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Acclamatio for TTBB

Written in 1996 for SSAA and often sung by the Andrej Vavken Women’s Choir from my home parish, this work is a palindrome, having musical motives from the first part unfold in reverse in the second part. In 2015, I wrote a mixed choir version for Gary Graden. In places, I also added a harmonic mirror when extending the sound to include male voices, resulting in colorful harmonies.

Eight Responsories For Trinity Sunday

This is the individual part for Violin 2 for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, and because oftheir scoring for small forces they can be performed by ensembles of different sizes and resources.

Eight Responsories For Trinity Sunday

This is the individual part for Violin 1 for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, and because oftheir scoring for small forces they can be performed by ensembles of different sizes and resources.

Eight Responsories For Trinity Sunday

This is the individual Organ part for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, and because of theirscoring for small forces they can be performed by ensembles of different sizes and resources.

Eight Responsories For Trinity Sunday

This is the individual Cello part for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, and because of theirscoring for small forces they can be performed by ensembles of different sizes and resources.

Eight Responsories For Trinity Sunday

This is the set of complete Orchestral parts for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, andbecause of their scoring for small forces they can be performed by ensembles of different sizes and resources.

Bach for Brass 2: Kantaten II

Bach for Brass contains Bach’s complete brass parts in seven volumes, set in generously engraved short scores designed for practical performance. The parts include measure numbers, helpful cues, timpani parts if applicable, as well as the most important information concerning origins, original instrument names in the sources, and much more. An instructive foreword in English and facsimiles complete the picture. These volumes, prepared by experienced musicologists and performers for the first time from the original scores and parts, aim to provide today’s musicians striving for an authentic interpretation of Bach’s works with reliable material for study, instruction, andconcert performance.

Bach for Brass 1: Kantaten I

Bach for Brass contains Bach’s complete brass parts in seven volumes, set in generously engraved short scores designed for practical performance. The parts include measure numbers, helpful cues, timpani parts if applicable, as well as the most important information concerning origins, original instrument names in the sources, and much more. An instructive foreword in English and facsimiles complete the picture. These volumes, prepared by experienced musicologists and performers for the first time from the original scores and parts, aim to provide today’s musicians striving for an authentic interpretation of Bach’s works with reliable material for study, instruction, andconcert performance.

Das rote Album. Hits for Organ I

In all ages organists have known how to transcribe popular pieces for their instrument from the entire spectrum of music and to play effectively to the gallery. The repertoire of concert organists was therefore far-reaching and not restricted by any connection with the church. This volume of transcriptions holds a few surprises: one encounters plush and pomp, the deeply serious and the glamor ous, works for the church and for the circus, for the organist playing them and for the whole world.

Choral collection Volkslieder for choir

The composer Andreas N. Tarkmann, who began his musical training in the Hanover Boys’ Choir, has composed new folk song arrangements for the Liederprojekt. These are scored for four-part mixed chorus with brass quintet or piano duet accompaniment. These highly attractive compositions capture the essence of folk song style, interpreted with great artistry. They are not just simple strophic songs: instead, the well-known melodies are given novel accompaniments which add much to the text and content, commenting on it musically. Tarkmann has grouped together folk songs with common themes, and has woven these together in the style of a medley (nocturnes, animal songs,craftsmen’s songs, sailors’ songs), so that a performance has more of an overarching form. The scorings and accompaniments are varied: there are solo passages, sometimes the chorus sings unaccompanied, but mainly with accompaniment for piano duet. As an attractive alternative the settings are also available in versions for chorus and brass quintet (Carus 2.215/01). • new folk song arrangements for four-part mixed chorus • versions with brass quintet or piano duet • folk song cycles as through-composed medleys • also available in single editions with complete performance material

Cantatas for Soprano Solo

In the depth of its expression and richness of form Johann Sebastian Bach's music has no equal. This becomes especially clear in the famous cantatas for solo soprano, as can be heard in this recording, featuring Ich bin in mir vergnügt BWV 204 and Mein Herze schwimmt in Blut BWV 199 (Weimar version, 1714). The recording is rounded off by a performance of the famous soprano aria Alles mit Gott und nichts ohn' ihn BWV 1127. Once again Dorothee Mields shows that she is one of the leading interpreters of our time for the music of the 17th and 18th centuries. Performed with L’Orfeo Barockorchester, under the direction of Michi Gaigg, this is an exemplary interpretation of theseseldom heard solo cantatas.

Gospel recitations for the St. Mark Passion

Despite many newly-composed interpolations, ranging from stylistic copies to modern interpretations, performing the Gospel text in Bach’s lost St. Mark Passion continues to present many challenges for performers. With his recitations for narrator, gamba, and cello, Peter Uehling has found a way of maintaining the musical flow, while nevertheless preserving the fragmentary character of the work. The reduced musical language of the recitations places, so to speak, bare walls between Bach’s colorful figured “tonal language”. An important point for performance: despite the free tonal harmony, the recitations lead convincingly into the opening notes of the chorales. Thecello part comprises also all the other pieces from the St. Mark Passion Carus 31.247.

Gospel recitations for the St. Mark Passion

Despite many newly-composed interpolations, ranging from stylistic copies to modern interpretations, performing the Gospel text in Bach’s lost St. Mark Passion continues to present many challenges for performers. With his recitations for narrator, gamba, and cello, Peter Uehling has found a way of maintaining the musical flow, while nevertheless preserving the fragmentary character of the work. The reduced musical language of the recitations places, so to speak, bare walls between Bach’s colorful figured “tonal language”. An important point for performance: despite the free tonal harmony, the recitations lead convincingly into the opening notes of the chorales. Thecello part comprises also all the other pieces from the St. Mark Passion Carus 31.247.

Three Suites for viola solo : Op. 131d

The rediscovery of the original manuscripts of Max Reger's works for violin, viola, and cello op. 131a-d represents a minor sensation. These late works for solo strings dating from 1914 and 1915, the last of which was only published posthumously, were only known from the first printed editions until now, and a scholarly-critical edition based on all the sources has long been desirable. The new edition from the Max-Reger-Institut now fills this gap.

Three Suites for violoncello solo : Op. 131c

The rediscovery of the original manuscripts of Max Reger's works for violin, viola, and cello op. 131a-d represents a minor sensation. These late works for solo strings dating from 1914 and 1915, the last of which was only published posthumously, were only known from the first printed editions until now, and a scholarly-critical edition based on all the sources has long been desirable. The new edition from the Max-Reger-Institut now fills this gap.

Bach for Brass 6 : Kantaten und weitere Werke Cor, Timp

Now that all four volumes for trumpet [Vols. 1-4], and the first volume for horn [Vol. 5] have been published in the Bach for Brass series, volume 6, the second of two for horn, will be published. This edition also appears in a generous, practically oriented music engraving with the parts in score form, measure numbers, cue notes, timpani parts - where applicable - as well as important information on the origins of the works, on scoring indications in the source [and much more]. An instructive foreword [in German, English and French] and facsimiles complete the picture. These volumes, prepared by experienced musicologists and performers for the first time from the originalscores and parts, aim to provide today’s musicians striving after an authentic interpretation of Bach’s works with reliable material for study, instruction, and performance.

Bach for Brass 5: Kantaten BWV 1-100 [Cor, Timp]

Now that all four trumpet volumes of the series BACH FOR BRASS have appeared in print, the publisher is now presenting Vol. 5, the first of two for horns. Like its predecessors, this volume too is set in generously engraved short scores designed for practical performance. The parts include bar numbers, numerous cues, timpani parts if applicable, as well as the most important information concerning origins, original instrument names in the sources, and much more. An instructive foreword in three languages [German, English, and French] and facsimiles round off the picture. These volumes, prepared by experienced musicologists and performers for the first time from the original scoresand parts, aim to provide today's musicians striving after an authentic interpretation of Bach's works with reliable material for study, instruction, and concert performance.

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.

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.

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.

James Bond. Three Arrangements for choir : Chorissimo! MOVIE vol. 4

Always smart, always successful – the British secret agent James Bond, alias 007. And he’s always accompanied by glamorous women and catchy music. Three of these world-famous hits have now been published in volume 4 of the series chorissimo! MOVIE in arrangements for school and other choirs. As well as the striking Bond theme, Paul McCartney’s Live And Let Die from 1973 and the title song from Die Another Day of 2002 have been arranged for choir. As an alternative or in addition to piano accompaniment, strings can also be used. A particularly promising addition, and not only for school concerts!

Acclamatio For TTBB

Sabbath, The Queen. Choral Repertoire from Israel : for Mixed Choir. Carmina Mundi

In conjunction with the IFCM [International Federation for Choral Music] Carus is publishing the series Carmina mundi, which consists of traditional works from various regions of the world. Each region is represented by one volume for mixed-voice choir and one for equal voices. The editors are experts in the music in their respective fields and are thoroughly familiar with its characteristic features. These choral collections present the world’s musical treasures, and encourage singing together to transcend beyond national frontiers.

Psalms. Choral Collection For Mixed Voices

The Choral Collection Psalms contains over 50 settings for mixed unaccompanied choir from six centuries. It is a true treasure-trove of compositions in various styles and levels of difficulty: with some unknown new discoveries and some classics of the choral literature, the selection will enrich both worship and concerts.The 150 psalms of the Old Testament express rejoicing, joy, and confidence, but also lament, grief, anger, and even doubt. The psalms are present throughout Christianity and Judaism to this day and are sung worldwide in countless settings. The Choral Collection Psalms displays the whole stylistic and linguistic variety ranging from contemplative, simple"Anglican chant" through Russian Orthodox homophony to virtuoso motets with jazzy echoes.The linguistic spectrum is equally broad: English, French, German (some with added singable English translation), Estonian, Icelandic and, of course, Latin psalm settings are represented, as well as works in Church Slavonic and Hebrew (both accompanied by transliterations and a singable German text). The foreword (German/English) offers many hints regarding the performance of the psalm settings, and a detailed index will help with choosing appropriate pieces for the liturgical occasion according to the Anglican, Protestant, or Catholic calendar.Over the last ten years editor Stefan Schuck has performed two psalm compositions every week in his NoonSong series in Berlin. From the resulting 800 works, he has selected the most interesting compositions arranged according to level of difficulty. The choral director’s volume includes a CD with recordings of selected works, sung by sirventes and conducted by the editor, which will help with learning and rehearsing the repertoire.

Reinhard Keiser: Dialogus von der Geburt Christi

This world premiere recording of the Weihnachtsoratorium by Reinhard Keiser makes available one of the few surviving sacred works by a musician who was highly regarded by his contemporaries, primarily as a composer of operas. Well-known Christmas chorales, opulently scored, with rich polyphony, are joined by movements which depict with great delicacy the secene around the crib at Bethlehem. This CD includes, also recorded for the first time, the Magnificat by Christoph Graupner, written in 1772 to support his application for the post of Thomaskantor in Leipzig.