C-Dur. Par JOSEPHSON NORS S.. Langue : Latin/ Répertoire / Choeur SATB et Orgue

Krönungsmesse-Composed in 1779 Mozart?s ?Coronation Mass? in C major K.317 is one of the most popular settings of the Ordinary thanks to its festive character and the wealth and variety of its musical ideas. This arrangement for solo voices chorus and organ is based on the Urtext of the New Mozart Edition and makes the work available in all its radiant beauty to choruses and church choirs with limited financial resources. The ?concertante? organ part prepared by Martin Focke from Mozart?s orchestral accompaniment does full justice to the beauty of the original.Self-contained version with organ instead of orchestraIdeal for church services and concertperformancesStraightforward and easy-to-play organ partThe Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed.The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

c-Moll-Cherubini's Requiem in C minor for SATB and Orchestra.Cherubini’s Requiem in C minor for mixed choir (without vocal soloists) and orchestra which is presented here in a critical new edition is among the most significant contributions to this genre in the 19th century. It was composed in Paris in 1816 and within a short time it became well known. Musicians such as Beethoven Schumann and Brahms held it in high esteem because of the work’s superior compositional construction orchestration mastery of form and the balance in proportion between text and music.

C. Harry Causey has set Cesar Franck's Panis Angelicus with an exquisite keyboard part and a complementary choral arrangement. Along with the traditional text in English is an optional Christmas text.

Cöthen Funeral Music BWV 244a-The so-called Köthener Trauermusik (Cöthen Funeral Music) was performed at the memorial service for Prince Leopold of Anhalt Cöthen on 24 March 1729. The history of reconstruction begins in the second half of the nineteenth century. In 1873 Wilhelm Rust co-editor of the first Complete Bach Edition and subsequently Thomaskantor established the fundamental relationship between the Köthener Trauermusik on the one hand and the St. Matthew Passion and Trauerode BWV 198 on the other. In the service of concert practice it is the intention of this attempted reconstruction to enrich the repertoire of church music for Passiontide and the period aroundthe Sunday before Advent on which the dead are commemorated. It is also hoped that it will contribute to the understanding of Bach?s ?Great Passion? whose sister work the Köthener Trauermusik is.

Wolfgang Amadeus Mozart's Mass In C Minor K. 427 arranged by H. C. Robbins Landon for SATB choir.

C-Dur-Jan Dismas Zelenka's Magnificat in C for SATB.The 'Magnificat' presented here is taken from the psalm collection that Zelenka compiled in 1735. Most of these 'psalmi varii' that also include settings by other composers appartenly go back to compositions that Zelenka had performed in the Dresden Court Church in the mid-1720s.