and were usually prefaced by a lengthy explanation as to their merits; the title of one of the first such volumes in English is: The Psalter of Dauid newely translated into Englysh metre in such sort that it maye the more decently, and wyth more delyte of the mynde, be reade and songe of al men. I thought it would be appropriate to set one of these introductions, and the first section of Looking Up sets the preface to Thomas Ravenscroft's psalter (1621), in which he writes: “The singing of Psalmes (assay the Doctors) comforteth the sorrowfull, pacifieth the angry, strengtheneth the weake, humbleth the proud, gladdeth the humble, stirres up the slow, reconcileth enemies, lifteth up the heart to heavenly things, and uniteth the Creature to his Creator.”

It begins meditatively, but eventually grows agitated and fervent, with a vision of the “quire of Angels and Saints” “redoubling anddescanting” - an ecstatic and terrifying vision of the skies opening up. Ravenscroft then encourages the use of instrumental musicfor worship, at which point, a long, acrobatic orchestral interlude with jagged edges antagonizes the choir, who sing a kind of private, anxious meditation on two pitches.

One of the most delicious biblical texts is an Apocryphal prayer known as the Benedicite or the Prayer of the Three Children (the same who were rescued by an angel after King Nebuchadnezzar tried to have them burnt in an oven for not bowing to his image). The text is repetitive, obsessive, and a gift to composers - each line is an invocation of an element of the natural world, followed by the phrase, “blesse ye the Lord, praise him & magnify him for ever.” In Looking Up, the setting begins with three solo voices, and then grows to include the whole choir, itemizing the whole of creation. The idea that these boys are spared from the furnace and then five minutes later are saying, “O ye the fire and warming heate, blesse ye the Lord...” has always felt very loaded to me, and the orchestra plays with this conflict between joyful praise and a more terrible (in the 16th-century sense) awefor the divine.

The text for the third, and shortest, section is taken from Christopher Smart's (1722-1771) A Song to David, purportedly written during his confinement in a mental asylum. This ode to King David points out how David, as the author of some of the Psalms, observes the whole world from the “clustering spheres” to the “nosegay in the vale.&rdquo.