By Jonathan Dove. Contemporary Large Ensemble/Orchestra. For SATB Vocal Soli, SATB Chorus, Horn, 2 Trumpet, Trombone, Tuba, Organ. Modern, Choral. Sheet Music. Composed 2003. Duration 20 minutes. Published by Edition Peters

(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 Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Armanâ� �™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, 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.

Arman’ s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165203

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Vocal score. KV 626. Duration 50 minutes. Carus Verlag #5165203. Published by Carus Verlag (CA.5165203).

ISBN 9790007294243. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.

Armanâ? ?s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Sü�mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

(nach Worten der Heiligen Schrift). Composed by Johannes Brahms (1833-1897). For SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ]. German title: Ein deutsches Requiem. Requiem, End of the church year, Mourning, death. Complete orchestral parts. Language: German. Op. 45. Duration 70 minutes. Published by Carus Verlag

(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165205

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Choral Score. KV 626. Duration 50 minutes. Carus Verlag #5165205. Published by Carus Verlag (CA.5165205).

ISBN 9790007314286. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Armanâ� �™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, 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.

Arman’ s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165209

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 #5165209. Published by Carus Verlag (CA.5165209).

ISBN 9790007313838. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

ArmanÃ� �€™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ€â„� �s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, 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⠂¬â„¢s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

(nach Worten der Heiligen Schrift). Composed by Johannes Brahms (1833-1897). For SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ]. This edition: Paperbound. German title: Ein deutsches Requiem. Requiem, End of the church year, Mourning, death. Study score. Language: German. Op. 45. 256 pages. Duration 70 minutes. Published by Carus Verlag

(nach Worten der Heiligen Schrift). By Johannes Brahms (1833-1897). Arranged by Johannes Brahms. For Soli SB, SATB Choir, Piccolo, 2 Flute, 2 Oboe, 2 Clarinet, 2 Bassoon, 4 Horn, 2 Trumpet, 3 Trombone, Tuba, 3 Timpani, Harp, 2 Violin, Viola, Cello, Contrabass, [Organ]. This edition: paperbound. Full score available separately - see item CA.2705500. Requiem; Occasions: Mourning, Death; Use during church year: End of the church year. Piano/Vocal score. Language: German. 45. 96 pages. Duration 70 min

(nach Worten der Heiligen Schrift). By Johannes Brahms (1833-1897). Arranged by Johannes Brahms. For Soli SB, SATB Choir, Piccolo, 2 Flute, 2 Oboe, 2 Clarinet, 2 Bassoon, 4 Horn, 2 Trumpet, 3 Trombone, Tuba, 3 Timpani, Harp, 2 Violin, Viola, Cello, Contrabass, [Organ]. This edition: paperbound. Requiem; Occasions: Mourning, Death; Use during church year: End of the church year. Score. Language: German. 45. 256 pages. Duration 70 min

By David Clydesdale. Arranged by David Clydesdale. For SATB choir with vocal solo (flute 1and2, oboe, clarinet 1and2, bassoon, F horn 1/2and3, trumpet 1/2and3, trombone 1and2, trombone 3/tuba, percussion 1and2/3and4, rhythm, harp, violin 1and2, viola, cello, string bass)

By Charles Francois Gounod (1818-1893). Edited by Barbara Grolmann. For SATB vocal soloists, SATB choir, 2 flutes, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, harp, percussion, 2 violins, viola, cello, contrabass, organ. This edition: Paperbound. C-Dur (C major). Stuttgart Urtext editions. Requiem, End of the church year, Mourning, death. Vocal score. Language: Latin. Op. Posth.. 44 pages. Duration 35 min. Published by Carus Verlag

Composed by Anton Bruckner (1824-1896). For SATB vocal soli, SATB choir, 2 flutes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 2 violins, viola, cello, double bass, organ. Stuttgart Urtext Edition. Sacred vocal music; occasions: Praise and thanks. Vocal score. Text language: Latin. Duration 25 minutes. Carus Verlag #CV 27.190/03. Published by Carus Verlag

(2.2.2.2/4.2.3.0,timp,per c,str,tuba solo)

SKU: TM.09574SC

Composed by Jean Sibelius. Score. Lucks Music Library #A5504. Published by Lucks Music Library (TM.09574SC).

Solo = Orchestra cadenza (2nd movement) by Platen.

(2.2.2.2/4.2.3.0,timp,per c,str,tuba solo)

SKU: TM.09574SET

Composed by Jean Sibelius. Set Type: D. Set of parts. Lucks Music Library #A5504. Published by Lucks Music Library (TM.09574SET).

Solo = Orchestra cadenza (2nd movement) by Platen.

By Bob Chilcott. For Chorus, chamber choir, children's choir or large divisi chorus and orchestra and organ/brass ensemble and organ (Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, 2 percussion, organ (optional), strings, Brass: 4 trumpets, 2 horns (in F or Eb), 2 trombones (bass clef in C or treble clef in Bb), bass trombones, t). Mixed Voices. Contemporary, Choral Works. Vocal score. 104 pages. Duration 50'. Published by Oxford University Press

By Arnold Schonberg. Arranged by Christian Martin Schmidt. (Study Score). Schott. Hardcover. Size 7.5x10.75 inches. 510 pages. Published by Eulenburg.

Orchestra SATB vocal soli, SATB choir, 2 flutes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, Tuba, timpani, 2 violins, viola, cello, contrabass, organ

SKU: CA.2719014

Composed by Anton Bruckner. Edited by Ernst Herttrich. This edition: urtext. Stuttgart Urtext Edition: Urtext Editions; Carus sheet music series: Vocal scores XL. Violoncello. Innovative practice aids, Sacred vocal music, Praise and thanks. Single Part, Cello. WAB 45. 12 pages. Duration 25 minutes. Carus Verlag #CV 27.190/14. Published by Carus Verlag (CA.2719014).

ISBN 9790007200770. Text language: Latin.

Anton Bruckner's Te Deum - a high point in the composer's output and one of the most important works of the sacred choral repertoire in the 19th century - is now available in a modern, scholarly edition. The Carus edition draws on both the two sources regarded as important, the autograph score and the first printed edition, with careful consideration given to variant readings. And so a music text has been prepared which reflects the composer's intentions as closely as possible. Great emphasis has been placed on a clear-to-read layout of the full score pages, as well as excellent legibility for the parts, which are available on sale. With current performance practice in mind, the clarinet parts are notated in B flat instead of A, corresponding with the first printed edition. The vocal score has been newly prepared to reflect current practical requirements. As an economical alternative, a chorus score is available. Bruckner's Te Deum is also available in carus music, the choir app. The app contains the music and a recording, as well as a coach to help with learning each choral part. In preparation: arrangement of the Te Deum for soli, choir, brass quintet and organ. Score and part available separately - see item CA.2719000.

Orchestra SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 3 bassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 2 violins, viola, cello, contrabass, [organ] - Grade 3

SKU: CA.2702000

Composed by Heinrich von Herzogenberg. Edited by Bernd Wiechert. This edition: Paperbound. Awards / Prizes: Deutscher Musikeditionspreis Best Edition. Awards / Prizes: Deutscher Musikeditionspreis Best Edition. German title: Messe In E. Streicher Leihweise 20. Sacred vocal music, Masses, Latin. Full score. Op. 87. Duration 60 minutes. Carus Verlag #CV 27.020/00. Published by Carus Verlag (CA.2702000).

ISBN 9790007088958. Key: E minor. Language: Latin.

The musically convincing and, in many respects, original setting of the liturgical text in Herzogenberg's Mass represents a final culmination in the late romantic repertoire of the genre Missa solemnis. The full score, which is published here for the first time, makes this most inspiring work by Herzogenberg accessible for performance.

SATB divisi with SATB Soli (Orch.) (Latin Language Edition). Composed by Antonin Dvorak (1841-1904). Choral (Sacred); Choral Worship Cantata; Larger Works; Masterworks; Performance Music Ensemble; Worship Resources. Kalmus Edition. Masterwork; Romantic; Sacred. Book. 156 pages. Kalmus Classic Edition #00-K06163. Published by Kalmus Classic Edition

(1.1.2.1/2.0+2.1.(1),timp ,str,(voice))

SKU: TM.02970SET

Composed by Weatherley. Set Type: C. Set of parts. Published by Lucks Music Library (TM.02970SET).

Cl and Cornets in Bb, Hns in F. Tuba on bass part. PC and VS in set.

(2.2.2.2/2.0.3+1.1,str,vn solo)

SKU: TM.06398SET

Composed by Nicolo Paganini. Set Type: D. Set of parts. Published by Lucks Music Library (TM.06398SET).

Trombones and Tuba come in at the end-Rehearsal Letter H (goes to K). Solo in set.

(2.2.2.2/2.0.3+1.1,str,vn solo)

SKU: TM.06398SC

Composed by Nicolo Paganini. Score. Published by Lucks Music Library (TM.06398SC).

Trombones and Tuba come in at the end-Rehearsal Letter H (goes to K). Solo in set.