Digital synlighed. Målbart afkast.

Rise up, shepherd, and follow

Masses, Passions and Oratorios (1 slip case) : Gehört zu Gesamtedition in 23 Bänden

With the Bach vocal project, we are publishing Johann Sebastian Bachs complete sacred vocal music in a high-quality complete edition: This up-to-date Bach Edition over 12,500 pages of score contains all the cantatas, oratorios, passions, motetsand masses.

La vie antérieure

The harmonic turns and piano configurations in La vie antérieure – the “former life” – seem almost exuberantly lyrical. At the beginning, the archaic sounds and words of the male choir conjure up a dream world that is soon flooded with the power of the waves and the rich polyphonic harmony of the choir and the piano. With the outcry “C’est là que j’ai vécu!” [I have lived there] which expresses the fervent yearning to return to a past life, the collective desperately reinforces the longing for the past. Once more, the women’s choir conjures up this lost paradise in an undulating soft sound before the desolate sadness is pierced by the power of the music of the piano postlude,creating a moment that is completely in the present.

Tombeau De Josquin Desprez (O Mors Inevitabilis)

The 16-part Tombeau de Josquin Desprez, with text taken from the inscription on a gravestone in St. Gudula, Brussels, is a study of Josquin’s polyphony. Over its course, the piece increasingly approaches Josquin’s tonal language, leading up to a couple of measures which are actually by him, before drifting away again.

BACHArkaden

Two superlative German ensembles assemble for an eminently creative summit meeting: the Calmus Ensemble and the musicians of Wolfgang Katschner’s Lautten Compagney meet one another under “Bach Arcades”: Johann Sebastian Bach’s chorales, so to speak, form the pillars on which the musicians, with curiosity and a willingness to experiment, erect a new and fascinating cupola of sound with works by Arvo Pärt, Guillaume Dufay, John Tavener and others. In addition, the timbres of the marimba and saxophone imbue the sound of the works recorded here with freshness and ease, time and again. With much humor and charm, unusual and surprising elements flow into many a familiar chorale,thus causing us to prick up our ears. Surprising arches of sound, supported by the foundation of Bach’s music, come into being and, with every Bach chorale, open up new musical spaces for the listener.

Mozart: Kirchensonaten

Seventeen single-movement instrumental works by Wolfgang Amadeus Mozart are referred to as "church sonatas" or "epistle sonatas". Some are simple trios for two violins and bass, others more lavish concertante pieces with obbligato organ. Only Leopold Mozart took up the epistle sonata in isolated pieces that have survived in fragmentary form. Mozart's sonatas thus form a musically significant repertoire without parallels elsewhere.

Swiss Choral Music : Choral Collection

Swiss up your choir! The choral collection Swiss Choral Music is a real treasure trove of recent choral music from Switzerland. As diverse as the country itself, this volume of approximately 30 choral settings of varying levels of difficulty includes not only a range of musical styles, but all the Swiss national languages (Romansh, French, Swiss/German and Italian) as well as English and Latin. For pure listening pleasure or as an aid to pronunciation, all works have been sung by the Swiss Youth Choir under the direction of Nicolas Fink. Pronunciation aids for the Rhaeto-Romanic and Swiss-German texts can be accessed via a QR code. In creating their musical excursion through this mountainous country, the editors and renowned choral conductors Johannes Meister and Patrick Secchiari have not only selected familiar names such as Beat Furrer or Heinz Holliger but also up-and-coming young composers such as Sara Bucher or Grégoire May. The collection includes a number of previously unpublished pieces.

Norddeutsche Orgelmusik aus klassisch-rom. Zeit : 1780-1860

For the first time a completely self-contained organ repertoire is presented which originated in the churches of northern Germany after 1780, and yet keeping up the musical traditions of the 17th century. Thus, a many-facetted, “more recent” organ music from northwestern middle Europe is now accessible. Focal points of the music clearly are church songs and counterpoint; a fascinating element is the rich chromaticism. The pieces are of medium difficulty, practical for liturgical or concert use.

Extended Works. Fabulous Fridays

The Fabulous Fridays is a Jazz-Pop choir located at the University of the Arts in Berlin. Under the direction of Michael Betzner-Brandt, in the CD "Extended Works" the choir combines the Jazz-Pop-A-Cappella-Sound with larger, more classical forms [such as the suite, cantata, or motet]. Thus their music ranges from the "usual" three-minute pop numbers up to a larger from, which allows them more time to express their musical thoughts. The result is a wonderful, unconventional recording which cannot be fit into any pre-existing scheme; rather this is pure a cappella sound.

Beethoven: Messe in C-Dur

The Kammerchor Stuttgart, under the direction of Frieder Bernius is one of the finest choirs worldwide. Their many prizewinning recordings have set a standard. Now Frieder Bernius presents Beethoven's "Missa in C major" [op. 86]. With its tonal language of subjective avowal, the first of Beethoven's two masses opens up new worlds of expression which are expressly modern and point towards the future. Not to be considered a preliminary work to the Missa solemnis, it is an entirely independent work which set standards for the further development of settings of the Mass in the 19th century. The world premiere recording of Luigi Cherubini's "Sciant gentes" [1829] rounds out this CD.

Requiem Op. 148 : Arrangement for Chamber Orchestra

„Der geistlichen Musik die Kraft zuzuwenden, bleibt ja wohl das höchste Ziel des Künstlers“ (“The artist’s supreme calling is to devote his energies to sacred music”). These words were written by Robert Schumann in January 1851 – even though, up to that point in time, his compositional output had been almost entirely secular. The following year, however, he composed his Missa sacra, op. 147, and the Requiem, op. 148. In these works he sought new forms of expression for the liturgical texts, to which end he repeatedly deviated from the precise wording of the originals. Both in terms of the text and the overall musical conception, his Requiem is certainly suitable for concert performances alongside its traditional use in church.

Marienvesper [Vespro della Beata Vergine] : Marienvesper

As with scarcely any other work of the 17th century, Monteverdi’s Vespers has found its way into today’s repertoire. Nevertheless, the Vespers still leaves open many questions. The new edition, with its critical examination of the sources, takes up these oft-discussed issues concerning scoring possibilities, performance practice, transpositions and liturgical unity. It is based on all of the surviving copies of the print of 1610 and the earliest handwritten entries have also been critically examined and evaluated. Performance material is organized in a flexible manner to allow for the use of different instruments in those movements without obbligato instruments in order to reinforcethe vocal parts and thus invites an individual musical approach to the challenge presented by Monteverdi’s Vespers.

Alleluja

The a cappella motet "Alleluja" (2018) is a "song of longing" which resonates existential need as well as the hope of a profound connection to God. In the beginning, which is delicate and motivically very concentrated but metrically deliberately uncoordinated, more and more voices gather to sing together, until suddenly, starting from the bass, a violent and rhythmically exalted incantation breaks out. The following fortissimo unison in a high register is the climax of the entire work piece. In the “Abgesang,” the beginning is taken up, but now in a polyphonic and harmonically intensified setting. The end in A major seems like a salvation. The work has been released onthe CD "Rejoice. Vocal Music by Kay Johannsen" (Carus 83.496/00).

Rheinberger: Kammermusik mit Orgel

Chamber music with organ is a rarity among the musical repertoire. Scarcely a composer has dared to attempt to compose for the charming and challenging combination for solo strings and organ. All the more significant is the contribution of Josef Gabriel Rheinberger, the composer of the Court of Munich, who knew the sounds and colors of the organ like almost no other of his contemporaries, and who knew how to employ them in the "mellifluous art of setting tones." The Suite op. 149 [a "piano trio" with organ, instead of piano], die Drei Stücke op. 150 for violoncello and organ and the Suite op. 166 for violin and organ are romantic character pieces and are - especially inthe suites - sensitive adaptations of baroque form types. They open up an especially attractive world of sound.

Magnificat : The Groovy Version of OX

Christoph Schönherr, Professor at the Hamburg Conservatory of Music, is a respected expert in the field of jazz and pop choirs and he is a much sought after choral composer. He has written of his work: “I have been especially influenced by the polarity of the text. On one hand it expresses Mary's joy at her pregnancy, but on the other Mary presents a bold image of God: a God of almost old Testament sternness in his demand for justice on earth. My music depicts a strong woman, who rejoices in her happiness and also swings [many 6/8, 12/8 and swing passages], but on the other hand who in formulating her concept of God clearly stands up for the poor and needy. Here I use stylisticelements of rock and funk music.”

Georg Friedrich Händel: Messiah

George Frideric Handel is considered England’s first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759.In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions.

The Resurrection and Ascension of Jesus : BR-CPEB D 3 (Wq 240) - Oratorio

Of the three oratorios which Carl Philipp Emanuel Bach composed when he was music director in Hamburg, Die Auferstehung und Himmelfahrt Jesu is particularly intended to create splendor and effect with its use of magnificent-sounding trumpets and timpani. Bach liked this work very much and had it published in 1787, the year before his death. The following year the oratorio was performed by Mozart in Vienna.The text of the oratorio by Carl Wilhelm Ramler (1725–1798; better known as the poet of the frequently-set “Der Tod Jesu”) covers the Easter story of the disciples at Emmaus and the doubting Thomas, up to the image of Jesus ascending to heaven.The score is published as Vol. IV,2 of the C.P.E. Bach Complete Edition, edited by the Packard Humanities Institute. Carus publishes the vocal score and choral score for this work. The full score and parts can also be obtained from Carus.

Songs from Disney films : Mary Poppins / The little Mermaid / Tangled

Disney films endure to a great extent because of their soundtracks. Many songs continue to enjoy fame and popularity decades after the film premieres. The songs in this volume "Supercalifragilisticexpialidocious" from "Mary Poppins" of 1964, "Under the Sea" from "The Little Mermaid" (Ariel, the Little Mermaid) of 1989 and "I See the Light" from "Tangled" (Rapunzel) of 2010 received many awards including Oscars and Grammys. Because the tunes are so catchy, they are timeless, appeal to many generations, and have a life of their own aside from the film. High spirited songs like sympathetic nanny Mary Poppins’ nonsense song can be sung anywhere! Rainer Butz has expertlyarranged the songs for equal-voice youth choir with piano accompaniment.The new series chorissimo! MOVIE contains up-to-date choral arrangements of well-known film music for use with school and youth choirs. The series is published in collaboration with the Landesakademie für die musizierende Jugend in Baden-Württemberg, Ochsenhausen.

Songs from Disney films : Mary Poppins / The little Mermaid / Tangled, Collection

Disney films endure to a great extent because of their soundtracks. Many songs continue to enjoy fame and popularity decades after the film premieres. The songs in this volume "Supercalifragilisticexpialidocious" from "Mary Poppins" of 1964, "Under the Sea" from "The Little Mermaid" (Ariel, the Little Mermaid) of 1989 and "I See the Light" from "Tangled" (Rapunzel) of 2010 received many awards including Oscars and Grammys. Because the tunes are so catchy, they are timeless, appeal to many generations, and have a life of their own aside from the film. High spirited songs like sympathetic nanny Mary Poppins’ nonsense song can be sung anywhere! Rainer Butz has expertlyarranged the songs for equal-voice youth choir with piano accompaniment.The new series chorissimo! MOVIE contains up-to-date choral arrangements of well-known film music for use with school and youth choirs. The series is published in collaboration with the Landesakademie für die musizierende Jugend in Baden-Württemberg, Ochsenhausen.

Historical Performance Practice in Organ Playing : Part 2. Der Romantic Era

Volume 2 presents a detailed interpretation of the organ music of Germany and France between 1800 and 1930. With the Romantic style of composition there arose a change from the technical style of playing, characterized by the differentiated non-legato of the Baroque and Classic eras to a fundamental style of legato playing in the romantic era. In addition, between 1830 and 1845 the first truly “romantic” organs were constructed, through which their builders [primarily Walcker and Cavaillé-Coll] opened up a completely new sound perspective to organists and composers alike. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It isaddressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the result of practical and scholarly research which present to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction.