Soli SATB, Coro SATB, 2 Vl, 2 Va, Bc - Level 3

SKU: CA.2732149

Composed by Niccolo Jommelli. Edited by Julia Rosemeyer. Organ. Sacred vocal music, Requiem. Part. Duration 48 minutes. Carus Verlag #CV 27.321/49. Published by Carus Verlag (CA.2732149).

ISBN M-007-25439-1. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

Soli SATB, Coro SATB, 2 Vl, 2 Va, Bc - Level 3

SKU: CA.2732113

Composed by Niccolo Jommelli. Edited by Julia Rosemeyer. Viola. Sacred vocal music, Requiem. Part. Duration 48 minutes. Carus Verlag #CV 27.321/13. Published by Carus Verlag (CA.2732113).

ISBN M-007-25437-7. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

Soli SATB, Coro SATB, 2 Vl, 2 Va, Bc - Level 3

SKU: CA.2732111

Composed by Niccolo Jommelli. Edited by Julia Rosemeyer. Violin 1. Sacred vocal music, Requiem. Part. Duration 48 minutes. Carus Verlag #CV 27.321/11. Published by Carus Verlag (CA.2732111).

ISBN M-007-25435-3. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

Soli SATB, Coro SATB, 2 Vl, 2 Va, Bc - Level 3

SKU: CA.2732112

Composed by Niccolo Jommelli. Edited by Julia Rosemeyer. Violin 2. Sacred vocal music, Requiem. Part. Duration 48 minutes. Carus Verlag #CV 27.321/12. Published by Carus Verlag (CA.2732112).

ISBN M-007-25436-0. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

SST(A)TTB vocal soli, ST(A)TB choir, 2 flute, 2 oboe, 2 violin, 2 viola, cello/contra bass, basso continuo

SKU: CA.2100714

Psalm 45. Grand Motet. Composed by Jean-Philippe Rameau. Edited by Jean-Paul C. Montagnier. French Sacred Music. Deus Noster Refugium (Psalm 45). Sacred vocal music, Psalms, Latin, Psalms. Single Part, basso continuo. 16 pages. Duration 26 minutes. Carus Verlag #CV 21.007/14. Published by Carus Verlag (CA.2100714).

ISBN 9790007197865. Language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751. Score and part available separately - see item CA.2100700.

SST(A)TTB vocal soli, ST(A)TB choir, 2 flute, 2 oboe, 2 violin, 2 viola, cello/contra bass, basso continuo

SKU: CA.2100713

Psalm 45. Grand Motet. Composed by Jean-Philippe Rameau. Edited by Jean-Paul C. Montagnier. French Sacred Music. Deus Noster Refugium (Psalm 45). Sacred vocal music, Psalms, Latin, Psalms. Single Part, Viola 2. 8 pages. Duration 26 minutes. Carus Verlag #CV 21.007/13. Published by Carus Verlag (CA.2100713).

ISBN 9790007197858. Language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751. Score and part available separately - see item CA.2100700.

SST(A)TTB vocal soli, ST(A)TB choir, 2 flute, 2 oboe, 2 violin, 2 viola, cello/contra bass, basso continuo

SKU: CA.2100711

Psalm 45. Grand Motet. Composed by Jean-Philippe Rameau. Edited by Jean-Paul C. Montagnier. French Sacred Music. Deus Noster Refugium (Psalm 45). Sacred vocal music, Psalms, Latin, Psalms. Single Part, Violin/Oboe. 16 pages. Duration 26 minutes. Carus Verlag #CV 21.007/11. Published by Carus Verlag (CA.2100711).

ISBN 9790007197834. Language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751. Score and part available separately - see item CA.2100700.

SST[a]TTB vocal soli, st(a)TB choir, 2 flutes, 2 oboes, 2 violins, 2 violas, cello/contrabass, basso continuo

SKU: CA.2100749

Psalm 45. Grand Motet. Composed by Jean-Philippe Rameau. Edited by Jean-Paul C. Montagnier. French Sacred Music. Deus Noster Refugium (Psalm 45). Sacred vocal music, Psalms, Latin, Psalms. Single Part, Organ. 24 pages. Duration 26 minutes. Carus Verlag #CV 21.007/49. Published by Carus Verlag (CA.2100749).

ISBN 9790007197889. Text language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751. Score and part available separately - see item CA.2100700.

SST(A)TTB vocal soli, ST(A)TB choir, 2 flute, 2 oboe, 2 violin, 2 viola, cello/contra bass, basso continuo

SKU: CA.2100712

Psalm 45. Grand Motet. Composed by Jean-Philippe Rameau. Edited by Jean-Paul C. Montagnier. French Sacred Music. Deus Noster Refugium (Psalm 45). Sacred vocal music, Psalms, Latin, Psalms. Single Part, Viola 1. 16 pages. Duration 26 minutes. Carus Verlag #CV 21.007/12. Published by Carus Verlag (CA.2100712).

ISBN 9790007197841. Language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751. Score and part available separately - see item CA.2100700.

Soli SATB, Coro SATB, Fg, 2 Vl, Va, Bc

SKU: CA.3115049

Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Arranged by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal. Organ. Sacred vocal music, Cantatas. Single Part, Organ. Composed circa 1706. BWV 150. 20 pages. Duration 17 minutes. Carus Verlag #CV 31.150/49. Published by Carus Verlag (CA.3115049).

ISBN 9790007241469. Key: B minor. Language: German/English.

The cantata Nach dir, Herr, verlanget mich (O my Lord, I long for thee) BWV 150 is one of the earliest cantatas from Bach's Muhlhausen period. Its authenticity was long disputed, partly because of the stylistic characteristics of this early work, but also because the cantata only survives in sources dating from the period after Bach's death. However, in recent years a hidden dedication to Conrad Meckbach, a member of the Muhlhausen town council and patron of Bach, has been deciphered: the initial letters of the free poetry reveal the acrostic Doctor Conrad Meckbach (in the 18th century spelling), revealing a link to the city of Muhlhausen and almost certainly confirming Bach's authorship of the cantata. The occasion of the composition of the work is still unknown. The small instrumental scoring for just two violins, bassoon, and continuo, plus the fact that only the soprano is given a solo movement, suggest a performance with modest resources. Score and part available separately - see item CA.3115000.

Chamber Music Organ, Trumpet

SKU: PR.114419810

Composed by Stacy Garrop. Set of Score and Parts. 33+12 pages. Duration 21 minutes. Theodore Presser Company #114-41981. Published by Theodore Presser Company (PR.114419810).

ISBN 9781491136638. UPC: 680160681921.

Stacy Garrop’s ROAD WARRIOR is music of real-life tragedy, expressed through the power of a trumpet/organ duo. Drawing inspiration from Neil Peart’s autobiographical book, “Ghost Rider: Travels on the Healing Road,” Garrop’s work grieves the loss of a friend’s young son and the journey to healing. ROAD WARRIOR’s evocative movement titles are drawn from passages in Peart’s book:1. I Am the Ghost Rider2. My Little Baby Soul3. Are You With Me Here?.
When Clarion members Keith Benjamin (trumpet), Melody Steed (organ), and I initially discussed possible topics for a new piece, Keith brought up his son Cameron, who had passed away at the age of seven from leukemia. While Cameron’s life ended too soon, he left an indelible and lasting mark on his those surrounding him. Keith asked if I could commemorate Cameron musically.In talking over possible ways to do this, Keith mentioned the book Ghost Rider: Travels on the Healing Road. The book was written by Neil Peart, who is well-known as the longtime drummer and lyricist of the band Rush. Peart suffered the heartbreaking loss of his daughter in 1997, followed by his wife 10 months later. In an effort to work through the grieving process, Peart did what his wife suggested before she passed: he got onto his motorcycle and hit the open road. Ghost Rider chronicles a year of Peart’s life in which he drove for 55,000 miles, zigzagging his way across Canada, the western portion of the United States, Mexico, and Belize. Peart’s powerful story illustrates how he coped with immense loss and eventually emerged on the other side to once again embrace life. Keith had found Peart’s book helpful in dealing with Cameron’s death; moreover, Mr. Peart sent Cameron a signed cymbal while he was in the hospital undergoing treatment. This unexpected gesture of compassion and generosity meant the world to both Cameron and Keith.I chose three phrases from Peart’s book to serve as the inspiration for the movements in Road Warrior. In the first movement, I am the ghost rider, I imagined the performers to be howling phantoms that are haunting drivers on a nearly deserted highway. Peart often mentioned that he felt haunted by ghosts from the past while on his journey, and sometimes felt like a ghost himself, moving through an immaterial world as he rode from town to town. The second movement, My little baby soul, references Peart’s wording to define his own inner essence that he was trying to protect and nurture while on his journey. In this gentle movement, I capture the innocence and simplicity of a newborn soul. The piece concludes with Are you with me here? In this movement, I depict the performers as they search to find connections to those they have lost, and to those still living.Over the course of his travels, Peart kept up a steady letter correspondence with his close friend Brutus. In one of his first letters, he repeatedly asks Brutus if he is with him in spirit. I found it to be very poignant that while in his self-imposed exile, Peart discovered that he still needed connections to humanity.I wish to thank Mr. Peart for granting me permission to use his phrases as the movement titles, and for serving as the inspiration for Road Warrior. Rarely do any of us make it through our lives without being touched by the loss of someone dear to us. I found Peart’s insights into his grieving and recovery process to be insightful, eloquent, and surprisingly comforting. His journey is a touching reminder that with enough fortitude and time, we can work through what fate deals us and continue down our own road of life.

(Kantate fur eine Trauerfeier bzw. zum Fest Mariae Reinigung). By Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. Arranged by Klaus Hofmann. For Soli TB, SATB Choir, Flute, Oboe d'Amore, Vada (Violin), Organ. BWV 157. Full score available separately - see item CA.3115700. Genres: Cantatas; Stuttgart Urtext Editions; Use / Occasion: Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Mourning, Death. Level 3. Set of instrumental parts (except strings). Language: German/English. Composed 1727(?). 16 pages. Duration 21 min. Published by Carus Verlag

ST(A)BarB vocal soli, SST(A)TBarB choir, 2 flute, 2 oboe, 2 violin, 2 viola, cello/contra bass, bassoon, basso continuo

SKU: CA.2100849

Psalm 125. Grand Motet. Composed by Jean-Philippe Rameau. Edited by Jean-Paul C. Montagnier. This edition: Paperbound. French Sacred Music. In Convertendo (Psalm 125). Sacred vocal music, Psalms, Latin. Single Part, Organ. 16 pages. Duration 26 minutes. Carus Verlag #CV 21.008/49. Published by Carus Verlag (CA.2100849).

ISBN 9790007197902. Language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Being performed in a concert spirituel in 1751, In Convertendo was poorly received; this failure long continued to pursue Rameau. Yet these masterworks are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751. Score and part available separately - see item CA.2100800.

Band Concert Band

SKU: PR.46500013L

For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L).

UPC: 680160600151. 11 x 14 inches.

I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Chamber Music Piano, alto Saxophone

SKU: PR.114419850

Composed by Stacy Garrop. Sws. See lengthy program note on prefatory page. Set of Score and Parts. 44+24 pages. Duration 23 minutes. Theodore Presser Company #114-41985. Published by Theodore Presser Company (PR.114419850).

ISBN 9781491135808. UPC: 680160681044. 9 x 12 inches.

Both a spectacular concerto for saxophone, and a dramatic tone poem on Roman mythology, QUICKSILVER is a 23-minute concerto for Alto Saxophone and Wind Ensemble by one of the sax literature’s most commissioned and admired composers.Through worded captions as well as gorgeously expressive tone painting, Movement 1 depicts the birth and childhood pranks of Mercury, Movement 2 shows him escorting souls to the gates of the Underworld, and Movement 3 is a phantasmagoric finale portraying Mercury as messenger amid the conflicts of other mythological figures. There are many YouTube performances available, both in the original version with Wind Ensemble, and with Piano.
In addition to being another name for the element mercury, “quicksilver” is used to describe something that changes quickly or is difficult to contain. My concerto of the same name was inspired by the Roman god Mercury, as well as the mercurial nature of the saxophone: unpredictable, very lively, and volatile. Mercury (known as Hermes in Greek mythology) is best known for his winged shoes, which allowed him to fly swiftly as the messenger of his fellow Olympians. Mercury had other duties too, including serving as the god of merchants, travelers, and tricksters; he also ushered souls of the departed to the Underworld.Quicksilver tells three tales of the Roman god. The first movement (Antics of a Newborn God) opens with the birth of Mercury; after he takes his first steps, he toddles around, gleefully looking for mischief. He stumbles across a herd of cows that belong to his brother Apollo; Mercury slyly lets the cows out of their pen before toddling onward with his mischief-making.In the second movement (Guiding Souls to the Underworld), Pluto, god of the Underworld, bids Mercury to bring him fresh souls. The movement begins with death-knells tolling for humans who are about to die; Mercury picks up these souls and leads them down to the gates of the Underworld.The third and final movement (Messenger of Olympus) depicts Mercury as he is busily running errands for various gods and goddesses. We first encounter him mid-flight as he dashes to earth to find Aeneas, a Trojan lieutenant who had been run out of Troy by the invading Greeks. Aeneas is on a quest to find land on which to establish a new city that would eventually become Rome. While traveling, he is distracted from his quest when he meets the beautiful queen Dido. They live together for many years before Mercury intervenes; he chastises Aeneas for giving up on his quest and persuades him to pick it up again. As Aeneas mournfully resumes his journey, we hear Dido perish of a broken heart. Mercury then takes to the skies to seek out Perseus, who is preparing to kill Medusa, the hideous gorgon who has snakes for hair and a gaze that turns those who catch her glance into stone. Mercury advises Perseus on how to slay Medusa and lends Perseus his sword to do the deed. We hear Perseus victorious in the beheading of Medusa, after which Mercury takes to the skies once more to fly home to Olympus.

TB vocal soli, SATB choir, flute, oboe d'amore, viola da gamba (violin), basso continuo - Level 3

SKU: CA.3115719

Cantata for funeral service / Purification of Mary. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Arranged by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ich lasse dich nicht, du segnest. Sacred vocal music, Cantatas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Mourning, death. Set of Orchestra Parts. Composed circa 1727. BWV 157. Duration 21 minutes. Carus Verlag #CV 31.157/19. Published by Carus Verlag (CA.3115719).

ISBN 9790007136840. Key: B minor / d major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).

Reconst ruction of the supposed original version (Klaus Hofmann); date of composition uncertain. Score and parts available separately - see item CA.3115700.

(Kantate fur eine Trauerfeier bzw. zum Fest Mariae Reinigung). By Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. Arranged by Klaus Hofmann. For Soli TB, SATB Choir, Flute, Oboe d'Amore, Vada (Violin), Organ. BWV 157. Full score available separately - see item CA.3115700. Genres: Cantatas; Stuttgart Urtext Editions; Use / Occasion: Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Mourning, Death. Level 3. Choral score. Language: German/English. Composed 1727(?). 2 pages. Duration 21 min. Published by Carus Verlag

(Kantate fur eine Trauerfeier bzw. zum Fest Mariae Reinigung). By Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. Arranged by Klaus Hofmann. For Soli TB, SATB Choir, Flute, Oboe d'Amore, Vada (Violin), Organ. This edition: paperbound. BWV 157. Genres: Cantatas; Stuttgart Urtext Editions; Use / Occasion: Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Mourning, Death. Level 3. Score. Language: German/English. Composed 1727(?). 72 pages. Duration 21 min. Published by Carus Verlag

By Vojt Akova Jana (Editor). Czech title: Josef Suk. Dopisy o ~ivot hudebnim i lidskem. Published by Praha (Czech import).

SST(A)TTB vocal soli, ST(A)TB choir, 2 flute, 2 oboe, 2 violin, 2 viola, cello/contra bass, basso continuo

SKU: CA.2100719

Psalm 45. Grand Motet. Composed by Jean-Philippe Rameau. Edited by Jean-Paul C. Montagnier. French Sacred Music. Deus Noster Refugium (Psalm 45). Sacred vocal music, Psalms, Latin, Psalms. Set of Orchestra Parts. Duration 26 minutes. Carus Verlag #CV 21.007/19. Published by Carus Verlag (CA.2100719).

ISBN 9790007197872. Language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751. Score and parts available separately - see item CA.2100700.

SATB vocal soli, SATB choir, bassoon, 2 violins, basso continuo

SKU: CA.3115019

Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Arranged by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Nach dir, Herr, verlanget mich. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed circa 1706. BWV 150. Duration 17 minutes. Carus Verlag #CV 31.150/19. Published by Carus Verlag (CA.3115019).

ISBN 9790007136819. Key: B minor. Language: German/English.

The cantata Nach dir, Herr, verlanget mich (O my Lord, I long for thee) BWV 150 is one of the earliest cantatas from Bach's Muhlhausen period. Its authenticity was long disputed, partly because of the stylistic characteristics of this early work, but also because the cantata only survives in sources dating from the period after Bach's death. However, in recent years a hidden dedication to Conrad Meckbach, a member of the Muhlhausen town council and patron of Bach, has been deciphered: the initial letters of the free poetry reveal the acrostic Doctor Conrad Meckbach (in the 18th century spelling), revealing a link to the city of Muhlhausen and almost certainly confirming Bach's authorship of the cantata. The occasion of the composition of the work is still unknown. The small instrumental scoring for just two violins, bassoon, and continuo, plus the fact that only the soprano is given a solo movement, suggest a performance with modest resources. Score and parts available separately - see item CA.3115000.

Orchestra Soli TB, SATB Choir, Flute, Oboe d'Amore, Vada (Violin), Organ - Level 3

SKU: CA.3115707

Cantata for funeral service / Purification of Mary. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Arranged by Klaus Hofmann. This edition: paperbound. BWV 157. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Mourning, death. Study score. Composed circa 1727. BWV 157. 72 pages. Duration 21 minutes. Carus Verlag #CV 31.157/07. Published by Carus Verlag (CA.3115707).

ISBN 9790007049560. Key: B minor / d major. Language: German/English. Text: Henrici (Picander), Christian Friedrich.

Reconstr uction of the supposed original version (Klaus Hofmann); date of composition uncertain. Score available separately - see item CA.3115700.

ST(A)BarB vocal soli, SST(A)TBarB choir, 2 flute, 2 oboe, 2 violin, 2 viola, cello/contra bass, bassoon, basso continuo

SKU: CA.2100809

Psalm 125. Grand Motet. Composed by Jean-Philippe Rameau. Edited by Jean-Paul C. Montagnier. 2x 21.008/21 2 flutes, 1x 21.008/22 oboe 1, 2x 21.008/23 oboe 2. French Sacred Music. In Convertendo (Psalm 125). Sacred vocal music, Psalms, Latin. Set of Orchestra Parts. Duration 26 minutes. Carus Verlag #CV 21.008/09. Published by Carus Verlag (CA.2100809).

ISBN 9790007197896. Language: Latin.

The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Being performed in a concert spirituel in 1751, In Convertendo was poorly received; this failure long continued to pursue Rameau. Yet these masterworks are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751. Score and parts available separately - see item CA.2100800.

Orchestra Solo voices, SATB chorus, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, Org - Grade 4

SKU: CA.2732200

Composed by Gaetano Donizetti. Edited by Guido Johannes Joerg. Carus digital: Extra digital products. Full Score. Composed 1835. 304 pages. Duration 65 minutes. Carus Verlag #2732200. Published by Carus Verlag (CA.2732200).

ISBN 9790007248406. Latin.

Through works such as Verdi’s Requiem or Puccini’s Messa di Gloria, we know that the great composers of Italian bel canto opera also wrote marvelous sacred music. Yet most of these pieces are rarely performed. This is also true of Gaetano Donizetti’s Messa di Requiem, which he composed as an expression of grief at the early death of Vincenzo Bellini in 1835. Neither performed nor printed during Donizetti’s lifetime, the Requiem is ripe for rediscovery. A rich and highly intense work, it features dramatic choruses with full orchestra, fugues, and a cappella passages that alternate with lengthy cantilenas for the soloists. These solo cantilenas are often scored for three male voices accompanied by low winds to create a dark timbre. The soprano and alto soloists do not themselves sing any solo arias, instead remaining part of the solo ensemble.

Carus is offering a critical edition of this editorially challenging work complete with vocal score, choral score, and all orchestral parts.

Orchestra Solo voices, SATB chorus, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, Org - Grade 4

SKU: CA.2732203

Composed by Gaetano Donizetti. Edited by Guido Johannes Joerg. Vocal score. Composed 1835. 124 pages. Duration 65 minutes. Carus Verlag #2732203. Published by Carus Verlag (CA.2732203).

ISBN 9790007248413. Latin.

Through works such as Verdi’s Requiem or Puccini’s Messa di Gloria, we know that the great composers of Italian bel canto opera also wrote marvelous sacred music. Yet most of these pieces are rarely performed. This is also true of Gaetano Donizetti’s Messa di Requiem, which he composed as an expression of grief at the early death of Vincenzo Bellini in 1835. Neither performed nor printed during Donizetti’s lifetime, the Requiem is ripe for rediscovery. A rich and highly intense work, it features dramatic choruses with full orchestra, fugues, and a cappella passages that alternate with lengthy cantilenas for the soloists. These solo cantilenas are often scored for three male voices accompanied by low winds to create a dark timbre. The soprano and alto soloists do not themselves sing any solo arias, instead remaining part of the solo ensemble.Carus is offering a critical edition of this editorially challenging work complete with vocal score, choral score, and all orchestral parts.. Score available separately - see item CA.2732200.