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Requiem KV 626 : Arman Version

Requiem KV 626 : Arman Version

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

SEK 1936.00
1

Requiem KV 626 : Arman Version

Requiem KV 626 : Arman Version

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

SEK 176.00
1

Requiem KV 626 : Arman Version

Requiem KV 626 : Arman Version

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

SEK 250.00
1

Lord, now lettest thou thy servant depart : Deutsches Nunc dimittis II - A Dorian - SWV 433

Lord, now lettest thou thy servant depart : Deutsches Nunc dimittis II - A Dorian - SWV 433

Schütz set the German Nunc dimittis, the canticle for liturgical Vespers, on the death of the Saxon Elector Johann Georg I in 1656 “in two different ways” and had these printed. But unfortunately the 1st soprano part is lost. In this edition it has been reconstructed by Helmut Lauterwasser for the Stuttgart Schütz Edition. In another edition, Carus also offers the historic reconstruction of the part made by Heinrich von Herzogenberg in 1892 (available as Carus 20.433). Separate edition from Vol. 19 of the Stuttgart Schütz Edition (Complete Edition Carus 20.919).

SEK 163.00
1

Lux aeterna ... for 10-16 parts. : Werke von Ligeti, Scarlatti, Boyd und Mahler

Lux aeterna ... for 10-16 parts. : Werke von Ligeti, Scarlatti, Boyd und Mahler

A selection of works which shows the courage to try the unusual: Ligeti’s Lux aeterna and Boyd’s As I crossed a bridge of dreams share a flowing of harmonic fields into one another as if in slow motion. On the other hand, Ligeti’s use of the technique of dividing an apparently endless flow of sound, with its related intervallic structures, into comprehensible periods, shows similarities to Scarlattis method of employing motives whose intervallic structure are interrelated. For Ich bin der Welt abhanden gekommen Gottwald transferred Ligeti’s technique of vocal writing to his arrangement of the Mahler Lied.

SEK 249.00
1

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

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!

SEK 345.00
1

Osteroratorium BWV 249 & Himmelfahrtsoratorium : BWV 11

Osteroratorium BWV 249 & Himmelfahrtsoratorium : BWV 11

Johann Sebastian Bach himself thought very highly of his Easter Oratorio BWV 249 of 1725. Even though it never attained the popularity of the Christmas Oratorio, Bach himself performed it four times during his lifetime. Some parts of the oratorio originated as parody movements from the birthday cantata "Entfliehet, verschwindet, entweichet, ihr Sorgen" for Christian, Duke of Saxe-Weißenfels. The second work on this CD, the Ascension oratorio "Lobet Gott in seinen Reichen" BWV 11 [1735] also goes back to another work, namely "Froher Tag, verlangte Stunde," a no longer extant cantata composed for the inauguration of the new St. Thomas’s School. In his recording, Frieder Berniusdemonstrates at the highest level, that both these oratorios are masterpieces which do not need to hide behind their better known sibling works.

SEK 249.00
1

BACHArkaden

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.

SEK 249.00
1

Die Bach-Söhne [Box mit 4 CDs]

Die Bach-Söhne [Box mit 4 CDs]

“This music is in the best of hands with the Freiburg Baroque Orchestra” is the qualified judgment of the trade magazine Fono Forum about the Freiburg Baroque Orchestra’s “Bach-Söhne” [Sons of J.S. Bach] series issued by Carus-Verlag. With their recordings of numerous orchestral works and concerts by all four of Johann Sebastian Bach’s sons, the Freiburg Baroque Orchestra did justice to its trademark a high standard of performance, pleasure in experimentation and a passion for music-making time and again. This series, which has won several awards, is now available for the first time in a box set of 4 CDs. This results in an impressive panorama of the era that liesbetween Baroque and Classic.

SEK 355.00
1

Paderborner Chorbuch : Geistliche Gesänge des 19. Jahrhunderts für Männerchöre herausgegeben vom Erzbistum Paderborn

Paderborner Chorbuch : Geistliche Gesänge des 19. Jahrhunderts für Männerchöre herausgegeben vom Erzbistum Paderborn

A many-faceted cross section of interesting works for men’s choir from the Romantic era. - Contains works by Cornelius, Bortnjanskij, Fauré, Hauptmann, Hiller, Spohr, Mendelssohn Bartholdy, Loewe, Rinck etc., many of whom in world\\\'s premiere editions. - This valuable, representative collection of works will enable choirs to rediscover pieces for performance which today are scarcely known. - The works range from easy to mid-level difficulty. - Genuine rarities: the collection contains music and texts of the highest quality which are no longer accessible in other editions. - In addition to choruses for three voices modeled on the works of the classic era [e.g., Spohr,Klein and Rinck], there are also easy to perform compositions scored for large ensembles.

SEK 267.00
1

Missa pro defunctis (Requiem)

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg 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 thesolo 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

SEK 151.00
1

Missa pro defunctis (Requiem)

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg 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 thesolo 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

SEK 151.00
1

Missa pro defunctis (Requiem)

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg 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 thesolo 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

SEK 75.00
1

Missa pro defunctis (Requiem)

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg 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 thesolo 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

SEK 151.00
1

Missa pro defunctis (Requiem)

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg 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 thesolo 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

SEK 129.00
1

Historical Performance Practice in Organ Playing : Part 1. Baroque and Classical Era

Historical Performance Practice in Organ Playing : Part 1. Baroque and Classical Era

Volume 1 is organized into two main sections: Part A treats general technical and musical principles, while Part B explores the stylistic differences of interpretation between music of the early and high Baroque eras, the organ music of J. S. Bach and the late Baroque, as well as the organ music of the Classic era. The enclosed volume of music contains a selection of the works referred to in the book. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed 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 resultof 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.

SEK 939.00
1

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

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.

SEK 939.00
1