PARTITIONS GRATUITES : CHANT - CHORALE
- Concertos

(Geistliches Konzert). By Heinrich Schutz (1585-1672). Edited by Gunter Graulich. Arranged by Paul Horn. For SATB Favorit-Chor (Antiphonal/Chamber Choir), 2 Violins, 3 Trombones, Contrabass, Organ, [SATB/SATB Capell-Chor], 8 Instr. This edition: paperbound. SWV 468. Genres: Sacred Concertos, Magnificat; Stuttgart Urtext Editions; Use / Occasion: Praise and thanks, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Daily Hours; Use during church year: Advent, Christmas. Level 3. Score. Language: Latin/German. Composed 1665 (?) (terminus ante quem). 48 pages. Duration 13 min. Published by Carus Verlag

By Andreas Hammerschmidt. For SSATB Choir, 2 Violins, Basso continuo. Sacred Concertos; Use during church year: Epiphany, Christmas. Score. Language: German. 16 pages. Duration 4 min. Published by Carus Verlag (German import).

Concertos for Violin Study Score. By Pietro Antonio Locatelli. Study Score. 90 pages. Published by Eulenburg.

AT (TT) vocal soli, SSATB choir, flute (violin), violin, 3 viola da gamba (2 violas, cello) [and/or 2 horn/cornet, 3 trombones], basso continuo

SKU: CA.514312

Composed by Johann Hermann Schein. German title: Vater Unser Im Himmelreich. Sacred concertos, Sacred vocal music, Cantatas, Easter and Eastertide, Prayer, Our Father. Single Part, Viola 1. 2 pages. Carus Verlag #CV 05.143/12. Published by Carus Verlag (CA.514312).

ISBN 9790007008895. Language: German.

Score available separately - see item CA.514300.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002705

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Choral Score. 8 pages. Duration 8 minutes. Carus Verlag #CV 10.027/05. Published by Carus Verlag (CA.1002705).

ISBN 9790007181338. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score available separately - see item CA.1002700.