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 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?)
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 Camille Saint-Saens.
Edited by Dieter Zeh.
Arranged by Sven Hiemke.
Violin 2. Sacred vocal
music, Masses, Latin,
Whole church year / Omni
tempore. Single Part,
Violin 2. Composed 1856.
Op. 4. 12 pages. Duration
45 minutes. Carus Verlag
#CV 27.060/12. Published
by Carus Verlag
(CA.2706012).
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 Camille Saint-Saens.
Edited by Dieter Zeh.
Arranged by Sven Hiemke.
Violin 1. Sacred vocal
music, Masses, Latin,
Whole church year / Omni
tempore. Single Part,
Violin 1. Composed 1856.
Op. 4. 12 pages. Duration
45 minutes. Carus Verlag
#CV 27.060/11. Published
by Carus Verlag
(CA.2706011).
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 Camille Saint-Saens.
Edited by Dieter Zeh.
Arranged by Sven Hiemke.
Viola. Sacred vocal
music, Masses, Latin,
Whole church year / Omni
tempore. Single Part,
Viola. Composed 1856. Op.
4. 12 pages. Duration 45
minutes. Carus Verlag #CV
27.060/13. Published by
Carus Verlag
(CA.2706013).
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.
Requiem Soli, choeur mixte et accompagnement [Vocal Score] Oxford University Press
Composed by John Rutter (1945-). This edition: paperback. Mixed Voices. Contempo...(+)
Composed by John Rutter
(1945-). This edition:
paperback. Mixed Voices.
Contemporary. Vocal
score. 64 pages. Duration
40'. Published by Oxford
University Press
(OU.9780193380707).
Cantata
for the 3rd day of
Christmas. Composed
by Johann Sebastian Bach.
Edited by Tobias Rimek.
Arranged by Paul Horn.
This edition: urtext. 1x
31.133/21 oboe d'amore 1,
1x 31.133/22 oboe d'amore
2, 1x 31.133/31 cornett.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Sacred vocal
music, Christmas. Set of
Orchestra Parts. Composed
1724. BWV 133. Duration
20 minutes. Carus Verlag
#CV 31.133/09. Published
by Carus Verlag
(CA.3113309).
ISBN
9790007207977. Language:
German.
The cantata
Ich freue mich in dir was
first performed during
Bach's second year as
Thomaskantor, on the 3rd
day of Christmas, and
belongs to the so-called
annual cycle of chorale
cantatas. Here the focus
of the composition is the
hymn of the same name by
Philipp Ziegler, in which
the first and final
strophes were adopted,
word for word, in the
first and sixth movements
of the cantata. The
soprano, which carries
the chorale, is supported
by the conrnett (Zink),
which already at this
time had become a
seldom-used instrument.
The joyful, lively choral
movement with
instrumental interludes
directly follows the
first aria, and begins
with a marked, ascending
motive at the word
Getrost! (safely). The
oboes d'amore which
accompany the alto lend
the movement a special
color. In the second aria
(for soprano), Bach again
shows himself to be the
master of text
interpretation. The words
Wie lieblich klingt es in
den Ohren are emphasized
in an exchange between
open strings and
sixteenth note figures.
Score and parts available
separately - see item
CA.3113300.
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.
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.
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.
Saul Soli, choeur mixte et accompagnement [Vocal Score] Carus Verlag
Oratorio. Composed by George Frideric Handel (1685-1759). Edited by Felix...(+)
Oratorio. Composed
by George Frideric Handel
(1685-1759). Edited by
Felix Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel.
Oratorios. Vocal score.
Composed 1739. HWV 53.
216 pages. Published by
Carus Verlag
(CA.5505303).
Requiem in C minor Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur d'étude / Miniature] Carus Verlag
Composed by Michael Haydn (1737-1806). Edited by Charles H. Sherman. For SATB vo...(+)
Composed by Michael Haydn
(1737-1806). Edited by
Charles H. Sherman. For
SATB vocal soli, SATB
choir, 2
clarinos/trumpets, 2
trumpets, (3 trombones),
timpani, 2 violins, basso
continuo. This edition:
Paperbound. Sacred music
from Salzburg. German
title: Requiem in c
(Schrattenbach) MH 155.
Requiem, Sacred music
from Salzburg Mourning,
death. Level 3. Study
score. Language: Latin.
Composed 1771. MH 155.
120 pages. Duration 35
minutes. Published by
Carus Verlag
Pauken-Messe.
Composed by Franz Joseph
Haydn. Edited by Wolfgang
Hochstein. This edition:
urtext. Stuttgart Urtext
Edition: Joseph Haydn,
Sacred vocal music.
Haydn: Paukenmesse In C
Xxii:9. Innovative
practice aids, Sacred
vocal music, Masses,
Latin. Choral Score.
Composed 1796. Hob.
XXII:9. 24 pages.
Duration 40 minutes.
Carus Verlag #CV
40.607/05. Published by
Carus Verlag
(CA.4060705).
ISBN
9790007073169. Key: C
major. Language:
Latin.
The Missa in
tempore belli by Joseph
Haydn is an interesting
work in several respecst.
Firstly this setting of
the Mass provides
pointers to the situation
of Austrian church music
as it had been affected
by imperial decrees.
Secondly the political
situation, with the
imminent invasion of
Austria by Napoleon's
troops, had reached a
crisis point which is
reflected in the
description of this
composition as a Mass in
time of war. Last but not
least, this work is the
first of the group of six
settings of the Latin
Mass which, together with
the oratorios The
Creation and The Seasons,
form the body of Haydn's
last period vocal works,
and which unquestionably
belong among his supreme
creative achievements.
This work is now
available in carus music,
the choir app! Score
available separately -
see item CA.4060700.
Pauken-Messe.
Composed by Franz Joseph
Haydn. Edited by Wolfgang
Hochstein. This edition:
urtext. Stuttgart Urtext
Edition: Joseph Haydn,
Sacred vocal music.
Haydn: Paukenmesse In C
Xxii:9. Innovative
practice aids, Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. Composed 1796.
Hob. XXII:9. Duration 40
minutes. Carus Verlag #CV
40.607/19. Published by
Carus Verlag
(CA.4060719).
ISBN
9790007133245. Key: C
major. Language:
Latin.
The Missa in
tempore belli by Joseph
Haydn is an interesting
work in several respecst.
Firstly this setting of
the Mass provides
pointers to the situation
of Austrian church music
as it had been affected
by imperial decrees.
Secondly the political
situation, with the
imminent invasion of
Austria by Napoleon's
troops, had reached a
crisis point which is
reflected in the
description of this
composition as a Mass in
time of war. Last but not
least, this work is the
first of the group of six
settings of the Latin
Mass which, together with
the oratorios The
Creation and The Seasons,
form the body of Haydn's
last period vocal works,
and which unquestionably
belong among his supreme
creative achievements.
This work is now
available in carus music,
the choir app! Score and
parts available
separately - see item
CA.4060700.
Pauken-Messe.
Composed by Franz Joseph
Haydn. Edited by Wolfgang
Hochstein. This edition:
urtext. Stuttgart Urtext
Edition: Joseph Haydn,
Sacred vocal music.
Haydn: Paukenmesse In C
Xxii:9. Innovative
practice aids, Sacred
vocal music, Masses,
Latin. Single Part,
Organ. Composed 1796.
Hob. XXII:9. 32 pages.
Duration 40 minutes.
Carus Verlag #CV
40.607/49. Published by
Carus Verlag
(CA.4060749).
ISBN
9790007073220. Key: C
major. Language:
Latin.
The Missa in
tempore belli by Joseph
Haydn is an interesting
work in several respecst.
Firstly this setting of
the Mass provides
pointers to the situation
of Austrian church music
as it had been affected
by imperial decrees.
Secondly the political
situation, with the
imminent invasion of
Austria by Napoleon's
troops, had reached a
crisis point which is
reflected in the
description of this
composition as a Mass in
time of war. Last but not
least, this work is the
first of the group of six
settings of the Latin
Mass which, together with
the oratorios The
Creation and The Seasons,
form the body of Haydn's
last period vocal works,
and which unquestionably
belong among his supreme
creative achievements.
This work is now
available in carus music,
the choir app! Score and
part available separately
- see item
CA.4060700.
Pauken-Messe.
Composed by Franz Joseph
Haydn. Edited by Wolfgang
Hochstein. This edition:
urtext. 1x 40.607/21
flute, 1x 40.607/22 oboe
1, 1x 40.607/23 oboe 2,
1x 40.607/24 clarinet 1,
1x 40.607/25 clarinet 2,
1x 40.607/26 bassoon 1,
1x 40.607/27 bassoon 2,
1x 40.607/31 horn 1, 1x
40.607/32 horn 2, 1x
40.607/33 clarino 1, 1x
40.607/34 clarino 2, 1x
40. Stuttgart Urtext
Edition: Joseph Haydn,
Sacred vocal music.
Haydn: Paukenmesse In C
Xxii:9. Innovative
practice aids, Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. Composed 1796.
Hob. XXII:9. 98 pages.
Duration 40 minutes.
Carus Verlag #CV
40.607/09. Published by
Carus Verlag
(CA.4060709).
ISBN
9790007073176. Key: C
major. Language:
Latin.
The Missa in
tempore belli by Joseph
Haydn is an interesting
work in several respecst.
Firstly this setting of
the Mass provides
pointers to the situation
of Austrian church music
as it had been affected
by imperial decrees.
Secondly the political
situation, with the
imminent invasion of
Austria by Napoleon's
troops, had reached a
crisis point which is
reflected in the
description of this
composition as a Mass in
time of war. Last but not
least, this work is the
first of the group of six
settings of the Latin
Mass which, together with
the oratorios The
Creation and The Seasons,
form the body of Haydn's
last period vocal works,
and which unquestionably
belong among his supreme
creative achievements.
This work is now
available in carus music,
the choir app! Score and
parts available
separately - see item
CA.4060700.
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. Composed by Francesco Cavalli (1602- 1676). Edited by Hend...(+)
Dramma per musica.
Composed
by Francesco Cavalli
(1602-
1676). Edited by Hendrik,
Sara Elisa / Schulze, and
Stangalino. This edition:
Edition of selected
works,
Urtext edition. Cloth
bound.
Francesco Cavalli. Opere.
Venice 1655. Edition of
Selected Works , Score.
Baerenreiter Verlag
#BA08915-
01. Published by
Baerenreiter
Verlag
Comedie (Laxenburg 1765). Composed by Christoph Willibald von Gluck (1714- 178...(+)
Comedie (Laxenburg 1765).
Composed by Christoph
Willibald von Gluck
(1714-
1787). Edited by Yuliya
Shein. This edition:
complete
edition, urtext edition.
Cloth bound. Christoph
Willibald Gluck.
Samtliche
Werke IV/4. Complete
Edition,
Score. Baerenreiter
Verlag
#BA05823-01. Published by
Baerenreiter Verlag
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Whitsun.
Single Part, basso
continuo. Composed 1725.
BWV 164. 12 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/14. Published by
Carus Verlag
(CA.3116414).
ISBN
9790007209056. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Whitsun. Single
Part, Violin 2. Composed
1725. BWV 164. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/12. Published by
Carus Verlag
(CA.3116412).
ISBN
9790007209032. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Whitsun. Single Part,
Viola. Composed 1725. BWV
164. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.164/13. Published by
Carus Verlag
(CA.3116413).
ISBN
9790007209049. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Whitsun. Single
Part, Violin 1. Composed
1725. BWV 164. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/11. Published by
Carus Verlag
(CA.3116411).
ISBN
9790007209025. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Arrangement for soli,
choir and 1-2 organs.
Composed by Camille
Saint-Saens. Edited by
Leon Roques. Arranged by
Leon Roques. Carus sheet
music series: Great
choral works in small
scorings. Arrangement for
choir and 1-2 organs.
Sacred vocal music,
Masses, Latin. Full
score. Composed 1856. Op.
4. 72 pages. Duration 45
minutes. Carus Verlag #CV
27.060/45. Published by
Carus Verlag
(CA.2706045).
ISBN
9790007241018. Language:
Latin.
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. As an alternative
to the original version
with large orchestra and
Grand Orgue, Carus-Verlag
is now publishing the
version for organ made by
Saint-Saens's
contemporary Leon Roques.
It contains the original
part for grand orgue as
well as an organ
arrangement of the
orchestral writing in
score notation, but also
provides for the
possibility of a
performance with just one
instrument. The vocal
parts (for soloists and
choir) are identical with
the edition of the
original version, so that
the vocal score and
chorus score of that
version can be used.
Score available
separately - see item
CA.2706000.
Cantata
for the 4th Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Bereitet die Wege,
bereitet die Bahn. Sacred
vocal music, Cantatas,
Advent. Choral Score.
Composed 1715. BWV 132. 2
pages. Duration 22
minutes. Carus Verlag #CV
31.132/05. Published by
Carus Verlag
(CA.3113205).
ISBN
9790007103163. Language:
German/English.
Bac
h's cantata BWV 132 was
written for the 4th
Sunday in Advent, and the
autograph score is dated
1715. It was composed
while Bach was at Weimar,
to a libretto by the
Weimar Court Preacher
Salomon Franck. Its
subject matter is the
testimony of John the
Baptist addressed to the
Christian community and
to individual believers.
Since the original
concluding chorale, the
fifth verse of the hymn
Herr Christ der einig
Gotts Sohn (Elisabeth
Cruziger), has been lost,
here the cantata ends
with the last movement
(transposed from B flat
to A major), to the same
words, of the cantata BWV
164. Score available
separately - see item
CA.3113200.