(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.
Te Deum and Jubilate Deo in D Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] - Intermédiaire/avancé Oxford University Press
By Henry Purcell (1659-1695). Arranged by Robert King. For SSATB soloists, SSATB...(+)
By Henry Purcell
(1659-1695). Arranged by
Robert King. For SSATB
soloists, SSATB choir, 2
trumpets, strings and
continuo (2 trumpets,
violin 1, violin 2,
viola, cello, double
bass, organ, theorbo
(optional)). Mixed
Voices. Classic Choral
Works. Standard Choral
Works. Vocal score. 40
pages. Duration 20'.
Published by Oxford
University Press
Composed by Maurice
Ravel. Set Type: A. Set
of parts. Published by
Lucks Music Library
(TM.08255SET).
Prelude
– Tres lent;
Premier tableau –
Danse du rouet et scene;
Deuxieme tableau –
Pavane de la belle au
bois dormant; Interlude;
Troisieme tableau
– Les entretiens
de la belle et de la
bete; Interlude;
Quatrieme tableau
– Petit Poucet;
Interlude; Cinquieme
tableau –
Laideronnette,
imperatrice des Pagodes;
Interlude; Sixieme
tableau – Le
jardin feerique.
Composed by Maurice
Ravel. Score. Published
by Lucks Music Library
(TM.08255SC).
Prelude
– Tres lent;
Premier tableau –
Danse du rouet et scene;
Deuxieme tableau –
Pavane de la belle au
bois dormant; Interlude;
Troisieme tableau
– Les entretiens
de la belle et de la
bete; Interlude;
Quatrieme tableau
– Petit Poucet;
Interlude; Cinquieme
tableau –
Laideronnette,
imperatrice des Pagodes;
Interlude; Sixieme
tableau – Le
jardin feerique.
ISBN
9790006558223. 27 x 19 cm
inches. Text Language:
French. Preface: Kocevar,
Ã?rik. Text: Charles
Colle.
The heroic
pastoral Daphnis et Egle
was performed only once,
on 29 October 1753, for
the entertainment of King
Louis XV at Fontainebleau
and remained unpublished
until today.
This
edition is based on
Rameau's autograph
manuscript, a copy of the
separate parts, and the
libretto published by
Ballard in 1753. A
comparison of the sources
reveals two versions of
the work: the original
version and the one
revised for
Fontainebleau, whereby
the differences lie
mainly in the final
divertissement. This
edition recommends the
Fontainebleau
version--which is
actually more complete in
its musical form, in
particular with its
overture and two
ariettas--but also
reconstructs the original
state of the final
divertissement (presented
in the appendix) before
it was revised.
Cantata
for the 9th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Ulrich Bartels.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Tue Rechnung,
Donnerwort. Sacred vocal
music, Cantatas, Trinity.
Vocal score. Composed
1725. BWV 168. 24 pages.
Duration 17 minutes.
Carus Verlag #CV
31.168/03. Published by
Carus Verlag
(CA.3116803).
ISBN
9790007166724. Language:
German/English. Text:
Franck, Salomo. Text by
Salomo Franck.
The
text of Bach's cantata
Tue Rechnung! Donnerwort
was published in 1715,
that is during Bach's
Weimar period, in the
Evangelisches
Andachts-Opffer by
Salomon Frank. This
concisely-written but
powerful work was,
however, only composed
ten years later in
Leipzig, and was heard
for the first time on 29
July 1725, the 9th Sunday
after Trinity. Its main
dramatic-musical emphasis
lies clearly in the first
movement, a dark, almost
operatic movement for
baritone and string
orchestra in B minor. By
contrast, the ensuing
aria for tenor with
obbligato oboe
accompaniment is
distinctly more intimate,
and the duet between
soprano and alto - just
accompanied by continuo -
is more restrained in its
musical language and
expression than the first
movement. In between
there are two extended
recitatives, the first of
which leads into an
arioso. The breadth of
expression within the
cantata is striking, its
opening movement a
masterpiece of Bach's
dramatic writing. Score
available separately -
see item CA.3116800.
Cantata
for the 9th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Ulrich Bartels.
2x 31.168/21 oboe d'amore
1 + 2. Stuttgart Urtext
Edition: Bach vocal. Tue
Rechnung, Donnerwort.
Sacred vocal music,
Cantatas, Trinity. Set of
Orchestra Parts. Composed
1725. BWV 168. Duration
17 minutes. Carus Verlag
#CV 31.168/09. Published
by Carus Verlag
(CA.3116809).
ISBN
9790007209254. Language:
German/English. Text:
Franck, Salomo.
The
text of Bach's cantata
Tue Rechnung! Donnerwort
was published in 1715,
that is during Bach's
Weimar period, in the
Evangelisches
Andachts-Opffer by
Salomon Frank. This
concisely-written but
powerful work was,
however, only composed
ten years later in
Leipzig, and was heard
for the first time on 29
July 1725, the 9th Sunday
after Trinity. Its main
dramatic-musical emphasis
lies clearly in the first
movement, a dark, almost
operatic movement for
baritone and string
orchestra in B minor. By
contrast, the ensuing
aria for tenor with
obbligato oboe
accompaniment is
distinctly more intimate,
and the duet between
soprano and alto - just
accompanied by continuo -
is more restrained in its
musical language and
expression than the first
movement. In between
there are two extended
recitatives, the first of
which leads into an
arioso. The breadth of
expression within the
cantata is striking, its
opening movement a
masterpiece of Bach's
dramatic writing. Score
and parts available
separately - see item
CA.3116800.
Cantata
for the 9th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Ulrich Bartels.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Tue Rechnung,
Donnerwort. Sacred vocal
music, Cantatas, Trinity.
Choral Score. Composed
1725. BWV 168. 2 pages.
Duration 17 minutes.
Carus Verlag #CV
31.168/05. Published by
Carus Verlag
(CA.3116805).
ISBN
9790007166731. Text
language: German/English.
Text: Franck,
Salomo.
The text of
Bach's cantata Tue
Rechnung! Donnerwort was
published in 1715, that
is during Bach's Weimar
period, in the
Evangelisches
Andachts-Opffer by
Salomon Frank. This
concisely-written but
powerful work was,
however, only composed
ten years later in
Leipzig, and was heard
for the first time on 29
July 1725, the 9th Sunday
after Trinity. Its main
dramatic-musical emphasis
lies clearly in the first
movement, a dark, almost
operatic movement for
baritone and string
orchestra in B minor. By
contrast, the ensuing
aria for tenor with
obbligato oboe
accompaniment is
distinctly more intimate,
and the duet between
soprano and alto - just
accompanied by continuo -
is more restrained in its
musical language and
expression than the first
movement. In between
there are two extended
recitatives, the first of
which leads into an
arioso. The breadth of
expression within the
cantata is striking, its
opening movement a
masterpiece of Bach's
dramatic writing. Score
available separately -
see item CA.3116800.
Cantata for the 9th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Trinity.
Study score. Composed
1725. BWV 168. 28 pages.
Duration 17 minutes.
Carus Verlag #CV
31.168/07. Published by
Carus Verlag
(CA.3116807).
ISBN
9790007242220. Language:
German/English. Text:
Franck, Salomo.
The
text of Bach's cantata
Tue Rechnung! Donnerwort
was published in 1715,
that is during Bach's
Weimar period, in the
Evangelisches
Andachts-Opffer by
Salomon Frank. This
concisely-written but
powerful work was,
however, only composed
ten years later in
Leipzig, and was heard
for the first time on 29
July 1725, the 9th Sunday
after Trinity. Its main
dramatic-musical emphasis
lies clearly in the first
movement, a dark, almost
operatic movement for
baritone and string
orchestra in B minor. By
contrast, the ensuing
aria for tenor with
obbligato oboe
accompaniment is
distinctly more intimate,
and the duet between
soprano and alto - just
accompanied by continuo -
is more restrained in its
musical language and
expression than the first
movement. In between
there are two extended
recitatives, the first of
which leads into an
arioso. The breadth of
expression within the
cantata is striking, its
opening movement a
masterpiece of Bach's
dramatic writing. Score
available separately -
see item CA.3116800.
Cantata
for the 9th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Ulrich Bartels.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Tue Rechnung,
Donnerwort. Sacred vocal
music, Cantatas, Trinity.
Set of Orchestra Parts.
Composed 1725. BWV 168.
Duration 17 minutes.
Carus Verlag #CV
31.168/19. Published by
Carus Verlag
(CA.3116819).
ISBN
9790007166786. Language:
German/English. Text:
Franck, Salomo. Text by
Salomo Franck.
The
text of Bach's cantata
Tue Rechnung! Donnerwort
was published in 1715,
that is during Bach's
Weimar period, in the
Evangelisches
Andachts-Opffer by
Salomon Frank. This
concisely-written but
powerful work was,
however, only composed
ten years later in
Leipzig, and was heard
for the first time on 29
July 1725, the 9th Sunday
after Trinity. Its main
dramatic-musical emphasis
lies clearly in the first
movement, a dark, almost
operatic movement for
baritone and string
orchestra in B minor. By
contrast, the ensuing
aria for tenor with
obbligato oboe
accompaniment is
distinctly more intimate,
and the duet between
soprano and alto - just
accompanied by continuo -
is more restrained in its
musical language and
expression than the first
movement. In between
there are two extended
recitatives, the first of
which leads into an
arioso. The breadth of
expression within the
cantata is striking, its
opening movement a
masterpiece of Bach's
dramatic writing. Score
and parts available
separately - see item
CA.3116800.
(Soli,Ch,Orch) SKU: BA.BA05938-01 Composed by Johann Sebastian Bach. Edit...(+)
(Soli,Ch,Orch)
SKU:
BA.BA05938-01
Composed by Johann
Sebastian Bach. Edited by
Manuel Bärwald. This
edition: Edition of
selected works, Urtext
edition. Linen. Johann
Sebastian Bach. Neue
Ausgabe samtlicher Werke.
Revidierte Edition
(NBArev) 6. Edition of
selected works, Score.
Composed 1725. BWV 245.
Baerenreiter Verlag
#BA05938_01. Published by
Baerenreiter Verlag
(BA.BA05938-01).
ISBN
9790006556335. 33 x 26.2
cm inches. Language:
German. Preface: Barwald,
Manuel.
The St.
John Passion, Bach's
first passion oratorio,
can hardly be understood
asonework. Between 1724
and 1750 the work was
performed at least four
times in various Leipzig
churches under the
composer's direction and
for every one of these
occasions it was revised
- sometimes quite
substantially.
Thi
s edition presents the
St. John Passion in its
second version of 1725,
of which only excerpts
were rendered in the New
Bach Edition volume II/4
(1973). This version as
well as the last one of
1749 constitute the two
versions that have come
down to us almost in
their
entirety.
Most
recently found sources -
in particular the
libretto print of the
passion rediscovered in
2015 - are taken into
consideration in this
edition 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
Benvenuto
Cellini, premiered in
1838, is inspired by the
life of the legendary
Florentine goldsmith and
Renaissance figure. The
premiere was a disatster
yet even by Berliozâ??s
high standards it
contains music of
exceptional inventiveness
and beauty.
The
work is challenging not
least due to the three
versions which
exist:
I The
original version (Paris
1) as Berlioz composed
it II The version
premiered in Paris (Paris
2) after rehearsal and
copied into an archival
full score III The
Weimar version based on
the revival in 1852
following changes
suggested by
Liszt
Our edition
offers a solution to the
problem of publishing
operas which have been
heavily revised by their
composers, so that any of
its many versions may be
adopted on stage
today.
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
Erganzt von Robert D. Levin. By Wolfgang Amadeus Mozart. Arranged by Robert D. L...(+)
Erganzt von Robert D.
Levin. By Wolfgang
Amadeus Mozart. Arranged
by Robert D. Levin. For
Soli SATB, SATB Choir, 2
Bassethorn, 2 Bassoons, 2
Clarinos/Trumpets, 3
Trombones, Timpani, 2
Violins, Viola, Basso
continuo. KV 626.
Requiem; Occasions:
Mourning, Death. Score.
Language: Latin. Composed
1791/1991. 256 pages.
Duration 50 min.
Published by Carus Verlag
(German import).
Erganzt von Robert D. Levin. By Wolfgang Amadeus Mozart. Arranged by Robert D. L...(+)
Erganzt von Robert D.
Levin. By Wolfgang
Amadeus Mozart. Arranged
by Robert D. Levin. For
Soli SATB, SATB Choir, 2
Bassethorn, 2 Bassoons, 2
Clarinos/Trumpets, 3
Trombones, Timpani, 2
Violins, Viola, Basso
continuo. KV 626. Full
score available
separately - see item
CA.5162650. Requiem;
Occasions: Mourning,
Death. Piano/Vocal score.
Language: Latin. Composed
1791/1991. 88 pages.
Duration 50 min.
Published by Carus Verlag
(German import).
Mass in
time of war. Composed
by Franz Joseph Haydn.
CD-Reihen bei Carus:
Carus Choir Coach. Carus
Choir Coach (audio only).
Composed 1796. Hob.
XXII:9. Duration 38
minutes. Carus Verlag
#4060791. Published by
Carus Verlag
(CA.4060791).
Key: C
major. Latin.
One
of his later works,
Haydnâs Missa in
tempore belli, composed
in 1796, is also referred
to as the
âPaukenmesseâ
(Kettledrum Mass) through
the use of timpani in the
Agnus Dei. For the Vienna
premiere, Haydn added
flutes, clarinets and
horns to the score, so
that in terms of sound
the soloists and the
chorus have to hold their
own against a truly large
orchestral apparatus. In
this case, practicing
with the Carus Choir
Coach is of course
recommended for a good
vocal
presence.
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: Ann Hoyt (soprano),
Kirsten Sollek (alto),
Daniel Neer (tenore),
Richard Lippold (basso)
â Trinity Church
Choir, Rebel Baroque
Orchestra â J. Owen
Burdick. Score available
separately - see item
CA.4060700.
Requiem (Arman-Fassung) Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Carus Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165219
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Set of
Orchestra Parts. KV 626.
Duration 50 minutes.
Carus Verlag #5165219.
Published by Carus Verlag
(CA.5165219).
ISBN
9790007313883. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâs Requiem.
âAnother one?â
you might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional SüÃmayr
version. Yet such is the
enormous power of
Mozartâs score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard
Armanâs additions to
Mozartâs 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
Mozartâs 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
instrumentâs unique
sound is given an
opportunity to shine.
Armanâs 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.
Mozartâs fragment
ends with the Hostias,
and so does Armanâs
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 SüÃmayr,
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
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.