St. Mark Passion Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] Carus Verlag
(Version Hellmann/Glockner). Composed by Johann Sebastian Bach (1685-1750). Edit...(+)
(Version
Hellmann/Glockner).
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Andreas Glockner.
Arranged by Diethard
Hellmann. For SAT vocal
soli, SATB choir, 2
flutes, 2 oboes/2 oboe
d'amore, 2 violins,
viola, 2 viola da gamba,
basso continuo, [2
lutes]. This edition:
Paperbound. Stuttgart
Urtext Edition. German
title: Markuspassion
Glockner. Oratorios,
Passions, Lent and
Passiontide, Holy Week.
Full score. Language:
German. Composed
1723/1964/2001. BWV 247.
Duration 75 minutes.
Published by Carus Verlag
Requiem in C Major Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Conducteur] Carus Verlag
(Arrangement for soli, choir and organ). Composed by Charles Francois Gounod (18...(+)
(Arrangement for soli,
choir and organ).
Composed by Charles
Francois Gounod
(1818-1893). Edited by
Barbara Grolmann.
Arranged by Zsigmond
Szathmary. For SATB vocal
soli, SATB choir, organ.
This edition: Paperbound.
C-Dur (C major). Choir
and Organ. German title:
Requiem. End of the
church year, Mourning,
death. Full score.
Language: Latin. Posth..
48 pages. Duration 35
minutes. Published by
Carus Verlag
Composed by Ludwig van
Beethoven. Edited by
Barry Cooper. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 123.
Baerenreiter Verlag
#BA09038_00. Published by
Baerenreiter Verlag
(BA.BA09038).
ISBN
9790006563838. 31 x 24.3
cm inches. Text Language:
Latin. Preface: Barry
Cooper.
Beethoven
described his grandly
conceived â??Missa
solemnisâ? as â??my
greatest workâ? and
sold manuscript copies to
some of the subscribers
even before it had
appeared in
print.
This Urtext
edition takes into
account all the sources
including the old and the
new complete editions
whose relationship is
clearly explained in a
stemma. In several
passages the renowned
Beethoven specialist
Barry Cooper has arrived
at variant readings, such
as in the
â??Sanctusâ?, where
the choir enters instead
of the soloists, rather
than coming in at
â??Pleni sunt
coeliâ?. No less
worthy of mention is the
addition of the soloists
to the choir in most of
the â??Credoâ?. These
matters and many other
editorial decisions are
documented in the
detailed Critical
Commentary
(Eng).
The
appendix contains
Beethovenâ??s
arrangement of the
Gregorian chant
â??Tantum ergoâ? for
the first time. This was
composed at the same time
as the â??Missa
solemnisâ? and most
probably stands in a
close relation to
it.
This edition
is designed for everyone
seeking a combination of
a reliable musical text
and well-founded
editorial suggestions for
a successful performance
of this
masterpiece.
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
(Soli ATB, Coro SSATB, 2 Ob, Fg, 3 Tr, Timp, 2 Vl, Va, Bc) SKU: CA.5528345(+)
(Soli ATB, Coro SSATB, 2
Ob, Fg, 3 Tr, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5528345
Dettingen Te Deum.
Composed by George
Frideric Handel. Carus
Choir Coach (audio only).
Composed 1743. HWV 283.
Duration 38 minutes.
Carus Verlag #5528345.
Published by Carus Verlag
(CA.5528345).
English/German.
In keeping with the
victorious mood, Handel
often splits the chorus
into five voices (with
divided sopranos) for
passages of pure
homophony. When the choir
declaim as one, the
effect is of joyful
celebration. To start
each phrase on the right
note, it is essential to
be familiar with the
orchestral interludes.
The cantabile movements,
such as No. 3, can be
particularly tricky to
perform: The vocal leaps
in these demanding
choral-soprano sections
become much easier if you
can hear the underlying
harmonies while
practicing. The same is
true for No.
5.
The Carus Choir
Coach offers choir
singers the unique
opportunity to study and
learn their own,
individual choral parts
within the context of the
sound of the entire choir
and orchestra. For every
vocal range a download
containing each choir
part is available. The
Carus Choir Coach is
based on recorded
interpretations by
renowned artists who have
performed the work from
carefully prepared Carus
Urtext editions. Each
choir part is presented
in three different
versions:
Original
recording Coach: each
part is accompanied by
the piano, with the
original recording
sounding in the
background Coach in
slow mode: the tempo of
the coach slows down to
70% of the original
version â through
this reduction passages
can be learned more
effectively. Performer
s: Dorothee Mields
(soprano), Ulrike
Andersen (alto), Mark
Wilde (tenore), Chris
Dixon (basso) â
Alsfelder Vokalensemble,
Concerto Polacco â
Wolfgang Helbich. Score
available separately -
see item CA.5528300.
Ave verum, op. 65/1 N 123 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre - Facile Barenreiter
Solo voices, SATB chorus,organ,double bass ad lib (Soprano solo or Alto solo (or...(+)
Solo voices, SATB
chorus,organ,double bass
ad lib (Soprano solo or
Alto solo (or Female
choir (2voices)) or Tenor
solo, Baritone solo,
Organ, Double bass ad
libitum) - Level 2
SKU: BA.BA25144
Motet for Soprano or
Alto (or two-part Female
Choir) or Tenor and
Baritone, Organ and
optional Double Bass.
Composed by Gabriel
Faure. Edited by Helga
Schauerte-Maubouet. This
edition: urtext edition.
Folded. Barenreiter
Urtext. Singing Score.
Opus 65/1. 4 pages.
Baerenreiter Verlag
#BA25144_00. Published by
Baerenreiter Verlag
(BA.BA25144).
ISBN
9790006575107. 29.7 x 21
cm inches. Text Language:
Latin.
The motets
and choral pieces,
composed with the
distinctive features of
the Madeleine organ in
mind, enchant with their
colourful, floating
harmonies and convey a
certain intimacy even
with their ritualized
Latin texts. These works
are very well suited for
performances by small
vocal ensembles. A
novelty is the inclusion
of the double bass part
(ad libitum) which does
not appear consistently
in the first editions but
corresponds to the
musical practice at the
Madeleine.
Numerou
s gems such as the
â??Cantique de Jean
Racineâ? or the
â??Messe basseâ? are
published in performing
editions based on the
musical text of the
â??Gabriel Faur â??
Å?uvres
complètesâ?.
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
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?.
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
Oratorio in three
parts. Composed by
George Frideric Handel.
Edited by Merlin Channon.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series I,
Volume 23. Complete
edition, Score. HWV 62.
Duration 2 hours, 20
minutes. Baerenreiter
Verlag #BA04089_00.
Published by Baerenreiter
Verlag (BA.BA04089).
ISBN 9790006550081. 33
x 26 cm inches. Text
Language: English. Text:
Newburgh
Hamilton.
The
“Occasional
Oratorio†was
composed as a reaction to
a political event which
shook the whole of
England : the Jacobite
rebellion of 1745-46
against the Hanoverian
monarchy was crushed
under the leadership of
the Duke of Cumberland.
Handel, who was working
on the oratorio “
Judas Maccabaeusâ€
at the time, composed the
oratorio quickly and
reused some movements
from earlier works. With
the choice of a libretto
by Newburgh Hamilton he
demonstrated his support
for the monarchy. The
work was first performed
on 14 February 1746 at
the Covent Garden Theatre
in London .
For
the first time this
seldomly performed
oratorio which
nevertheless contains
wonderful music is
available in an Urtext
edition based on the
“ Halle Handel
Edition†. All
available sources have
been consulted. Further
movements which Handel
added for later
performances are included
in the appendix.
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
Oratorio in three
acts. Composed by
George Frideric Handel.
Edited by Kenneth Nott.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series I,
Volume 30. Complete
edition, Score. HWV 70.
Baerenreiter Verlag
#BA04014_00. Published by
Baerenreiter Verlag
(BA.BA04014).
ISBN
9790006442935. 33 x 26 cm
inches. Text Language:
English. Preface: Nott,
Kenneth. Text: Thomas
Morell.
“Jeph
tha†is
Handel’s last
oratorio. Handel had to
break off from composing
several times because of
his increasing blindness
in 1751. The first
performance at the Covent
Garden Theatre in
February 1752 was the
last performance he
conducted before he went
completely blind. In
“Jephthaâ€,
Handel succeeded in
achieving the perfect
fusion between a biblical
plot and the spirit of
classical tragedy. With
great intensity and
dramatic expression he
highlighted in particular
the fates of Jephtha and
Iphis , thereby
portraying convincing and
complex
characters.
The
chorus “How Dark, O
Lord, are Thy
Decrees†at the end
of part two is of crucial
importance in the work
and is regarded as the
dramatic high point of
the oratorio.
The
vocal score is based on
volume I/30 of the
“Halle Handel
Edition†(BA 4014),
which contains the
complete critical version
of the music of the
oratorio for the first
time.
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
Orchestra Solo STB, Coro
SATB (auch Mannerchor
TTTBB), 2 Fl, 2 Ob, 2
Clt, 2 Fg, 2 Cor, 2 Tr, 3
Trb, Timp, 2 Vl, Va, Vc,
Cb
SKU: CA.2302007
Composed by Ludwig van
Beethoven. Edited by
Clemens Harasim.
Innovative practice aids,
Sacred vocal music,
Oratorios. Study score.
Op. 85. Duration 54
minutes. Carus Verlag #CV
23.020/07. Published by
Carus Verlag
(CA.2302007).
ISBN
M-007-24884-0.
German/English. Text:
Franz Xaver
Huber.
In his
Passion oratorio Christus
am Olberge [The Mount of
Olives], Beethoven
succeeded firstly in
building on the 18th
century tradition, and
secondly in putting his
own personal stamp on the
nascent genre of
German-language oratorio
- the Vienna performances
of Haydn's Die Schopfung
and Die Jahreszeiten had
only taken place a few
years earlier. In
composing the work he
looked towards
contemporary opera, using
a text by an opera
librettist to depict in
music the dramatic
situation of the doubting
Jesus in the Garden of
Gethsemane and his
arrest. Yet we do not do
justice to Beethoven's
work if we simply regard
it as a successor work to
Graun's Der Tod Jesu or
even Bach's St Matthew
Passion. Beethoven's
Christus am Olberge is
characterized less by
religious devotion and
much more by the dramatic
realization of a specific
situation in the Passion
story in deeply-felt
musical scenes. With its
magnificent, almost
operatic music, this is a
different Passion
oratorio which is
definitely worth hearing
and experiencing - and in
this form it is without
doubt unique in the
history of
vocal-instrumental sacred
music. The edition
follows the first printed
edition in music and
text; differences in the
text in the libretto
originally set by
Beethoven are given as a
second text, and a
singable English
translation is underlaid.
Score available
separately - see item
CA.2302000.
Kantaten I-III. By Johann Sebastian Bach. Edited by Klaus Hofmann. Arranged by P...(+)
Kantaten I-III. By Johann
Sebastian Bach. Edited by
Klaus Hofmann. Arranged
by Paul Horn. For Soli
SATB, SATB Choir, 3
Trumpets, Timpani, 2
Flutes, 2 Oboes (Oboe
d'Amore), 2 English Horn,
Bassoon, 2 Violins,
Viola, Basso continuo.
BWV 248. Full score
available separately -
see item CA.3124800.
Oratorios; Stuttgart
Urtext editions; Use
during church year:
Christmas. Piano/Vocal
score. Language:
German/English. Composed
1734 (?). 88 pages.
Duration 90 min.
Published by Carus Verlag
(German import).
Composed
by Johann Adolf Hasse.
Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. This edition:
Complete edition.
Complete editions /
Selected works: Johann
Adolf Hasse. Selected
Works. Missa In G (1783).
Sacred vocal music,
Masses, Latin. Single
Part, Violin 1. 32 pages.
Duration 63 minutes.
Carus Verlag #CV
50.705/11. Published by
Carus Verlag
(CA.5070511).
ISBN
9790007224431. Language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves. Score and part
available separately -
see item CA.5070500.
Composed
by Johann Adolf Hasse.
Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. This edition:
Complete edition.
Complete editions /
Selected works: Johann
Adolf Hasse. Selected
Works. Missa In G (1783).
Sacred vocal music,
Masses, Latin. Single
Part, Viola. 28 pages.
Duration 63 minutes.
Carus Verlag #CV
50.705/13. Published by
Carus Verlag
(CA.5070513).
ISBN
9790007224455. Language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves. Score and part
available separately -
see item CA.5070500.
Composed
by Johann Adolf Hasse.
Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. This edition:
Complete edition.
Complete editions /
Selected works: Johann
Adolf Hasse. Selected
Works. Missa In G (1783).
Sacred vocal music,
Masses, Latin. Single
Part, basso continuo. 28
pages. Duration 63
minutes. Carus Verlag #CV
50.705/14. Published by
Carus Verlag
(CA.5070514).
ISBN
9790007224462. Language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves. Score and part
available separately -
see item CA.5070500.
Composed
by Johann Adolf Hasse.
Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. This edition:
Complete edition.
Complete editions /
Selected works: Johann
Adolf Hasse. Selected
Works. Missa In G (1783).
Sacred vocal music,
Masses, Latin. Single
Part, Violin 2. 32 pages.
Duration 63 minutes.
Carus Verlag #CV
50.705/12. Published by
Carus Verlag
(CA.5070512).
ISBN
9790007224448. Language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves. Score and part
available separately -
see item CA.5070500.
Cantata for the Sunday
after Christmas.
Composed by Johann
Sebastian Bach. Edited by
Felix Loy. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
German title: Gottlob,
Nun Geht Das Jahr Zu
Ende. Sacred vocal music,
Christmas. Study score.
Composed 1725. BWV 28. 40
pages. Duration 16
minutes. Carus Verlag #CV
31.028/07. Published by
Carus Verlag
(CA.3102807).
ISBN
9790007135799. Language:
German/English. Text:
Neumeister, Erdmann.
Text: Erdmann
Neumeister.
Composed by Johann Adolf
Hasse. Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. This edition:
Complete edition.
Complete editions /
Selected works: Johann
Adolf Hasse. Selected
Works. Missa In G (1783).
Sacred vocal music,
Masses, Latin. Single
Part, Organ. 44 pages.
Duration 63 minutes.
Carus Verlag #CV
50.705/49. Published by
Carus Verlag
(CA.5070549).
ISBN
9790007224479. Language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves. Score and part
available separately -
see item CA.5070500.
Composed
by Johann Adolf Hasse.
Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. This edition:
Complete edition.
Complete editions /
Selected works: Johann
Adolf Hasse. Selected
Works. Missa In G (1783).
Sacred vocal music,
Masses, Latin. Choral
Score. Duration 63
minutes. Carus Verlag #CV
50.705/05. Published by
Carus Verlag
(CA.5070505).
ISBN
9790007162597. Language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves. Score available
separately - see item
CA.5070500.
Cantata
for the Sunday after
Christmas. Composed
by Johann Sebastian Bach.
Edited by Felix Loy.
Arranged by Paul Horn.
This edition: urtext. 1x
31.028/21 oboe 1, 1x
31.028/22 oboe 2, 1x
31.028/23 oboe 3, 1x
31.028/31 horn, 1x
31.028/32 trombone 1, 1x
31.028/33 trombone 2, 1x
31.028/34 trombone 3.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gottlob, Nun Geht Das
Jahr Zu Ende. Sacred
vocal music, Christmas.
Set of Orchestra Parts.
Composed 1725. BWV 28. 26
pages. Duration 16
minutes. Carus Verlag #CV
31.028/09. Published by
Carus Verlag
(CA.3102809).
ISBN
9790007205324. Language:
German/English. Text:
Neumeister, Erdmann.
Text: Erdmann
Neumeister.
Score
and parts available
separately - see item
CA.3102800.
Composed by Johann Adolf
Hasse. Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. 1x 50.705/21
flute 1, 1x 50.705/22
flute 2, 1x 50.705/23
oboe 1, 1x 50.705/24 oboe
2, 2x 50.705/25 bassoon
1, 1x 50.705/31 horn 1,
1x 50.705/32 horn 2, 1x
50.705/33 trumpet 1, 1x
50.705/34 trumpet 2, 1x
50.705/41 timpani.
Complete editions /
Selected works: Johann
Adolf Hasse. Selected
Works. Missa In G (1783).
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. Duration
63 minutes. Carus Verlag
#CV 50.705/09. Published
by Carus Verlag
(CA.5070509).
ISBN
9790007224424. Text
language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves. Score and parts
available separately -
see item CA.5070500.
Composed
by Johann Adolf Hasse.
Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. This edition:
Complete edition, linen
cover. Complete editions
/ Selected works: Johann
Adolf Hasse. Selected
Works. Missa In G (1783).
Sacred vocal music,
Masses, Latin. Full score
(complete edition /
selected edition).
Duration 63 minutes.
Carus Verlag #CV
50.705/00. Published by
Carus Verlag
(CA.5070500).
ISBN
9790007144951. Language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves.
(Cantata for the Sunday after Christmas). Composed by Johann Sebastian Bach (168...(+)
(Cantata for the Sunday
after Christmas).
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Felix Loy. Arranged by
Paul Horn. For SATB vocal
soli, SATB choir, 2
oboes, taille, [cornet, 3
trombones], 2 violins,
viola, basso continuo.
This edition: Paperbound.
Stuttgart Urtext Edition.
German title: Gottlob,
nun geht das Jahr zu
Ende. Christmas. Full
score. Language:
German/English. Composed
1725. BWV 28. Duration 16
minutes. Published by
Carus Verlag
Cantata
for the Sunday after
Christmas. Composed
by Johann Sebastian Bach.
Edited by Felix Loy.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gottlob, Nun Geht Das
Jahr Zu Ende. Sacred
vocal music, Christmas.
Single Part, Organ.
Composed 1725. BWV 28. 12
pages. Duration 16
minutes. Carus Verlag #CV
31.028/49. Published by
Carus Verlag
(CA.3102849).
ISBN
9790007205379. Language:
German/English. Text:
Neumeister, Erdmann.
Text: Erdmann
Neumeister.
Composed
by Johann Adolf Hasse.
Edited by Wolfgang
Hochstein. Arranged by
Paul Horn. This edition:
Paperbound, Complete
edition. Complete
editions / Selected
works: Johann Adolf
Hasse. Selected Works.
Missa In G (1783). Sacred
vocal music, Masses,
Latin. Vocal score.
Duration 63 minutes.
Carus Verlag #CV
50.705/03. Published by
Carus Verlag
(CA.5070503).
ISBN
9790007145194. Language:
Latin.
After Johann
Adolf Hasse had ended his
career as a composer for
the opera stage and
finally settled down in
Venice, he wrote a number
of sacred works. Since he
had long been obligated
to the Saxon Court, where
he served as a composer
for three decades until
1763, these works were
originally intended for
the Catholic Court Church
in Dresden. The
solemn-pathetic Missa in
G minor (1783), with the
inserted movement Ad te
levavi, is Hasse's final
work: a crowning
conclusion to an oeuvre
whose significance in
music history has only
recently begun to be
recognized and has now
received the fitting
acknowledgement it
deserves. Score available
separately - see item
CA.5070500.