SKU: GI.G-EH1024
Text by William Wordsworth.
SKU: ST.PC5
ISBN 9790220223440.
An extraordinary acknowledgement of the esteem with which the composer was regarded in his lifetime, the three surviving odes on the death of Henry Purcell are also in themselves among the finest works by his English contemporaries. John Blow's extended elegy 'Mark how the lark and linnet sing', which sets a poem by Dryden, modestly scored for two voices, two recorders and continuo, is a masterpiece displaying both the contrapuntal skill which Blow had taught Purcell and the florid declamatory style which Purcell had brought to perfection in such numbers as ''Tis Nature's voice' in Hail! bright Cecilia. Henry Hall's 'Yes my Aminta', laid out for similar forces, is an eloquent and finely crafted pastoral dialogue in the pathetic style, with words probably written by the composer himself. Grandest in conception is 'Come, come along for a dance and a song', by Jeremiah Clarke. Setting a conventional pastoral elegy penned by an unknown hand, it marshals three solo voices, chorus and full baroque orchestra in a sequence of contrasting movements - including both the song and the dance to which the title refers - which together form a lament at once arresting and poignant. The three works have not hitherto been presented together, and the Clarke appears for the first time in a modern critical edition - together with Godfrey Finger's hitherto unpublished 'Farewell' Suite in G minor, probably from his own lost ode on Purcell's death.
SKU: CA.3107307
ISBN 9790007044640. Key: G minor / c minor. Language: German/English.
In 1724, Bach composed the cantata Herr, wie du willt, so schicks mit mir [Lord, as you will, do unto me] BWV 73 for the third Epiphany Sunday. Like in some other cantatas from the first annual cycle, the opening movement contains a part for corno which would in fact have been unplayable on an instrument of that era - probably also a reason why Bach allocated this part to the organ in a repeat performance (both variants can be performed using the Carus edition). The unusual choral movement, interrupted by recitatives, is based quite substantially on a short four-note motive which is introduced by the horn; at the end of the chorus, the choir sings it to the words Herr, wie du willt [Lord, as you will] - an avowal which also quite substantially characterizes other movements of the cantata. Score available separately - see item CA.3107300.
SKU: PR.510079380
Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft.Schubert's Fantasy in C major (also known as the Wanderer Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862.This volume comes complete with a detailed preface in English, German, and Hungarian containing new research findings, several manuscript facsimiles, and a critical report in English.
SKU: CA.3107312
ISBN 9790007044671. Key: G minor / c minor. Language: German/English.
In 1724, Bach composed the cantata Herr, wie du willt, so schicks mit mir [Lord, as you will, do unto me] BWV 73 for the third Epiphany Sunday. Like in some other cantatas from the first annual cycle, the opening movement contains a part for corno which would in fact have been unplayable on an instrument of that era - probably also a reason why Bach allocated this part to the organ in a repeat performance (both variants can be performed using the Carus edition). The unusual choral movement, interrupted by recitatives, is based quite substantially on a short four-note motive which is introduced by the horn; at the end of the chorus, the choir sings it to the words Herr, wie du willt [Lord, as you will] - an avowal which also quite substantially characterizes other movements of the cantata. Score and part available separately - see item CA.3107300.
SKU: CA.3107313
ISBN 9790007044688. Key: G minor / c minor. Language: German/English.
SKU: CA.3107311
ISBN 9790007044664. Key: G minor / c minor. Language: German/English.
SKU: CA.3107309
ISBN 9790007044657. Key: G minor / c minor. Language: German/English.
In 1724, Bach composed the cantata Herr, wie du willt, so schicks mit mir [Lord, as you will, do unto me] BWV 73 for the third Epiphany Sunday. Like in some other cantatas from the first annual cycle, the opening movement contains a part for corno which would in fact have been unplayable on an instrument of that era - probably also a reason why Bach allocated this part to the organ in a repeat performance (both variants can be performed using the Carus edition). The unusual choral movement, interrupted by recitatives, is based quite substantially on a short four-note motive which is introduced by the horn; at the end of the chorus, the choir sings it to the words Herr, wie du willt [Lord, as you will] - an avowal which also quite substantially characterizes other movements of the cantata. Score and parts available separately - see item CA.3107300.
SKU: CA.3107305
ISBN 9790007044633. Key: G minor / c minor. Language: German/English.
SKU: CA.3107314
ISBN 9790007044695. Key: G minor / c minor. Language: German/English.
SKU: CA.3107349
Key: G minor / c minor. Language: German/English.
SKU: CA.3910800
ISBN 9790007055400. Key: G minor. Language: German/English.
The baroque cantata libretto by Erdmann Neumeister focuses upon the aged Simeon in the Temple, who desires to leave this world and is longing for the hereafter. Telemann's setting is appealing through its poetry, warmth and ardor, and through the exemplary balance of its overall form. The two chorales which begin and end this seven-movement work are fashioned with particular artistry and care. Formally, the center and heart of the work is a motet-like choral movement to the words Selig sind die Toten, die in dem Herrn sterben (Revelation 14:13) - Also suitable as a cantata for Eternity Sunday, and for funerals and memorial services.
SKU: CA.3910819
ISBN 9790007215415. Key: G minor. Language: German/English.
The baroque cantata libretto by Erdmann Neumeister focuses upon the aged Simeon in the Temple, who desires to leave this world and is longing for the hereafter. Telemann's setting is appealing through its poetry, warmth and ardor, and through the exemplary balance of its overall form. The two chorales which begin and end this seven-movement work are fashioned with particular artistry and care. Formally, the center and heart of the work is a motet-like choral movement to the words Selig sind die Toten, die in dem Herrn sterben (Revelation 14:13) - Also suitable as a cantata for Eternity Sunday, and for funerals and memorial services. Score and parts available separately - see item CA.3910800.
SKU: CA.3910811
ISBN 9790007055424. Key: G minor. Language: German/English.
The baroque cantata libretto by Erdmann Neumeister focuses upon the aged Simeon in the Temple, who desires to leave this world and is longing for the hereafter. Telemann's setting is appealing through its poetry, warmth and ardor, and through the exemplary balance of its overall form. The two chorales which begin and end this seven-movement work are fashioned with particular artistry and care. Formally, the center and heart of the work is a motet-like choral movement to the words Selig sind die Toten, die in dem Herrn sterben (Revelation 14:13) - Also suitable as a cantata for Eternity Sunday, and for funerals and memorial services. Score and part available separately - see item CA.3910800.
SKU: CA.410600
ISBN 9790007096632.
Following the complete collection of Heinrich von Herzogenberg's secular choral music (winner of the Music Edition Prize 2011), Carus has published Volume 2, the complete sacred a cappella choral works. The editor is once again Konrad Klek, who describes in detail the circumstances surrounding the composition of these works. In addition to the five cycles of Liturgische Gesange for various services during the church year, the original liturgical integration of the choral music is explained in detail. The four to eight-voice motet Mitten wir im Leben sind from 1881, composed in reaction to a catastrophic fire, is a first edition from the manuscript. Of the nine additional motets, until now two were not available: a festive five-part motet for Pentecost and the great double chorus for the silver anniversary of Mendelssohn's daughter, Lili Wach. Smaller choral settings for specific occasions (e.g., weddings) round out the picture. The Begrabnis-Gesang (funeral lament) for tenor solo and men's choir at the end of this volume, with his own words as well as music, is a very personal offering by the composer to the widow of his deceased friend, Philipp Spitta. All the works are also available in separate editions.
SKU: CA.3910814
ISBN 9790007055455. Key: G minor. Language: German/English.
SKU: CA.3910805
ISBN 9790007055417. Key: G minor. Language: German/English.
The baroque cantata libretto by Erdmann Neumeister focuses upon the aged Simeon in the Temple, who desires to leave this world and is longing for the hereafter. Telemann's setting is appealing through its poetry, warmth and ardor, and through the exemplary balance of its overall form. The two chorales which begin and end this seven-movement work are fashioned with particular artistry and care. Formally, the center and heart of the work is a motet-like choral movement to the words Selig sind die Toten, die in dem Herrn sterben (Revelation 14:13) - Also suitable as a cantata for Eternity Sunday, and for funerals and memorial services. Score available separately - see item CA.3910800.
SKU: HL.14033692
1. The Native Land of Light (for mixed chorus, SATB) 2. Come lift me up (for mixed chorus, SATB -) -) the second movement may be performed by a children's chorus or by the female voices (SSA) from a mixed chorus Programme Note From my very first aquaintance with these Andersen poems, I was deeply moved by the simple, almost naive, yet evocative imagery, with which Andersen realized his visions, images like: The Melody of the Heart, The Poem of Beauty, A Spiritual Hindustan, Fly, Death, over the Sea of Time, fly to Eternal Summer. Along with this childishness Hans Christian Andersen's poetry encompasses enormous - almost Willim Blake-ish - cosmic visions, in theinterpolations between e.g. reaching the Heaven as opposed to you'll find it in a Rosebud, or the juxtaposition of Everyday Life and Eternal Poetry - which become one. Thus the music came to life in my immediate encounter with these words, which almost sang themselves into my Musical Furnace - if you will. Per Norgard.
SKU: HL.14013676
Bel Piacere (Countless Pleasures) is a song from the opera Rinaldo. It has been arranged for SATB choir by Stanford Robinson, with the words translated into Enlgish by Geoffrey Dunn. A Piano reduction is provided for rehearsal purposes.
G F Handel (1685-1759) was a German-born British composer and organist who spent his life working in London. He is credited with popularising opera in Britain, both importing Italian works, and composing his own. Rinaldo was composed in 1711, and was the first opera written in Italian for the London stage. The libretto was written by the Italian poet Giacomo Rossi.
SKU: CA.3910812
ISBN 9790007055431. Key: G minor. Language: German/English.
SKU: CA.3910813
ISBN 9790007055448. Key: G minor. Language: German/English.
SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
SKU: PR.11540205F
ISBN 9781598062977. UPC: 680160594276. 9x12 inches. Key: Bb mixolydian.
Carter Pann’s Richard and Renée was written as a gift for two musician friends of his, Renée Kershaw and Dick Floyd. The first movement, “Renée’s Reply,†is a musical portrait of the time the composer spent with his friend in Italy. According to Pann, “the music strives for a poignancy inspired by this new event in their relationship accompanied by a backdrop so beautiful it defies words. A writer/composer (anyone, for that matter) cannot live on the Amalfi Coast and remain unchanged, unmarked.†The second movement, “Floyd’s Fantastic Five-Alarm Foxy Frolic,†is in a playful ragtime style, with an ending that the composer describes as “over the top.†Duration: 13’.
SKU: CF.CAS22
ISBN 9780825858208. UPC: 798408058203. 8.5 X 11 inches. Key: G major.
The fast paced rondo has a Dorian flavored melody with hints of quartel (based on an interval of a fourth) harmony to give it a contemporary sound The players are presented with solo opportunities as well as harmonic turns and twists that will keep them.Rondo in the Nick of Time was originally the third movement for a woodwind quintet piece that I wrote in 1990. I have always been fond of this little piece and felt that it would adapt well to larger ensembles. I have also scored this piece for band as part of a suite called Upon a New Horizon.The main theme is based on the Dorian Mode. The use of quartal harmony makes up most of the harmonic material. Each statement of the theme is followed by an episode that increases in length each time. There is a sudden change of style and tempo in the middle of the piece, where fragments of the theme are developed. The title is a play-on-words, since the work contains hemiola effects that alter the feel of the time.As with all of my pieces for strings, the bowings are given only as a reference. Feel free to alter them to fit the needs of your students. I have indicated a rather fast tempo for the piece. I really like the piece to fly, but it will work and sound fine at a slower tempo as well. Just endeavor to keep their energy moving forward.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students enjoy it and find it useful in your program.-Larry ClarkLakeland, FL. 2005.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: