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.
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.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Separate
instruments. Sacred vocal
music, Cantatas, Trinity.
Set of Orchestra Parts.
Composed 1723. BWV 138.
Duration 20 minutes.
Carus Verlag #CV
31.138/19. Published by
Carus Verlag
(CA.3113819).
ISBN
9790007208219. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score and parts
available separately -
see item CA.3113800.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Trinity.
Full score. Composed
1723. BWV 138. 44 pages.
Duration 20 minutes.
Carus Verlag #CV
31.138/00. Published by
Carus Verlag
(CA.3113800).
ISBN
9790007183332. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. 1x
31.138/21 oboe d'amore 1,
1x 31.138/22 oboe d'amore
2. Stuttgart Urtext
Edition: Bach vocal.
Harmony parts. Sacred
vocal music, Cantatas,
Trinity. Set of Orchestra
Parts. Composed 1723. BWV
138. Duration 20 minutes.
Carus Verlag #CV
31.138/09. Published by
Carus Verlag
(CA.3113809).
ISBN
9790007208165. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score and parts
available separately -
see item CA.3113800.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Violin 2. Composed
1723. BWV 138. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.138/12. Published by
Carus Verlag
(CA.3113812).
ISBN
9790007208189. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score and part
available separately -
see item CA.3113800.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Trinity. Single Part,
Viola. Composed 1723. BWV
138. 8 pages. Duration 20
minutes. Carus Verlag #CV
31.138/13. Published by
Carus Verlag
(CA.3113813).
ISBN
9790007208196. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score and part
available separately -
see item CA.3113800.
Cantata for the 15th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Trinity.
Study score. Composed
1723. BWV 138. 44 pages.
Duration 20 minutes.
Carus Verlag #CV
31.138/07. Published by
Carus Verlag
(CA.3113807).
ISBN
9790007242282. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score available
separately - see item
CA.3113800.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Trinity.
Choral Score. Composed
1723. BWV 138. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.138/05. Published by
Carus Verlag
(CA.3113805).
ISBN
9790007183356. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score available
separately - see item
CA.3113800.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Violin 1. Composed
1723. BWV 138. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.138/11. Published by
Carus Verlag
(CA.3113811).
ISBN
9790007208172. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score and part
available separately -
see item CA.3113800.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Cantatas,
Trinity. Single Part,
Organ. Composed 1723. BWV
138. 16 pages. Duration
20 minutes. Carus Verlag
#CV 31.138/49. Published
by Carus Verlag
(CA.3113849).
ISBN
9790007208226. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score and part
available separately -
see item CA.3113800.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Trinity.
Vocal score. Composed
1723. BWV 138. 36 pages.
Duration 20 minutes.
Carus Verlag #CV
31.138/03. Published by
Carus Verlag
(CA.3113803).
ISBN
9790007183349. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score available
separately - see item
CA.3113800.
Cantata
for the 15th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Trinity.
Single Part, basso
continuo. Composed 1723.
BWV 138. 12 pages.
Duration 20 minutes.
Carus Verlag #CV
31.138/14. Published by
Carus Verlag
(CA.3113814).
ISBN
9790007208202. Language:
German/English.
Alt
hough Warum betrubst du
dich, mein Herz (What is
it troubles thee, my
heart) BWV 138 is based
on the chorale of the
same name, it is
nevertheless not regarded
as one of Bach's chorale
cantatas. In this unusual
composition from Bach's
first cycle of cantatas,
further chorale verses
were not paraphrased in
the freely-composed
sections (as in the
chorale cantatas).
Instead the chorale
occurs in dialog with the
recitatives. It assumes
the role of the
comforter, whilst doubts
are expressed through the
recitatives. This leads
to recitative and chorale
being merged into larger
movements. In the only
aria in the cantata,
trust in God finally
prevails. The cantata
ends with a final chorale
verse; in the interludes
between the lines, Bach
ignites a roaring
virtuoso firework
display. Score and part
available separately -
see item CA.3113800.
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.
Easter Monday.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Reinhold Kubik. German
title: Bleib bei uns,
denn. Sacred vocal music,
Cantatas, Easter and
Eastertide, Morning,
midday, evening. Single
Part, Viola Solo + Viola.
Composed 1725. BWV 6. 8
pages. Duration 26
minutes. Carus Verlag #CV
31.006/13. Published by
Carus Verlag
(CA.3100613).
ISBN
9790007041755. Key: C
minor / g minor.
Language:
German/English.
Bac
h composed the cantata
Stay with us, for it
draws on toward evening
BWV 6 for Easter Monday
1725. In fact, it is
certain that a chorale
cantata had been planned
for that feast day, but
for some unknown reason,
the annual cycle of
chorale cantatas broke
off just before Easter
1725. For BWV 6, Bach
fell back on a text by an
author whose texts he had
already set numerous
times in his first
Leipzig annual cycle of
cantatas (which are
conspicuous by their ever
constant structure and
use of two chorale
settings). From the
gospel for Easter Monday,
the story of the Emmaus
disciples, only the
disappearing daylight and
the fear of being left
alone are made the
subject of discussion. A
truly magnificent choral
movement opens the
cantata. The first
chorale for soprano and
violoncello piccolo,
which Bach later included
in his Schubler-Chorale,
is also well-known
outside of the cantata.
Score and part available
separately - see item
CA.3100600.
Easter Monday.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Reinhold Kubik. German
title: Bleib bei uns,
denn. Sacred vocal music,
Cantatas, Easter and
Eastertide, Morning,
midday, evening. Single
Part, Cello Solo +.
Composed 1725. BWV 6. 12
pages. Duration 26
minutes. Carus Verlag #CV
31.006/14. Published by
Carus Verlag
(CA.3100614).
ISBN
9790007041762. Key: C
minor / g minor.
Language:
German/English.
Bac
h composed the cantata
Stay with us, for it
draws on toward evening
BWV 6 for Easter Monday
1725. In fact, it is
certain that a chorale
cantata had been planned
for that feast day, but
for some unknown reason,
the annual cycle of
chorale cantatas broke
off just before Easter
1725. For BWV 6, Bach
fell back on a text by an
author whose texts he had
already set numerous
times in his first
Leipzig annual cycle of
cantatas (which are
conspicuous by their ever
constant structure and
use of two chorale
settings). From the
gospel for Easter Monday,
the story of the Emmaus
disciples, only the
disappearing daylight and
the fear of being left
alone are made the
subject of discussion. A
truly magnificent choral
movement opens the
cantata. The first
chorale for soprano and
violoncello piccolo,
which Bach later included
in his Schubler-Chorale,
is also well-known
outside of the cantata.
Score and part available
separately - see item
CA.3100600.
Easter Monday.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Reinhold Kubik. 1x
31.006/21 oboe 1, 1x
31.006/22 oboe 2, 1x
31.006/23 oboe da caccia.
German title: Bleib bei
uns, denn es will Abend
werden 3. Sacred vocal
music, Cantatas, Easter
and Eastertide, Morning,
midday, evening. Set of
Orchestra Parts. Composed
1725. BWV 6. 14 pages.
Duration 26 minutes.
Carus Verlag #CV
31.006/09. Published by
Carus Verlag
(CA.3100609).
ISBN
9790007041724. Key: C
minor / g minor.
Language:
German/English.
Bac
h composed the cantata
Stay with us, for it
draws on toward evening
BWV 6 for Easter Monday
1725. In fact, it is
certain that a chorale
cantata had been planned
for that feast day, but
for some unknown reason,
the annual cycle of
chorale cantatas broke
off just before Easter
1725. For BWV 6, Bach
fell back on a text by an
author whose texts he had
already set numerous
times in his first
Leipzig annual cycle of
cantatas (which are
conspicuous by their ever
constant structure and
use of two chorale
settings). From the
gospel for Easter Monday,
the story of the Emmaus
disciples, only the
disappearing daylight and
the fear of being left
alone are made the
subject of discussion. A
truly magnificent choral
movement opens the
cantata. The first
chorale for soprano and
violoncello piccolo,
which Bach later included
in his Schubler-Chorale,
is also well-known
outside of the cantata.
Score and parts available
separately - see item
CA.3100600.
Easter Monday.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Reinhold Kubik. German
title: Bleib bei uns,
denn. Sacred vocal music,
Cantatas, Easter and
Eastertide, Morning,
midday, evening. Single
Part, Violin 1. Composed
1725. BWV 6. 8 pages.
Duration 26 minutes.
Carus Verlag #CV
31.006/11. Published by
Carus Verlag
(CA.3100611).
ISBN
9790007041731. Key: C
minor / g minor.
Language:
German/English.
Bac
h composed the cantata
Stay with us, for it
draws on toward evening
BWV 6 for Easter Monday
1725. In fact, it is
certain that a chorale
cantata had been planned
for that feast day, but
for some unknown reason,
the annual cycle of
chorale cantatas broke
off just before Easter
1725. For BWV 6, Bach
fell back on a text by an
author whose texts he had
already set numerous
times in his first
Leipzig annual cycle of
cantatas (which are
conspicuous by their ever
constant structure and
use of two chorale
settings). From the
gospel for Easter Monday,
the story of the Emmaus
disciples, only the
disappearing daylight and
the fear of being left
alone are made the
subject of discussion. A
truly magnificent choral
movement opens the
cantata. The first
chorale for soprano and
violoncello piccolo,
which Bach later included
in his Schubler-Chorale,
is also well-known
outside of the cantata.
Score and part available
separately - see item
CA.3100600.
Easter Monday.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Reinhold Kubik. German
title: Bleib bei uns,
denn. Sacred vocal music,
Cantatas, Easter and
Eastertide, Morning,
midday, evening. Single
Part, Violin 2. Composed
1725. BWV 6. 4 pages.
Duration 26 minutes.
Carus Verlag #CV
31.006/12. Published by
Carus Verlag
(CA.3100612).
ISBN
9790007041748. Key: C
minor / g minor.
Language:
German/English.
Bac
h composed the cantata
Stay with us, for it
draws on toward evening
BWV 6 for Easter Monday
1725. In fact, it is
certain that a chorale
cantata had been planned
for that feast day, but
for some unknown reason,
the annual cycle of
chorale cantatas broke
off just before Easter
1725. For BWV 6, Bach
fell back on a text by an
author whose texts he had
already set numerous
times in his first
Leipzig annual cycle of
cantatas (which are
conspicuous by their ever
constant structure and
use of two chorale
settings). From the
gospel for Easter Monday,
the story of the Emmaus
disciples, only the
disappearing daylight and
the fear of being left
alone are made the
subject of discussion. A
truly magnificent choral
movement opens the
cantata. The first
chorale for soprano and
violoncello piccolo,
which Bach later included
in his Schubler-Chorale,
is also well-known
outside of the cantata.
Score and part available
separately - see item
CA.3100600.
Requiem Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Vocal Score] Carus Verlag
Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Tim...(+)
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 Sü�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.
Composed by Howard Goodall (1958-). Multi-Movement/Large Choral Work. Holy Wee...(+)
Composed by Howard
Goodall
(1958-).
Multi-Movement/Large
Choral Work. Holy Week,
Lent,
Triduum/Three Days,
Tenebrae,
21st Century.
Vocal/choral
score. Published by
MorningStar Music
Publishers
(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.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
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.
(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.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
Mozartââ¬â¢s
Requiem.
ââ¬ÅAnother
one?ââ¬Â 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
Mozartââ¬â¢s
score that the challenge
and appeal of completing
it remain undiminished.
After two decades of
intensive study, Howard
Armanââ¬â¢s
additions to
Mozartââ¬â¢s
great original show the
requisite care and
respect while
incorporating many new
insights.
ArmanÃ
â¬â¢s approach
is particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartââ¬â¢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
instrumentââ¬â
s unique sound is given
an opportunity to shine.
Armanââ¬â¢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 ââ¬â
in the spirit of Mozart
ââ¬â on
creating a sense of drama
and illuminating the
theme in all its possible
facets.
Mozartââ¬â¢s
fragment ends with the
Hostias, and so does
Armanââ¬â¢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.
Armanââ
¬â¢s version has
already proven its
practical value. The
premiere with the
Bavarian Radio Choir was
enthusiastically received
by audiences and press
alike ââ¬â
and celebrated as
offering a scholarly,
entirely fresh
perspective on
Mozartââ¬â¢s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Compassion from Invictus: A Passion Soli, choeur mixte et accompagnement [Conducteur et Parties séparées] - Facile MorningStar Music Publishers
Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in ...(+)
Soprano voice solo, SATB
choir, and piano (E-flat
Soprano saxophone, 2
Horns in F, Piano, Organ
(or digital keyboard),
Double String Quartet,
Double Bass) - Early
Intermediate
SKU:
MN.56-0108
Composed
by Howard Goodall. Lent,
Holy Week, Triduum/Three
Days, Tenebrae, 21st
Century. Score &
instrument parts.
Duration 6 minutes, 19
seconds. MorningStar
Music Publishers
#56-0108. Published by
MorningStar Music
Publishers (MN.56-0108).
Urtext der Neuen Mozart-Ausgabe. By Johann Sebastian Bach. Edited by Leisinger, ...(+)
Urtext der Neuen
Mozart-Ausgabe. By Johann
Sebastian Bach. Edited by
Leisinger, Ulrich;
Wollny, Peter. For Soli,
Mixed Choir, Orchestra.
Neue Bach-Ausgabe. Serie
I, Band 6. Score; Urtext
Edition; Complete Edition
(cloth bound). Published
by Baerenreiter-Ausgaben
(German import). (BA5087
01)