Stabat Mater (Srnka, Kachlik) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier [Reduction] Barenreiter
Piano reduction by Antonin Dvorak. Composed by Antonin Dvorak (1841-1904). Edite...(+)
Piano reduction by
Antonin Dvorak. Composed
by Antonin Dvorak
(1841-1904). Edited by
Jan Kachlik / Miroslav
Srnka. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Version in 10
movements. Classical.
Vocal score. With
Language: Latin, Text
Language:
Czech/English/German.
Opus 58. Duration 1 hour,
27 minutes. Editio
Baerenreiter Praha
#H07920. Published by
Editio Baerenreiter Praha
A Sacred Cantata for Soli, Chorus and Orchestra. By Francois Clement Theodore Du...(+)
A Sacred Cantata for
Soli, Chorus and
Orchestra. By Francois
Clement Theodore Dubois.
Arranged by Nicholas
Douty. Published by
Theodore Presser Company.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Sacred
vocal music, Masses,
Latin. Choral Score.
Duration 35 minutes.
Carus Verlag #CV
27.053/05. Published by
Carus Verlag
(CA.2705305).
ISBN
9790007113520. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score available
separately - see item
CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Viola 2.
Sacred vocal music,
Masses, Latin. Single
Part, Viola 2. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/14. Published by
Carus Verlag
(CA.2705314).
ISBN
9790007199593. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Composed
by Franz Joseph Haydn.
Edited by Armin Kircher.
Arranged by Luigi Gatti.
Sacred music from
Salzburg. German title:
Schopfungsmesse. Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. Duration 35
minutes. Carus Verlag #CV
27.053/19. Published by
Carus Verlag
(CA.2705319).
ISBN
9790007133887. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and parts
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Organ.
Sacred vocal music,
Masses, Latin. Single
Part, Organ. 24 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/49. Published by
Carus Verlag
(CA.2705349).
ISBN
9790007199616. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. 1x 27.053/21
flute 1, 1x 27.053/22
flute 2, 1x 27.053/31
horn 1, 1x 27.053/32 horn
2, 1x 27.053/33 trumpet
1, 1x 27.053/34 trumpet
2, 1x 27.053/41 timpani.
Sacred music from
Salzburg. Harmony parts.
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. 60
pages. Duration 35
minutes. Carus Verlag #CV
27.053/09. Published by
Carus Verlag
(CA.2705309).
ISBN
9790007199555. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and parts
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Viola.
Sacred vocal music,
Masses, Latin. Single
Part, Viola. 16 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/13. Published by
Carus Verlag
(CA.2705313).
ISBN
9790007199586. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg.
Violoncello/double bass.
Sacred vocal music,
Masses, Latin. Single
Part, Cello/Double Bass.
16 pages. Duration 35
minutes. Carus Verlag #CV
27.053/15. Published by
Carus Verlag
(CA.2705315).
ISBN
9790007199609. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Violin 1.
Sacred vocal music,
Masses, Latin. Single
Part, Violin 1. 20 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/11. Published by
Carus Verlag
(CA.2705311).
ISBN
9790007199562. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Violin 2.
Sacred vocal music,
Masses, Latin. Single
Part, Violin 2. 20 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/12. Published by
Carus Verlag
(CA.2705312).
ISBN
9790007199579. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Actus
tragicus.
Trauermusik. Composed
by Johann Sebastian Bach.
Edited by Peter
Thalheimer. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
German title: Actus
Tragicus. Sacred vocal
music, Cantatas,
Mourning, death. Single
Part, Viola da gamba 1.
Composed 1707/1708. BWV
106. 4 pages. Duration 23
minutes. Carus Verlag #CV
31.106/11. Published by
Carus Verlag
(CA.3110611).
ISBN
9790007207021. Key: F
major. Language:
German/English.
The
Actus tragicus or Gottes
Zeit ist die allerbeste
Zeit BWV 106 remains one
of Bach's best-known and
most admired works, one
which continues to
resonate to this day - a
work of genius such as
even great masters seldom
achieve (Alfred Durr).
The cantata is one of the
earliest known vocal
works by Johann Sebastian
Bach. It was written
during his time at
Muhlhausen, probably in
1707, when Bach took up
the position of organist
at the Divi Blasii
Church. A possible
occasion for its
composition may have been
the funeral of the mayor
of Muhlhausen, Adolph
Strecker. The short, slow
Sonatina with two
recorders, two gambas and
continuo gets the
listener into the mood of
the character of the
cantata. This
instrumental combination
is unique in Bach's vocal
output, but could derive
from a central German
tradition. This new
edition is a
critical-practical
edition which combines
both the latest
discoveries in Bach
research with a detailed
Critical Report as well
as addressing current
questions on performance
practice. Score and part
available separately -
see item CA.3110600.
Actus
tragicus.
Trauermusik. Composed
by Johann Sebastian Bach.
Edited by Peter
Thalheimer. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
German title: Actus
Tragicus. Sacred vocal
music, Cantatas,
Mourning, death. Single
Part, Viola da gamba 2.
Composed 1707/1708. BWV
106. 12 pages. Duration
23 minutes. Carus Verlag
#CV 31.106/12. Published
by Carus Verlag
(CA.3110612).
ISBN
9790007207038. Key: F
major. Language:
German/English.
The
Actus tragicus or Gottes
Zeit ist die allerbeste
Zeit BWV 106 remains one
of Bach's best-known and
most admired works, one
which continues to
resonate to this day - a
work of genius such as
even great masters seldom
achieve (Alfred Durr).
The cantata is one of the
earliest known vocal
works by Johann Sebastian
Bach. It was written
during his time at
Muhlhausen, probably in
1707, when Bach took up
the position of organist
at the Divi Blasii
Church. A possible
occasion for its
composition may have been
the funeral of the mayor
of Muhlhausen, Adolph
Strecker. The short, slow
Sonatina with two
recorders, two gambas and
continuo gets the
listener into the mood of
the character of the
cantata. This
instrumental combination
is unique in Bach's vocal
output, but could derive
from a central German
tradition. This new
edition is a
critical-practical
edition which combines
both the latest
discoveries in Bach
research with a detailed
Critical Report as well
as addressing current
questions on performance
practice. Score and part
available separately -
see item CA.3110600.
Actus
tragicus.
Trauermusik. Composed
by Johann Sebastian Bach.
Edited by Peter
Thalheimer. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Actus Tragicus. Sacred
vocal music, Cantatas,
Mourning, death. Single
Part, Organ. Composed
1707/1708. BWV 106. 12
pages. Duration 23
minutes. Carus Verlag #CV
31.106/49. Published by
Carus Verlag
(CA.3110649).
ISBN
9790007207052. Key: F
major. Language:
German/English.
The
Actus tragicus or Gottes
Zeit ist die allerbeste
Zeit BWV 106 remains one
of Bach's best-known and
most admired works, one
which continues to
resonate to this day - a
work of genius such as
even great masters seldom
achieve (Alfred Durr).
The cantata is one of the
earliest known vocal
works by Johann Sebastian
Bach. It was written
during his time at
Muhlhausen, probably in
1707, when Bach took up
the position of organist
at the Divi Blasii
Church. A possible
occasion for its
composition may have been
the funeral of the mayor
of Muhlhausen, Adolph
Strecker. The short, slow
Sonatina with two
recorders, two gambas and
continuo gets the
listener into the mood of
the character of the
cantata. This
instrumental combination
is unique in Bach's vocal
output, but could derive
from a central German
tradition. This new
edition is a
critical-practical
edition which combines
both the latest
discoveries in Bach
research with a detailed
Critical Report as well
as addressing current
questions on performance
practice. Score and part
available separately -
see item CA.3110600.
Actus
tragicus.
Trauermusik. Composed
by Johann Sebastian Bach.
Edited by Peter
Thalheimer. Arranged by
Paul Horn. This edition:
urtext. 1x 31.106/21
recorder 1, 1x 31.106/22
recorder 2. Stuttgart
Urtext Edition: Bach
vocal. German title:
Actus Tragicus. Sacred
vocal music, Cantatas,
Mourning, death. Set of
Orchestra Parts. Composed
1707/1708. BWV 106. 8
pages. Duration 23
minutes. Carus Verlag #CV
31.106/09. Published by
Carus Verlag
(CA.3110609).
ISBN
9790007207014. Key: F
major. Language:
German/English.
The
Actus tragicus or Gottes
Zeit ist die allerbeste
Zeit BWV 106 remains one
of Bach's best-known and
most admired works, one
which continues to
resonate to this day - a
work of genius such as
even great masters seldom
achieve (Alfred Durr).
The cantata is one of the
earliest known vocal
works by Johann Sebastian
Bach. It was written
during his time at
Muhlhausen, probably in
1707, when Bach took up
the position of organist
at the Divi Blasii
Church. A possible
occasion for its
composition may have been
the funeral of the mayor
of Muhlhausen, Adolph
Strecker. The short, slow
Sonatina with two
recorders, two gambas and
continuo gets the
listener into the mood of
the character of the
cantata. This
instrumental combination
is unique in Bach's vocal
output, but could derive
from a central German
tradition. This new
edition is a
critical-practical
edition which combines
both the latest
discoveries in Bach
research with a detailed
Critical Report as well
as addressing current
questions on performance
practice. Score and parts
available separately -
see item CA.3110600.
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
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.
Feel the Spirit Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] Oxford University Press
(A cycle of spirituals). Composed by John Rutter (1945-). For mezzo-soprano voic...(+)
(A cycle of spirituals).
Composed by John Rutter
(1945-). For
mezzo-soprano voice solo,
SATB choir, large
orchestra/chamber
orchestra. Mixed Voices.
Vocal score. Duration 30
minutes. Published by
Oxford University Press
(2+1.2D1.2.2/4.2.3.1,timp ,perc,hp,str,SMez) SKU: TM.05897SC Composed by ...(+)
(2+1.2D1.2.2/4.2.3.1,timp
,perc,hp,str,SMez)
SKU: TM.05897SC
Composed by Engelbert
Humperdinck. Score. Lucks
Music Library #A1593.
Published by Lucks Music
Library (TM.05897SC).
Transposed: Cl
1, Bsn I (in Bass Clef),
Hns 1-4, Tpt 1+2, Tbn
1+2. Original Clarinet II
in Bb. Reh. 90-109.
Sandman's Song sung by
Sandman (Soprano).
Evening Prayer sung by
Gretel and Hansel
(Soprano, Mezzo). Dream
Pantomine is not sung.
Voices in score only (in
German). For English
version, see #04557
Complete Hansel and
Gretel vocal score.
Composed by Engelbert
Humperdinck. Set Type: D.
Set of parts. Lucks Music
Library #A1593. Published
by Lucks Music Library
(TM.05897SET).
Transposed: Cl
1, Bsn I (in Bass Clef),
Hns 1-4, Tpt 1+2, Tbn
1+2. Original Clarinet II
in Bb. Reh. 90-109.
Sandman's Song sung by
Sandman (Soprano).
Evening Prayer sung by
Gretel and Hansel
(Soprano, Mezzo). Dream
Pantomine is not sung.
Voices in score only (in
German). For English
version, see #04557
Complete Hansel and
Gretel vocal score.
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.