By George Frideric Handel ; Donald Burrows (Editor). For Soprano, Tenor, Bass, S...(+)
By George Frideric Handel
; Donald Burrows
(Editor). For Soprano,
Tenor, Bass, SATB Choir,
Piano Accompaniment.
Baroque. Sheet Music. 168
pages. Published by
Novello and Co Ltd.
Requiem Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Vocal Score] Carus Verlag
Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Tim...(+)
Solo voices, SATB chorus,
orchestra (2 Corni di
bassetto, 2 Fg, 2 Tr, 3
Trb, Timp, 2 Vl, Va, Bc)
SKU: CA.5165203
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Vocal
score. KV 626. Duration
50 minutes. Carus Verlag
#5165203. Published by
Carus Verlag
(CA.5165203).
ISBN
9790007294243. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâ??s Requiem.
â??Another one?â? you
might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional Sü�mayr
version. Yet such is the
enormous power of
Mozartâ??s score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard Armanâ??s
additions to Mozartâ??s
great original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ?
?s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartâ??s brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentâ??s unique
sound is given an
opportunity to shine.
Armanâ??s Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather â?? in the spirit
of Mozart â?? on
creating a sense of drama
and illuminating the
theme in all its possible
facets. Mozartâ??s
fragment ends with the
Hostias, and so does
Armanâ??s completion.
For the four
following movements
(Sanctus to Communio) we
have nothing from Mozart,
and so here, where the
master is silent, Arman
finally returns to
Sü�mayr, the man who
was closest to Mozart at
the time of his death and
whose efforts to fill the
blank manuscripts still
garner our respect
today.
Armanâ??s
version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike â?? and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozartâ??s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Cantata for the 1st
Sunday in Advent.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext,
paperback. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Advent,
Christmas. Vocal score.
Composed 1731. BWV 36. 44
pages. Duration 31
minutes. Carus Verlag #CV
31.036/03. Published by
Carus Verlag
(CA.3103603).
ISBN
9790007171605. Language:
German/English.
Translation: Henry
Drinker.
Bach's
well-known church cantata
Schwingt freudig euch
empor BWV 36 (Up joyous
raise your song), first
heard in its final
version on First Advent
Sunday in 1731 at the
Leipzig Nikolaikirche,
can be traced back to a
secular birthday cantata
from 1725. The text is
now revised to render the
events of Advent - the
rejoicing of the opening
chorus, the loving
veneration and the
warm-hearted welcome of
the three solo arias
retained from the
original cantata now all
apply to the Messiah,
who, as once in
Jerusalem, should find a
place in the hearts of
the faithful. However,
their unmistakeable
Advent character derives
from the fact that Bach
contrasts the four
festive settings from the
secular cantata with
three strophes from
Luther's Advent chorale,
Nun komm, der Heiden
Heiland, thus at the same
time giving a voice to
the Mystery of God made
man. Score available
separately - see item
CA.3103600.
Dream On, Dream On (Choral Score) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier MorningStar Music Publishers
By Hae Jong Kim and Sun Kyung Lee. Arranged by Michael Burkhardt. For SATB choir...(+)
By Hae Jong Kim and Sun
Kyung Lee. Arranged by
Michael Burkhardt. For
SATB choir adult choir,
SATB youth choir, treble
children's choir, piano
accompaniment, handbells,
wind chimes. General.
Moderately Easy.
Published by MorningStar
Music Publishers (MN.50-
O clap your hands Soli, choeur mixte et accompagnement [Octavo] Galaxy Music Corporation
Composed by Stephen Chatman. Children's Sabbath/Emphasis, 21st Century, Praise/T...(+)
Composed by Stephen
Chatman. Children's
Sabbath/Emphasis, 21st
Century,
Praise/Thanksgiving.
Octavo. Galaxy Music
Corporation #7.0577.
Published by Galaxy Music
Corporation
Magnificat in C Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Vocal Score] Carus Verlag
By Franz Schubert. Edited by Reiser, Salome. For Soli SATB, SATB Choir, 2 Oboes,...(+)
By Franz Schubert. Edited
by Reiser, Salome. For
Soli SATB, SATB Choir, 2
Oboes, 2 Bassoons, 2
Trumpets, Timpani, 2
Violins, Viola,
Cello/Contrabass, Organ.
D 486. Full score
available separately -
see item CA.7005300.
Magnificat; Stuttgart
Urtext editions; Use
during church year:
Advent, Christmas.
Piano/Vocal score.
Language: Latin. Composed
1815. 24 pages. Duration
9 min. Published by Carus
Verlag (German import).
(Kantate zum 1. Weihnachtstag (Fruhfassung)). By Johann Sebastian Bach (1685-175...(+)
(Kantate zum 1.
Weihnachtstag
(Fruhfassung)). By Johann
Sebastian Bach
(1685-1750). Edited by
Reinhold Kubik. Arranged
by Paul Horn. For Soli
SATB, SATB Choir, 2
Horns, Timpani, 3 Oboes,
Strings, Bassoon, Organ.
This edition: paperbound.
BWV 91. Full score
available separately -
see item CA.3109100.
Cantatas; Stuttgart
Urtext editions; Use
during church year:
Christmas. Level 3.
Piano/Vocal score.
Language: German/English.
Composed 1724. 32 pages.
Duration 19 min
(Kantate zum 2. Osterfesttag). By Johann Sebastian Bach (1685-1750). Edited by R...(+)
(Kantate zum 2.
Osterfesttag). By Johann
Sebastian Bach
(1685-1750). Edited by
Reinhold Kubik. Arranged
by Paul Horn. For Soli
ATB, SATB Choir,
[Trumpet], 2 Oboes,
Bassoon, Violin solo,
Strings, Organ. This
edition: paperbound. BWV
66. Full score available
separately - see item
CA.3106600. Cantatas;
Stuttgart Urtext
editions; Use during
chuch year: Easter and
Eastertide. Level 3.
Piano/Vocal score.
Language: German/English.
Composed 1724. 48 pages.
Duration 32 min
(Kantate zum 10. Sonntag nach Trinitatis). By Johann Sebastian Bach (1685-1750)....(+)
(Kantate zum 10. Sonntag
nach Trinitatis). By
Johann Sebastian Bach
(1685-1750). Edited by
Reinhold Kubik. Arranged
by Paul Horn. For Soli
SATB, SATB Choir,
[Cornetto, 3 Trombones],
Flute, 2 Oboes, Oboe da
Caccia (Taille), Violin
solo, Strings, Organ.
This edition: paperbound.
BWV 101. Full score
available separately -
see item CA.3110100.
Cantatas; Stuttgart
Urtext editions. Level 3.
Piano/Vocal score.
Language: German/English.
Composed 1724. 48 pages.
Duration 25 min
Kantate zum Sonntag Exaudi. By Johann Sebastian Bach. Edited by Reinhold Kubik. ...(+)
Kantate zum Sonntag
Exaudi. By Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. For Soli
SATB, SATB Choir, 2 Oboe
d'Amore, 2 Oboe d'Amore,
Cello pic, Strings,
Organ. BWV 183. Full
score available
separately - see item
CA.3118300. Cantatas;
Stuttgart Urtext
editions; Use during
church year: Special
Days, Easter and
Eastertide. Piano/Vocal
score. Language:
German/English. Composed
1725. 20 pages. Duration
15 min. Published by
Carus Verlag (German
import).
Kantate zum 14. Sonntag nach Trinitatis. By Johann Sebastian Bach. Edited by Kub...(+)
Kantate zum 14. Sonntag
nach Trinitatis. By
Johann Sebastian Bach.
Edited by Kubik,
Reinhold. Arranged by
Paul Horn. For Soli SATB,
SATB Choir, [Cornetto],
Flute, 2 Oboes, Strings,
Organ. BWV 78. Full score
available separately -
see item CA.3107800.
Cantatas; Stuttgart
Urtext editions.
Piano/Vocal score.
Language: German/English.
Composed 1724. 44 pages.
Duration 25 min.
Published by Carus Verlag
(German import).
Soloists, Mixed choir
(SATB), Orchestra
(Soprano solo, Alto solo
(2), Tenor solo (2), Bass
solo (2), Mixed choir
(SATB), Orchestra)
SKU: BA.BA11311
Composed by George
Frideric Handel. Edited
by Felix Schroeder. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Score. HWV 48.
Baerenreiter Verlag
#BA11311_00. Published by
Baerenreiter Verlag
(BA.BA11311).
ISBN
9790006574650. 31 x 24.3
cm inches. Language:
German. Preface:
Schütz, Gudula. Text:
Barthold Heinrich
Brockes.
Handel
composed his only
oratorio in German
between 1716 and 1717
basing it on the then
popular Passion text by
Barthold Heinrich Brockes
entitled “Der
für die Sünde der
Welt gemarterte und
sterbende Jesusâ€
(“The Story of
Jesus, Suffering and
Dying for the Sins of the
Worldâ€).
Handel’s affinity
to opera is evident in
the musical realisation
of the emphatic text as
he creates a synthesis
between traditional
Protestant church music
and the depiction of
human passion in the
manner of opera
seria.
This
edition is based on the
corresponding volume of
the “Halle Handel
Edition†(BA 4021).
The full score, parts and
vocal score have been
newly engraved. The piano
reduction has been
simplified and brought up
to today’s
standards, thus making it
much more manageable to
play.
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
Composed by Camille
Saint-Saens. Edited by
Christina M. Stahl. This
edition: urtext edition.
Paperback. Score.
Baerenreiter Verlag
#BA11305. Published by
Baerenreiter Verlag
(BA.BA11305).
ISBN
9790006567027. 31 x 24.3
cm inches. Text Language:
Latin. Preface: Stahl,
Christina M.
Psalm
137 Super flumina
Babylonis also known as
By the rivers of Babylon
was an inspiration for
many composers including
Camille Saint-Saëns.
He repeatedly occupied
himself with his psalm
motet for solo soprano,
mixed choir, saxophone
quartet, string orchestra
and organ, originally
composed in 1854. Two of
the four versions â??
the first version in
Latin and a much later
version in English for
alto solo, SATB choir and
piano â?? are now
available for the first
time in Urtext performing
editions taking a
meticulous account of all
the
sources.
Saint-Sa
«ns lived up to his
reputation as an
innovative composer by
exploring the use of the
saxophone family in
sacred music just a few
years after the invention
of these instruments. The
successful combination of
voice and saxophone
creates a special sound
experience.
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
Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in ...(+)
Soprano voice solo, SATB
choir, and piano (E-flat
Soprano saxophone, 2
Horns in F, Piano, Organ
(or digital keyboard),
Double String Quartet,
Double Bass) - Beginning
SKU: MN.56-0106
Composed by Howard
Goodall. Lent, Holy Week,
Triduum/Three Days,
Tenebrae, 21st Century.
Score & instrument parts.
Duration 6 minutes, 47
seconds. MorningStar
Music Publishers
#56-0106. Published by
MorningStar Music
Publishers (MN.56-0106).
UPC: 688670221231.
English,
Latin.
Invictus: A
Passion addresses one of
the world’s most
powerful stories through
the lens of the modern
world. The texts, written
or inspired by women,
describe not only human
suffering and persecution
but also the human
capacity for love and
humility in the face of
tyranny. Composer Howard
Goodall is uniquely
suited to bring these
texts to life with music
of emotional clarity and
sweeping force. This
movement, scored for
soprano solo, SATB choir
and piano, expresses the
unimaginable pain felt by
a mother seeing her child
torn away from her at a
slave auction. To this
harrowing account are
appended the words of
William Wilberforce,
spoken in the House of
Commons on 18th April
1791, “You may
choose to look the other
way but you can never say
again that you did not
know.†Duration
6:47.
Solo voices, mixed choir, orchestra Urtext based on the new Complete Edition. ...(+)
Solo voices, mixed choir,
orchestra
Urtext based on the new
Complete Edition.
Composed by
Johannes Brahms
(1833-1897).
Edited by Michael
Musgrave
and Michael Struck.
Breitkopf
and Haertel #OB 16109-30.
Published by Breitkopf
and
Haertel
Composed by Wolfgang
Amadeus Mozart. Edited by
Michael Ostrzyga. This
edition: urtext edition.
Paperback. New
Completion. Vocal Score.
Baerenreiter Verlag
#BA11310_90. Published by
Baerenreiter Verlag
(BA.BA11310-90).
ISBN
9790006569267. 27 x 19 cm
inches. Text Language:
Latin.
This
publication offers a
source-critical edition
of Mozartâ??s
fragmentary
â??Requiemâ? as well
as an alternative to the
traditional Sü�mayr
version. It makes it
possible to perform 1)
the fragment, identified
in print in both the
score and the parts, 2)
the authentic sections
left incomplete by
Mozart, now in a
stylistically appropriate
orchestration, and 3)
those sections missing
entirely in the fragment,
newly added in
Mozartâ??s idiom taking
into account historical
additions by Sü�mayr
and Eybler.
When
completing the fragment,
the editor drew on
comprehensive comparative
and analytical studies of
Mozartâ??s church style
and compositional
workmanship. The
influence of Handel and
Bach manifested in his
final years, particularly
in the â??Requiemâ?
fragment, is taken into
account in those sections
requiring completion or
fresh
composition.
At
two points readers may
choose between
alternative movements (or
sections), since
proceeding from
SüÃ?mayrâ??s
historical version, two
divergent options cannot
be weighed against each
other but each one may
well reflect Mozartâ??s
intentions: the
â??Lacrimosaâ? may
end with or without
â??Amenâ? fugue, and
the â??Sanctusâ? may
begin in the customary D
major or in D minor.
Above all, this makes it
possible to retain the
B-flat major
â??Hosannaâ? from
SüÃ?mayrâ??s
autograph, a movement
which, until now, has not
been appreciated as
compositionally
flawless.
â?¢
Scholarly-critical
edition of the
â??Requiemâ?
fragment â?¢ With
performance material for
presentation of 1) the
fragment, 2) a version
with completions of the
authentic Mozart sections
or 3) a full
completion consistent
with Mozartâ??s musical
idiom â?¢ Missing
sections were completed
by drawing from other
fragmentary sacred works
by Mozart â?¢ Added
or completed sections
incorporate influences
from Bach and Handel
already detectable in the
fragment â?¢
Alternative performance
options for the
â??Lacrimosaâ?,
â??Sanctusâ? and
â??Benedictusâ? â
?¢ Easy-to-play piano
reduction â?¢
Extensive foreword
(Ger/Eng) on the
workâ??s history,
reception and modern
completions, with
analytical stylistic
critique â?¢
Detailed Critical
Commentary (Eng), partly
available on the
Bärenreiter
website â?¢ Tried
and tested on many
occasions, e.g. at
Harvard University, the
Rheingau Music Festival,
the Monadnock Music
Festival (New Hampshire),
in Salt Lake City (Utah),
as well as in radio
broadcasts (NDR, SWR,
WDR) and CD recordings
with Concerto Köln,
Chorwerk Ruhr and Florian
Helgath (â??Le Disque
classique du jourâ?
from francemusique.fr and
three nominations for
Opus Klassik 2021 in the
categories
â??Ensembleâ?,
â??Choral Recordingâ?
and â??Editorial
Achievementâ?)