Par MAHLER GUSTAV. Over the years, the need for a new edition of Mahler's Symphony No. 2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerization also ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony No. 2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors has been corrected./ Répertoire / Solistes, Choeur et Orchestre

Kantaten. Urtext Der Neuen Bach-Ausgabe. Par BACH JOHANN SEBASTIAN. Als eine der beliebtesten und bekanntesten Kantaten Bachs ist sie mittlerweile zu einem unersetzlichen Repertoirestück geworden. Besondere Berühmtheit erlangten dabei neben dem lebendigen Eingangschor und den ausdrucksvollen Arien die beiden Choralsätze „Wohl mir, dass ich Jesum habe' und „Jesus bleibet meine Freude'./ Répertoire / Solistes (SATB), Choeur Mixte (SATB) et Orchestre

Kantate Zum 20. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Tonalité : F-Dur - Horn, Paul (Arr.) - Wicker, Vernon (Trad.) - BWV 180 / Date parution : 1991-09-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes à Bec F1, Flû

Actus Tragicus. Trauermusik (Fassung In F). Par BACH JOHANN SEBASTIAN. Tonalité : F-Dur - Horn, Paul (Arr.) - Lunn, Jean (Trad.) - BWV 106/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes à Bec F1, 2 V

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Par PARRY BEN. Ben Parry presents a trio of Christmas classics from the 60s, 70s and 80s. Two lively, light-hearted numbers, I'm Gonna Be Warm This Winter and I Wish It Could Be Christmas Every Day, are followed by Band Aid's compelling Do They Know It's Christmas' Arranged for accompanied SATB mixed voices. The Choral Programme Series is now a well-established programming tool for many choirs as it offers a wealth of fresh material from many eras and in many styles.  Please view sample pages below. / Choral Music / Répertoire / Voix Mixtes et Piano

Par EBERLIN JOHANN ERNST. Gattungen: Messen, lateinisch, Missa brevis, lateinisch - Reihen bei Carus: Salzburger Kirchenmusik - Langue : Latin / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

Par EBERLIN JOHANN ERNST. Gattungen: Messen, lateinisch, Missa brevis, lateinisch - Reihen bei Carus: Salzburger Kirchenmusik - Langue : Latin / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

Par EBERLIN JOHANN ERNST. Gattungen: Messen, lateinisch, Missa brevis, lateinisch - Reihen bei Carus: Salzburger Kirchenmusik - Langue : Latin / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

Dramma per musica in thre acts. Par HAENDEL GEORG FRIEDRICH. Tamerlano HWV 18; Dramma per musica in 3 acts 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 inthe 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. Urtext of the Halle Handel Edition. Full score (BA4052) and vocal score (BA4052-90) available for sale Performance material (BA4052-72) available for hire/ Répertoire / Solistes, Choeur et Orchestre

Kantate Zum 12. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach legte der Kantate 'Lobe den Herren, den mächtigen König' in allen Sätzen sowohl Melodie als auch Text des gleichnamigen Chorales zugrunde. / Date parution : 1995-01-01/ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kantate Zum 12. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach legte der Kantate 'Lobe den Herren, den mächtigen König' in allen Sätzen sowohl Melodie als auch Text des gleichnamigen Chorales zugrunde./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales