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Verklärte Nacht : Metamorphosen Bernius

Two very different programmatic works: Schoenberg’s romantic Verklärte Nacht op. 4 [1899, version for string orchestra 1943] and Metamorphoses for 23 solo strings [1945] by Richard Strauss, which reflects his sorrow at the destruction of the Second World War.

Hook: Six Sonatas op. 54

This early classical sonata in the two-movement form which was typical for that time, offers the flutist as well as the string player a rewarding challenge. Since the technical difficulties are limited, these pieces are especially suited for students.

C. P. E. Bach: Concerti per il Cembalo

“Between the energetic tutti and the soft passages an exciting range is revealed without having to sacrifice a cultivated sound and tonal beauty. Rather, the string ensemble is unified, without sounding stiff, and in the slow movements … it is capable of playing in soft, if restrained song.”

Psalm 121 : Based On Beethoven?S String Quartet No. 13, 5Th Mov. - Op. 130,5

Freund Hein : Based On Beethoven?S String Quartet No. 15, 3Rd Mov. - Op. 132,3

Die Kinder des Monsieur Mathieu : Lieder aus dem Film Les choristes und weitere Lieder für Kinderchor

The sensational success of the film Les choristes [The Chorus] rests, not least, on its moving music. Some of the most beautiful songs from the film are presented here in arrangements for two voices by the Kinderchor der Staatsoper Stuttgart and the Klavierduo Stenzl as well as the Lotus String Quartet, conducted by Johannes Knecht. In addition to the film music works by Johannes Knecht, Vic Nees and Manfred Züghart are performed.

In Exitu Israel : RV 604

This is the individual Organ part for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the Choral Score for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the individual Viola part for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the set of complete Orchestral parts for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the individual part for Violin 2 for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the individual Basso Continuo part for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the individual part for Violin 1 for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

Schubert - Beethoven - Hartmann [Bernius]

Schubert's "Ouvertüre in C minor" D 8 and Beethoven's "String Quartet in F Major" op. 135 are borderline cases of their genres. They were composed for chamber music ensembles, but through their clear orchestral traits they soon found their way into the repertoire in the orchestral versions recorded here. With its use of quotations from composers whose works were forbidden after 1933, the "Concerto funebre" demonstrates Karl Amadeus Hartmann's resistance against the political situation as it existed in 1939, the year the work was composed. Partially atonal in conception, the Concerto funebre, with its use of varied musical material, grips the listener with immediacy. Not least,the emotionally-tinged interpretation of this Concerto by the Streicherakademie Bozen, conducted by Frieder Bernius, makes a contribution to this character.

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 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 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.

Symphoniae Sacrae I : Complete recording, Vol. 14

Heinrich Schütz spent his whole life searching for that which is new in music. The Symphoniae Sacrae I, which were presented in 1629, also testify to this. Schütz composed them as a result of the impressions made upon him by his second journey to Venice. In addition to the numerous Italian stylistic traits which can be traced back to Monteverdi, the 20 concertos all in Latin particularly impress with their great variety of timbres: solo pieces, duets and trios for all voice type are combined with diverse string and wind instruments and are governed by the emotional and expressive world of the text. The recording impressively continues the award-winning Schütz completerecording with the Dresdner Kammerchor conducted by Hans-Christoph Rademann with the customary top-quality soloists such as Dorothee Mields, Felix Schwandtke and others.

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.

Edizione Nationale delle Opere di Giacomo Puccini : Vol II/1 - Instrumentalwerke

As the second volume of the "Edizione Nationale delle Opere di Giacomo Puccini," a critical new edition of his compositions for orchestra has been published in the series "Musical Works." In addition to the familiar Preludio a orchestra [SC 1], Preludio sinfonico [SC 32], Trio in Fa [SC 52] and Capriccio sinfonico [SC 55], the volume contains a short but unknown Adagetto [SC 51], probably a sketch of a composition from Puccini's student years in Milan. And, for the first time ever, it also includes an orchestral version of the Scherzo in La [SC 34] from 1882, a work which was just recently discovered. The Scherzo, known until now only in a version for string quartet, complementsthe Trio in Fa, which is scored for the same orchestral forces, to form an independent movement.

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.

Magnificat In B

Francesco Durante's Magnificat in B flat major is one of his most important works and also one of the most siginifcant settings of the Magnficat text, here in cantata form. This work displays a mastery of the polyhonic style and though the use of certain pre-classical, "modern" elements its various forms never sound archaic, rather the work presents a synthesis leading to a unique style. For a performance during the Christmas season, Christmas hymns can be inserted between each of the individual movements. Six arrangements of such hymns are also available as octavos (Carus 10.270/06): - Johann Crüger: Nun komm, der Heiden Heiland - Cornelius Freundt: Wie schön singt uns der EngelSchar - Johann Sebastian Bach: Uns ist ein Kindlein heut geborn - Erhard Bodenschatz: Joseph, lieder Joseph mein - Johann Crüger: Fröhlich soll mein Herze springen - Gregor Joseph Werner: Der Tag, der ist so freudenreich The string parts for these movements are included in the complete orchestral parts Carus 10.270/19. This is the individual Organ part.Francesco Durante's Magnificat in B flat major is one of his most important works and also one of the most siginifcant settings of the Magnficat text, here in cantata form. This work displays a mastery of the polyhonic style and though the use of certain pre-classical, "modern" elements its various forms never sound archaic, rather the work presents a synthesis leading to a unique style. For a performance during the Christmas season, Christmas hymns can be inserted between each of the individual movements. Six arrangements of such hymns are also available as octavos (Carus 10.270/06): - Johann Crüger: Nun komm, der Heiden Heiland - Cornelius Freundt: Wie schön singt uns der EngelSchar - Johann Sebastian Bach: Uns ist ein Kindlein heut geborn - Erhard Bodenschatz: Joseph, lieder Joseph mein - Johann Crüger: Fröhlich soll mein Herze springen - Gregor Joseph Werner: Der Tag, der ist so freudenreich The string parts for these movements are included in the complete orchestral parts Carus 10.270/19. This is the individual Organ part.

Edizione Nat. delle Opere di Puccini, Bd. III/2

Critical edition of Puccini’s only Mass. Based on a comparison with the autograph score, numerous errors were corrected which had been present in previous editions of this Mass. In preparing this edition, Puccini’s additions to the instrumentation in the Benedictus and his new version of the tenor aria “Gratias agimus” from the Gloria have both been taken into consideration. The newer version of the tenor aria changes the character of the piece to such a great degree, that it has been included separately as an appendix in this edition. The doubling of the brass and string parts, the addition of two French horns and a harp, as well as the addition of an instrumental postludewhich consists of a repetition in the violoncelli of the main section of the aria, leads one to believe that possibly Puccini considered having this Aria performed outside the context of the Mass as a separate concertante piece.

Camille Saint-Saëns: Oratorio de Noël [Speck]

To equate the concept of the “Christmas oratorio” with the work of J. S. Bach distorts our view of the great variety to be found within this genre. Thus, the Oratorio de Noël of Camille Saint-Saëns is an important and enriching part of the repertoire. This ten-movement work is presented by an unusual ensemble: The vocal part, with string quintet and organ accompaniment, is augmented by the special sonorous effect of a harp, which lends a special atmosphere to the piece. This atmosphere evoked through gentle harmonies, straightforward choral settings and the almost chamber music-like use of the orchestra is interrupted by only a few dramatic passages. The resultingtensions lead to the engaging charm of this work, which also explains the worldwide success of the oratorio. The Vocalensemble Rastatt, Les Favorites and the organist Romano Giefer under the baton of Holger Speck show, with their distinct interpretation, that the concept of the “Christmas oratorio” encompasses many more impressive facets than is often assumed.

Joseph Martin Kraus: Streichquartette

Kraus's dates of birth and death are practically identical with those of Mozart: Both composers were born in 1756 and Kraus died just one year after his great contemporary. Thus, posterity has begun to regard him as the “Odenwald Mozart.” However, that which to some listeners may appear to be “ like Mozart” belonged, for the most part, to the common musical language of the era which Kraus shared with Mozart and with many other composers. In all the essential aspects of his creative output Kraus proves to be a composer of great originality, which is clearly evident in his string quartets. Three of the works on this CD are from the “Six Quatuors Concertants” op. 1, publishedin 1784 by the Viennese publisher Hummel. These quartets appeared in two separate editions: One edition was printed with the customary French title French, while the other contained a title page printed in Swedish, with a dedication to Kraus’s royal patron and employer, Gutav III. The remaining two quartets on this recording have survived only as autographs. The Salagon Quartet is an ensemble with four experienced and dedicated chamber musicians who have performed throughout the world in the most renowned chamber orchestras and ensembles. Their artistic ideal is based on the transparent, eloquent and richly-colored manner of playing which has developed through the use of instruments appropriate to the historical period and through the careful consideration of historical performance practice over the past few decades.