Composed by Franz
Schubert. Edited by
Rudolf Faber. Arranged by
Andreas Kohs. This
edition: urtext edition.
Paperback. Vocal Score.
Baerenreiter Verlag
#BA05576-90. Published by
Baerenreiter Verlag
(BA.BA05576-90).
ISBN
9790006575961. 27 x 19 cm
inches. Key: E-flat
major. Text Language:
Latin.
During the
last summer of his life,
Franz Schubert completed
the Mass in E-flat D 950.
The occasion for the
composition of this Missa
solemnis cannot be
clarified with certainty.
Schubert did not live to
see the premiere of his
sixth mass, which was
first performed
posthumously in 1829
under the baton of his
brother
Ferdinand.
Among
other things, the editor
has paid particular
attention to the
articulation. In order to
be able to present
Schubertâ??s
differentiated use of
accents in the edition, a
new symbol has been
introduced: an accent
which is flexible with
regard to its length,
thus making it possible
to precisely visualize
its compositionally
intended
duration.
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?)
By Dietrich Buxtehude (1637-1707). Edited by Thomas Schlage. For SATB Choir, 2 V...(+)
By Dietrich Buxtehude
(1637-1707). Edited by
Thomas Schlage. For SATB
Choir, 2 Violins, Violone
(Violoncello), Basso
continuo. This edition:
Paperbound. Cantatas.
Full score. Language:
German. BuxWV 27. 24
pages. Duration 6 min.
Published by Carus Verlag
Soloists, Mixed choir, Orchestra SKU: BA.BA10726-01 Oratorio in three ...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA10726-01
Oratorio in three
parts. Composed by
George Frideric Handel.
Edited by Michael
Pacholke. This edition:
Complete edition. Linen.
Complete edition, Score.
HWV 46. Baerenreiter
Verlag #BA10726-01.
Published by Baerenreiter
Verlag (BA.BA10726-01).
ISBN 9790006575596. 33
x 26 cm inches. Text
Language: Italian.
Preface: Pacholke,
Michael.
In the
brief half-year period
from August 14, 1736, to
January 27, 1737, Georg
Friedrich Handel achieved
an unprecedented level of
productivity in his opera
compositions, creating
three operas.
Additionally, in March
1737, he also composed a
largely new oratorio
titled â??Il trionfo del
Tempo e della
Verità â? (â??The
Triumph of Time and
Truthâ?) HWV 46b. The
libretto of this oratorio
closely corresponds to
that of the oratorio
â??La Bellezza ravveduta
nel trionfo del Tempo e
del Disingannoâ?
(â??Beauty Reconciled in
the Triumph of Time and
Enlightenmentâ?) HWV
46a written in 1707. With
â??La Bellezza
ravvedutaâ?, Handel
composed an allegorical
and particularly dramatic
oratorio right at the
beginning of his oratorio
compositions. In this
work, there is no chorus
inclined towards
reflection. Not only do
the four allegorical
figures, Bellezza
(Beauty), Piacere
(Pleasure), Tempo (Time),
and Disinganno
(Enlightenment), listen
to each other and react
to the ideas presented by
the others, but this
prevailing dramatic
principle of dispute is
also found in the
recitatives.
In
1737, when reworking the
oratorio material as
â??Il trionfo del Tempo
e della Verità â?,
Handel approached the
task pragmatically. He
needed a new non-dramatic
work to fulfill the
eveningâ??s program for
his audience at the
Covent Garden Theatre
during the fasting season
when theatrical
performances were
prohibited. Although he
had excellent Italian
vocal soloists, notorious
for their pronunciation
in Handelâ??s English
oratorios and who
naturally preferred
singing in Italian,
Handel found a solution.
It was evident to Handel
that, in response to the
ban on performances of
his Italian operas during
the fasting season of
1737, he should promptly
create a new oratorio in
the Italian language but
following the three-part
â??Englishâ? oratorio
form that he had
developed in
â??Estherâ? HWV 50b
in 1732. Unlike in Rome
in 1707, he had access to
a chorus in London in
1737, and the English
oratorio, with its
substantial choral
sections, a preference
for concert-like rather
than dramatic
composition, and frequent
inclusion of organ
concertos loosely related
to the narrative, was
already
established.
The
new volume of the HHA
includes the original
version of the 1737
premiere as well as all
the surviving early and
later versions (the
latter being exceptional
highlights) of individual
musical pieces from
â??Il trionfo del Tempo
e della
Verità â?.
Orchestra Soli STB, Coro SATB, 3 Ob, Fg, 2 Vl, Va, Bc SKU: CA.3119407 ...(+)
Orchestra Soli STB, Coro
SATB, 3 Ob, Fg, 2 Vl, Va,
Bc
SKU: CA.3119407
Cantata for Trinity
Sunday. Composed by
Johann Sebastian Bach.
Edited by Tobias Rimek.
Arranged by Angelika
Tasler. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Trinity. Study
score. Composed 1724. BWV
194. 80 pages. Duration
39 minutes. Carus Verlag
#CV 31.194/07. Published
by Carus Verlag
(CA.3119407).
ISBN
9790007245146. Language:
German/English.
The
cantata Hochsterwunschtes
Freudenfest BWV 194 was
composed for an organ
dedication on 2 November
1723 in Stormthal,
Saxony. A year later, and
with just a few
alterations, the cantata
was performed again in
Leipzig on Trinity
Sunday. Our edition takes
this Leipzig version of
1724 as its source. The
special occasion of its
composition is reflected
in the extent of the
composition which has
twelve, instead of the
usual six, movements. The
orchestral scoring is for
strings and three
obbligato oboes. A
special feature of the
cantata is its structure
as an orchestral suite.
The beginning is a
spirited opening chorus
in the style of a French
overture. The bass aria
in the third movement has
the character of a
pastorale, and the
following aria (movement
5) in turn has the
character of a gavotte,
etc. A simple four-part
chorale concludes this
multifaceted composition,
marked by some extremely
heartfelt moments. Score
available separately -
see item CA.3119400.
Composed
by Bobbi Fischer. Vocal
score. Duration 40
minutes. Carus Verlag
#2718803. Published by
Carus Verlag
(CA.2718803).
ISBN
9790007250911. Language:
LAT/EN/DT.
After
Missa Latina and
Magnificat, Te Deum is
now the third major
composition by musician
and composer Karl
Albrecht
âBobbiâ Fischer
published by Carus.
Fischerâs musical
roots lie in classical
music, which he combines
with jazz elements and
Latin American
rhythms.
All three
styles appear in the Te
Deum. In keeping with the
proclamation âTe
Deum laudamusâ (We
praise thee, O God), the
work begins with the
festive (Cuban) energy,
propelled by timpani and
trumpet; the choir can
also be heard imitating
fanfares. Later, a
cappella choruses become
a recurring element, in
which phrases set as
Gregorian chant are
presented against an
ever-changing chordal
background. But the score
also features elements of
swing and rhythm and
blues, frenetic choral
outbursts of joy, as well
as moments of mystic
contemplation. Moreover,
the instrumentalists are
given ample opportunity
for improvised solos.
Interwoven into the
otherwise Latin text is
the well-known German
chorale GroÃer Gott,
wir loben dich. Here
several verses can be
sung with the
congregation; alongside
the original German text,
the score features the
English translation
âHoly God, we praise
thy nameâ.
-
An exciting combination
of classical choral music
with elements of jazz and
Latin American
music
- The
congregation can take
part in the performance
(chorale)
-
Singers can choose
between Latin/German or
Latin/English
Gloria in E flat major Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] - Facile Carus Verlag
By Felix Bartholdy Mendelssohn (1809-1847). Edited by Pietro Zappala. For Soli S...(+)
By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Pietro Zappala.
For Soli SSATB, SATB
Choir, 2 Flutes, 2 Oboes,
2 Clarinets, 2 Bassoons,
2 Horns, 2 Trumpets,
Timpani, 2 Violins,
Viola, Cello/Contrabass.
This edition: Paperbound.
Es-Dur (E-flat major).
Stuttgart Urtext
editions. Mass sections,
Christmas. Level 3. Full
score. Language: Latin.
Composed 1822. 128 pages.
Duration 21 min.
Published by Carus Verlag
Harmoniemesse in B Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] Carus Verlag
By Franz Joseph Haydn (1732-1809). Edited by Andreas Traub. For SATB Soli, SATB ...(+)
By Franz Joseph Haydn
(1732-1809). Edited by
Andreas Traub. For SATB
Soli, SATB Choir, Flute,
2 oboes, 2 clarinets, 2
bassoons, 2 horns, 2
clarinos/trumpets,
timpani, 2 Violin, viola,
basso continuo. This
edition: Paperbound.
B-Dur (B-flat major).
Stuttgart Urtext Edition.
German title:
Harmoniemesse in B
XXII:14. Masses, Latin.
Full score. Language:
Latin. Hob. XXII:14. 216
pages. Duration 45
minutes. Published by
Carus Verlag
Dramma
per musica in three
Acts. Composed by
George Frideric Handel.
Edited by Terence Best.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Serie II,
Band 15. Complete
edition, Score. HWV 18.
Duration 3 hours.
Baerenreiter Verlag
#BA04052_00. Published by
Baerenreiter Verlag
(BA.BA04052).
ISBN
9790006495702. 33.1 x 26
cm inches. Nicola
Francesco
Haym.
Handel began
the composition of
Tamerlano, one of the
supreme masterpieces of
Baroque opera seria, on
3rd July 1724. The
libretto was an
adaptation by Nicola Haym
of Agostino Piovene's
Tamerlano, Tragedia per
musica, which had been
set to music by Francesco
Gasparini, and performed
in Venice in 1711. When
Handel dated the last
page of the autograph on
4rd July the work
appeared to be complete;
but during the three
months which passed
before the premiere at
the King's Theatre in the
Haymarket on 31 October,
so many alterations and
revisions were made that
a fresh performing-score
had to be writtern very
late in the proceedings,
to replace an earlier one
which is now
1ost.
There were
twelve performances
between 31 October 1724
and 8 May 1725. Handel
revived the opera only
once, in 1731, for three
performances. For this
revival he marked in the
performing score a number
of cuts in the
recitatives, which are
reproduced in the present
edition; there is more
recitative in Tamerlano
than in any other Handel
opera.
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 Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Stae Cyrilli Et
Methodii Mh 13. Sacred
vocal music, Masses,
Latin. Single Part, basso
continuo. MH 13. 28
pages. Duration 55
minutes. Carus Verlag #CV
54.013/13. Published by
Carus Verlag
(CA.5401313).
ISBN
9790007225896. Language:
Latin.
The thirty
or so settings of the
Mass by Johann Michael
Haydn (Joseph's younger
brother) are masterpieces
of their class, and were
greatly loved during his
lifetime. As part of its
Urtext complete edition
Carus now presents the
Missa Sancti Cyrilli et
Methodii. This
composition of 1758 is an
early work, still written
in the baroque stylistic
tradition of the southern
German region, Out it
also reveals subjective
inspiration which
separates it from many
mass settings by Haydn's
contemporaries. With this
mass dedicated to the
Slavic apostles Cyrill
and Methodius it is
possible that Haydn
applied for a position in
Brno and it actually
appears as if the
21-year-old composer
wanted to present a
masterpiece demonstrating
his skills. This mass is
published here in the
first edition. Score and
part available separately
- see item
CA.5401300.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Stae Cyrilli Et
Methodii Mh 13. Sacred
vocal music, Masses,
Latin. Choral Score. MH
13. 32 pages. Duration 55
minutes. Carus Verlag #CV
54.013/05. Published by
Carus Verlag
(CA.5401305).
ISBN
9790007165307. Language:
Latin.
The thirty
or so settings of the
Mass by Johann Michael
Haydn (Joseph's younger
brother) are masterpieces
of their class, and were
greatly loved during his
lifetime. As part of its
Urtext complete edition
Carus now presents the
Missa Sancti Cyrilli et
Methodii. This
composition of 1758 is an
early work, still written
in the baroque stylistic
tradition of the southern
German region, Out it
also reveals subjective
inspiration which
separates it from many
mass settings by Haydn's
contemporaries. With this
mass dedicated to the
Slavic apostles Cyrill
and Methodius it is
possible that Haydn
applied for a position in
Brno and it actually
appears as if the
21-year-old composer
wanted to present a
masterpiece demonstrating
his skills. This mass is
published here in the
first edition. Score
available separately -
see item CA.5401300.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Stae Cyrilli Et
Methodii Mh 13. Sacred
vocal music, Masses,
Latin. Single Part,
Organ. MH 13. 40 pages.
Duration 55 minutes.
Carus Verlag #CV
54.013/49. Published by
Carus Verlag
(CA.5401349).
ISBN
9790007165314. Language:
Latin.
The thirty
or so settings of the
Mass by Johann Michael
Haydn (Joseph's younger
brother) are masterpieces
of their class, and were
greatly loved during his
lifetime. As part of its
Urtext complete edition
Carus now presents the
Missa Sancti Cyrilli et
Methodii. This
composition of 1758 is an
early work, still written
in the baroque stylistic
tradition of the southern
German region, Out it
also reveals subjective
inspiration which
separates it from many
mass settings by Haydn's
contemporaries. With this
mass dedicated to the
Slavic apostles Cyrill
and Methodius it is
possible that Haydn
applied for a position in
Brno and it actually
appears as if the
21-year-old composer
wanted to present a
masterpiece demonstrating
his skills. This mass is
published here in the
first edition. Score and
part available separately
- see item
CA.5401300.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext. 1x
54.013/31 clarino 1, 1x
54.013/32 clarino 2, 1x
54.013/33 trumpet 1, 1x
54.013/34 trumpet 2, 1x
54.013/35 trombone 1, 1x
54.013/36 trombone 2, 1x
54.013/37 trombone 3, 1x
54.013/41 timpani.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Stae Cyrilli Et
Methodii Mh 13. Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. MH 13. Duration 55
minutes. Carus Verlag #CV
54.013/09. Published by
Carus Verlag
(CA.5401309).
ISBN
9790007225865. Language:
Latin.
The thirty
or so settings of the
Mass by Johann Michael
Haydn (Joseph's younger
brother) are masterpieces
of their class, and were
greatly loved during his
lifetime. As part of its
Urtext complete edition
Carus now presents the
Missa Sancti Cyrilli et
Methodii. This
composition of 1758 is an
early work, still written
in the baroque stylistic
tradition of the southern
German region, Out it
also reveals subjective
inspiration which
separates it from many
mass settings by Haydn's
contemporaries. With this
mass dedicated to the
Slavic apostles Cyrill
and Methodius it is
possible that Haydn
applied for a position in
Brno and it actually
appears as if the
21-year-old composer
wanted to present a
masterpiece demonstrating
his skills. This mass is
published here in the
first edition. Score and
parts available
separately - see item
CA.5401300.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Stae Cyrilli Et
Methodii Mh 13. Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. MH 13. Duration 55
minutes. Carus Verlag #CV
54.013/19. Published by
Carus Verlag
(CA.5401319).
ISBN
9790007140403. Language:
Latin.
The thirty
or so settings of the
Mass by Johann Michael
Haydn (Joseph's younger
brother) are masterpieces
of their class, and were
greatly loved during his
lifetime. As part of its
Urtext complete edition
Carus now presents the
Missa Sancti Cyrilli et
Methodii. This
composition of 1758 is an
early work, still written
in the baroque stylistic
tradition of the southern
German region, Out it
also reveals subjective
inspiration which
separates it from many
mass settings by Haydn's
contemporaries. With this
mass dedicated to the
Slavic apostles Cyrill
and Methodius it is
possible that Haydn
applied for a position in
Brno and it actually
appears as if the
21-year-old composer
wanted to present a
masterpiece demonstrating
his skills. This mass is
published here in the
first edition. Score and
parts available
separately - see item
CA.5401300.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Stae Cyrilli Et
Methodii Mh 13. Sacred
vocal music, Masses,
Latin. Full score. MH 13.
124 pages. Duration 55
minutes. Carus Verlag #CV
54.013/00. Published by
Carus Verlag
(CA.5401300).
ISBN
9790007097554. Language:
Latin.
The thirty
or so settings of the
Mass by Johann Michael
Haydn (Joseph's younger
brother) are masterpieces
of their class, and were
greatly loved during his
lifetime. As part of its
Urtext complete edition
Carus now presents the
Missa Sancti Cyrilli et
Methodii. This
composition of 1758 is an
early work, still written
in the baroque stylistic
tradition of the southern
German region, Out it
also reveals subjective
inspiration which
separates it from many
mass settings by Haydn's
contemporaries. With this
mass dedicated to the
Slavic apostles Cyrill
and Methodius it is
possible that Haydn
applied for a position in
Brno and it actually
appears as if the
21-year-old composer
wanted to present a
masterpiece demonstrating
his skills. This mass is
published here in the
first edition.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Stae Cyrilli Et
Methodii Mh 13. Sacred
vocal music, Masses,
Latin. Vocal score. MH
13. 88 pages. Duration 55
minutes. Carus Verlag #CV
54.013/03. Published by
Carus Verlag
(CA.5401303).
ISBN
9790007140731. Language:
Latin.
The thirty
or so settings of the
Mass by Johann Michael
Haydn (Joseph's younger
brother) are masterpieces
of their class, and were
greatly loved during his
lifetime. As part of its
Urtext complete edition
Carus now presents the
Missa Sancti Cyrilli et
Methodii. This
composition of 1758 is an
early work, still written
in the baroque stylistic
tradition of the southern
German region, Out it
also reveals subjective
inspiration which
separates it from many
mass settings by Haydn's
contemporaries. With this
mass dedicated to the
Slavic apostles Cyrill
and Methodius it is
possible that Haydn
applied for a position in
Brno and it actually
appears as if the
21-year-old composer
wanted to present a
masterpiece demonstrating
his skills. This mass is
published here in the
first edition. Score
available separately -
see item CA.5401300.
Composed
by Camille Saint-Saens.
Edited by Dieter Zeh.
Arranged by Sven Hiemke.
Violoncello. Sacred vocal
music, Masses, Latin,
Whole church year / Omni
tempore. Single Part,
Cello. Composed 1856. Op.
4. 12 pages. Duration 45
minutes. Carus Verlag #CV
27.060/14. Published by
Carus Verlag
(CA.2706014).
Text
language:
Latin.
Carus-Verlag
is now publishing this
early work by Camille
Saint-Saens in a critical
new edition. Among the
sacred works by
Saint-Saens there are
just two settings of the
mass: the Messe de
Requiem op. 54 from his
middle period (1878), and
the Mass op. 4 dating
from 1856. This was first
performed on 21 April
1857. Camille Saint-Saens
was a devoted follower of
historicism as part of
the reform movement in
French church music. This
is more evident in the
mass published here than
anywhere else. The model
for this work is the
unison Messe Royale by
Henry DuMont (1610-1683).
Saint-Saens combined its
Gregorian style in a
convincing manner with
contemporary elements of
Romantic composition, an
expressive chromaticism,
which determines the
harmonic progression.
Alongside the orchestral
forces, the Grand Orgue
plays an important role.
Used as a solo
instrument, it is an
equal partner in the
composition. Score and
part available separately
- see item
CA.2706000.
Composed
by Franz Schubert. Edited
by Stefan Schuck. 1x
70.065/21 flute 1, 1x
70.065/22 flute 2, 1x
70.065/23 oboe 1, 1x
70.065/24 oboe 2, 1x
70.065/25 bassoon 1, 1x
70.065/26 bassoon 2, 1x
70.065/27 double bassoon,
1x 70.065/31 horn 1, 1x
70.065/32 horn 2, 1x
70.065/33 trombone 1, 1x
70.065/34 trombone 2, .
Stuttgart Urtext Edition:
Schubert. Harmony parts.
Sacred vocal music, Lent
and Passiontide, Holy
Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Set of
Orchestra Parts. D 383.
Duration 37 minutes.
Carus Verlag #CV
70.065/09. Published by
Carus Verlag
(CA.7006509).
ISBN
9790007244729. Language:
German.
In spring
1816 Franz Schubert, just
nineteen years old,
completed his second
setting of the Stabat
Mater in the midst of a
highly productive period.
In contrast with his
first setting written the
previous year, just five
minutes in length, this
time Schubert used the
German translation by
Klopstock as the basis
for his composition.
Stefan Schuck's edition
is the first one of this
work to be based on a
critical evaluation of
the primary sources, with
complete performance
material. The work, in a
dark F minor, with its
text by Klopstock, places
Jesus Christ, rather than
Mary, at the center of
the contemplation. With
his fugues, but
particularly in the
eight-part lamenting
chorus Wer wird Zahren
sanften Mitleids,
Schubert shows himself at
the height of his
creative output. He
composed his 4th
Symphony, the Tragic, at
almost the same time. The
Stabat Mater is a
rewarding work for choral
societies and choirs to
perform, because the
choir has the largest
portion to sing, and the
choral parts are not too
demanding. The
composition is also a
beautiful introduction to
the choral-symphonic
music of Schubert for
less experienced choirs.
Score and parts available
separately - see item
CA.7006500.
Composed
by Franz Schubert. Edited
by Stefan Schuck.
Stuttgart Urtext Edition:
Schubert. Sacred vocal
music, Lent and
Passiontide, Holy Week,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Vocal score. D 383.
64 pages. Duration 37
minutes. Carus Verlag #CV
70.065/03. Published by
Carus Verlag
(CA.7006503).
ISBN
9790007166007. Language:
German.
In spring
1816 Franz Schubert, just
nineteen years old,
completed his second
setting of the Stabat
Mater in the midst of a
highly productive period.
In contrast with his
first setting written the
previous year, just five
minutes in length, this
time Schubert used the
German translation by
Klopstock as the basis
for his composition.
Stefan Schuck's edition
is the first one of this
work to be based on a
critical evaluation of
the primary sources, with
complete performance
material. The work, in a
dark F minor, with its
text by Klopstock, places
Jesus Christ, rather than
Mary, at the center of
the contemplation. With
his fugues, but
particularly in the
eight-part lamenting
chorus Wer wird Zahren
sanften Mitleids,
Schubert shows himself at
the height of his
creative output. He
composed his 4th
Symphony, the Tragic, at
almost the same time. The
Stabat Mater is a
rewarding work for choral
societies and choirs to
perform, because the
choir has the largest
portion to sing, and the
choral parts are not too
demanding. The
composition is also a
beautiful introduction to
the choral-symphonic
music of Schubert for
less experienced choirs.
Score available
separately - see item
CA.7006500.
Composed
by Franz Schubert. Edited
by Stefan Schuck.
Stuttgart Urtext Edition:
Schubert. Viola. Sacred
vocal music, Lent and
Passiontide, Holy Week,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Single Part, Viola.
D 383. 16 pages. Duration
37 minutes. Carus Verlag
#CV 70.065/13. Published
by Carus Verlag
(CA.7006513).
ISBN
9790007244705. Language:
German.
In spring
1816 Franz Schubert, just
nineteen years old,
completed his second
setting of the Stabat
Mater in the midst of a
highly productive period.
In contrast with his
first setting written the
previous year, just five
minutes in length, this
time Schubert used the
German translation by
Klopstock as the basis
for his composition.
Stefan Schuck's edition
is the first one of this
work to be based on a
critical evaluation of
the primary sources, with
complete performance
material. The work, in a
dark F minor, with its
text by Klopstock, places
Jesus Christ, rather than
Mary, at the center of
the contemplation. With
his fugues, but
particularly in the
eight-part lamenting
chorus Wer wird Zahren
sanften Mitleids,
Schubert shows himself at
the height of his
creative output. He
composed his 4th
Symphony, the Tragic, at
almost the same time. The
Stabat Mater is a
rewarding work for choral
societies and choirs to
perform, because the
choir has the largest
portion to sing, and the
choral parts are not too
demanding. The
composition is also a
beautiful introduction to
the choral-symphonic
music of Schubert for
less experienced choirs.
Score and part available
separately - see item
CA.7006500.
Composed
by Franz Schubert. Edited
by Stefan Schuck.
Stuttgart Urtext Edition:
Schubert. Violin 1.
Sacred vocal music, Lent
and Passiontide, Holy
Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Single Part,
Violin 1. D 383. 16
pages. Duration 37
minutes. Carus Verlag #CV
70.065/11. Published by
Carus Verlag
(CA.7006511).
ISBN
9790007244736. Language:
German.
In spring
1816 Franz Schubert, just
nineteen years old,
completed his second
setting of the Stabat
Mater in the midst of a
highly productive period.
In contrast with his
first setting written the
previous year, just five
minutes in length, this
time Schubert used the
German translation by
Klopstock as the basis
for his composition.
Stefan Schuck's edition
is the first one of this
work to be based on a
critical evaluation of
the primary sources, with
complete performance
material. The work, in a
dark F minor, with its
text by Klopstock, places
Jesus Christ, rather than
Mary, at the center of
the contemplation. With
his fugues, but
particularly in the
eight-part lamenting
chorus Wer wird Zahren
sanften Mitleids,
Schubert shows himself at
the height of his
creative output. He
composed his 4th
Symphony, the Tragic, at
almost the same time. The
Stabat Mater is a
rewarding work for choral
societies and choirs to
perform, because the
choir has the largest
portion to sing, and the
choral parts are not too
demanding. The
composition is also a
beautiful introduction to
the choral-symphonic
music of Schubert for
less experienced choirs.
Score and part available
separately - see item
CA.7006500.