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| Nun juble laut, all Kreatur (1959)
Choral SSATB
Barenreiter
Mixed choir: SSATB, descant recorder, alto recorder, bass recorder, strings (Mix...(+)
Mixed choir: SSATB, descant recorder, alto recorder, bass recorder, strings (Mixed choir: SSATB, Descant recorder, Treble recorder, Bass recorder, Strings) SKU: BA.BA03983 Geistliches Konzert - Lobgesang in der Jahresfeier der Weihnacht für 5 Solostimmen oder Chor und Instrumente. Composed by Johannes H. E. Koch. Stapled. Score, Set of parts. Composed 1959. Baerenreiter Verlag #BA03983_00. Published by Baerenreiter Verlag (BA.BA03983). ISBN 9790006442270. 27 x 19 cm inches. Text: Kurt Muller-Osten. Geistliches Konzert - Lobgesang in der Jahresfeier der Weihnacht fur 5 Solostimmen oder Chor und Instrumente Print on demand (POD). $26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Open thou mine eyes
Choral SSATB
SSATB, Organ - Intermediate
MorningStar Music Publishers
SSATB choir and organ - Intermediate SKU: MN.56-0035 Composed by Howard G...(+)
SSATB choir and organ - Intermediate SKU: MN.56-0035 Composed by Howard Goodall. 21st Century. Instrument parts. MorningStar Music Publishers #56-0035. Published by MorningStar Music Publishers (MN.56-0035). UPC: 688670220401. English. Psalms 119:18, 33-5. Selected verses of Psalm 119 are set for SSATB voices and organ. Unexpectedly, the music is rhythmic and angular, yet still lyrical. This piece would be a memorable one for any accomplished ensemble. The organ part is a non-stop tour de force and requires a very capable player. The choral parts are also a bit challenging in spots. The combined effect is worth it and we think your choir and your listeners will acclaim the results. $3.70 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Six Motets for Christmas
Choral SSATB - Intermediate
Barenreiter
Mixed choir: SSATBB - Level 3 SKU: BA.BA08957-91 Edited by Gerd-Peter Mun...(+)
Mixed choir: SSATBB - Level 3 SKU: BA.BA08957-91 Edited by Gerd-Peter Munden. Stapled. Choral score, anthology. 32 pages. Baerenreiter Verlag #BA08957_91. Published by Baerenreiter Verlag (BA.BA08957-91). ISBN 9790006525522. 27 x 19 cm inches. Text Language: German, English, Latin. Year after year, during Advent and the Christmas season, compositions are sought which present well-known carols in a new light, whether it be compositions set for small or larger groups, for children or adults, with or without accompanying keyboard instruments. This collection by Gerd-Peter Munden presents carols in new settings as a welcome addition to the Christmas literature and will enrich the repertoire of an adults' or children's choir.
- Well-known Advent and Christmas carols in new settings
- With texts in German and English
- With short Latin introductions as a part of each motet
- Ideal for a children's or adults' choir during the Christmas season
Contents
There comes a galley, laden / Es kommt ein Schiff, geladen
O saviour, open heaven's gate / O Heiland, reiss die Himmel auf
O Lord, how shall I meet you / Wie soll ich dich empfangen
Angels from the realms of Glory / Hort der Engel helle Lieder
As I was watching o'er my sheep / Als ich bei meinen Schafen wacht
Good Christian men rejoice / Nun singet und seid froh
The Editor
Gerd-Peter Munden is one of the most creative German church-musicians today. From 1992 to 1999 he worked as the cantor in Minden, where he also directed the music school for choristers. From 1999 he has been the Cathedral-Cantor at the Braunschweig Cathedral and the director of the cathedral school for choristers. He is the initiator and artistic director of a successful school project throughout Germany encouraging youngsters to sing.
$9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Concerti I
Choral SSATB
SSATB, Orchestra, Basso continuo
Barenreiter
SSATB choir/orchestra (Mixed choir: SSATB, Orch) SKU: BA.BA10557 Composed...(+)
SSATB choir/orchestra (Mixed choir: SSATB, Orch) SKU: BA.BA10557 Composed by Johann Pachelbel. Edited by Thomas Röder. This edition: Edition of selected works, Urtext edition. Linen. Johann Pachelbel. Complete Vocal Works, Volume 7. Edition of selected works, Score, anthology. Baerenreiter Verlag #BA10557_00. Published by Baerenreiter Verlag (BA.BA10557). ISBN 9790006553068. 33 x 25.8 cm inches. Language: German. The Complete Vocal Works Johann Pachelbel is known today as a composer of organ music and of a world-famous instrumental canon which frequently features in concert programmes and recording catalogues. However, the same can be said of only a few of his vocal compositions. At most, the motets appear occasionally in church music repertoire. Pachelbelâ??s arias, vocal concerti and large-scale Magnificats have received little attention up to now.
Church musicians and musicologists have long wished for a critical edition of these important works, which survive in Pachelbelâ??s manuscript and were largely composed in his main places of work, Erfurt and Nuremberg . As always with such ventures, new discoveries are to be expected regarding the body of works, source material and the context of the works. This concerns not only beautiful music, but rather a deepening of our understanding of Pachelbel as a key figure between southern and central German traditions, and the recognition of an oeuvre which has all too often been pushed into the shadows by the mighty Bach.
The Critical Edition
The edition aims to make available all of Johann Pachelbelâ??s surviving vocal works in the best possible form. It is edited by the Institut für Musikwissenschaft at the University of Erlangen-Nuremberg and the Institut für Kirchenmusik at the Kunstuniversität Graz.
Two volumes per year are planned.
As a chronological order is not possible in many cases, the individual works have been arranged according to scoring within their groups. Fragments and works where Johann Pachelbelâ??s authorship is doubtful appear at the end of the respective group.
Each volume includes an introduction (Ger/Eng) and a Critical Commentary (Ger). Format 25.5 x 32.5 cm; cloth-bound
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions
... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding
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| Giona. Oratorio for 5 Voices (SSATB), Strings and Continuo (Modena 1689). Critical Edition
Choral SSATB
SSATB, Orchestra, Basso continuo
Ut Orpheus
Choir; Orchestra; Early Music SKU: UT.TME-1 Composed by Giovanni Battista...(+)
Choir; Orchestra; Early Music SKU: UT.TME-1 Composed by Giovanni Battista Bassani. Edited by Elisabetta Pasquini. Hardback (Cloth Hard Cover). Tesori Musicali Emiliani (Emilian Musical Treasures). Classical. Ut Orpheus #TME 1. Published by Ut Orpheus (UT.TME-1). ISBN 9790215316096. 9 x 12 inches. Performance Material on Hire
[Solo: SAATB - Str - Bc]
Thanks to its patron the Duke Francesco II, Modena became a capital city worldwide for the oratorio genre: renowned maestro di cappella in Ferrara, also Bassani wished to offer to the Duke his own work, setting aside for him the summit of his melodic and dramaturgical inventiveness.
According to the documents that we have, the performance of Giona was Bassani's debut at the court of Francesco II. Born in Padua around 1650, the composer carried out the main part of his activities in Ferrara, where he was organist (probably from 1667), and maestro di cappella at the Accademia della Morte (from 1683), and subsequently also at the Cathedral (from 1686); he also became a member of the Accademia Filarmonica of Bologna (in 1677) and was committed to Alessandro II Pico, Duke of Mirandola and Marquis of Concordia. In 1712 he moved to Bergamo, where he was maestro di cappella at S. Maria Maggiore; he died there on 1st October 1716. Before his commission in Modena, the <> - as he was often called at that time - had already printed seven instrumental and vocal works as well as a few operas and oratorios.
$214.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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| Heinrich Schütz: Gib
unsern Fürsten und aller
Obrigkeit no.5 SWV373:
SATB: Vocal
Choral SSATB
Barenreiter
From Geistliche Chor-Music-Published in 1648 Heinrich Schütz’s “Ge...(+)
From Geistliche Chor-Music-Published in 1648 Heinrich Schütz’s “Geistliche Chor-Music” is still regarded as one of his seminal works. A two-volume performance edition based on Werner Breig’s revised new text is available (BA 5901/BA 5902).Now selected motets are being issued in separate volumes. They offer a modern notation and layout retain the original keys and include an integrated figured bass realisation.In keeping with contemporary performance practice the ‘choral’ parts can be performed by instruments as well as voices. Instrumental parts with underlaid words may be purchased separately for performances with instruments (seeperformance material for BA 5901 and BA 5902).- Gib unsern Fürsten und aller Obrigkeit No.5 SWV 373 from 'Geistliche Chor-Music'- Cantus Quintus Countertenor Tenor Bassus Basso continuo ad lib.
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| Dietrich Buxtehude:
Membra Jesu nostri: Mixed
Choir
Choral SSATB
SSATB, Piano [Sheet music]
Carus Verlag
For Passion in 1680 Dieterich Buxtehude composed his largest work in the style o...(+)
For Passion in 1680 Dieterich Buxtehude composed his largest work in the style of an oratorio the cantata cycle Membra Jesu nostri and he dedicated it to his friend the Swedish Court Music Director Gustav Düben. In each of the seven separate cantatas which in principle follow the scheme ?instrumental introduction ? choral movement with biblical texts ? vocal soli (aria) with a sacred text from the Middle Ages ? repetition of the choral movement ? the feet knees hands side chest heart and face of the crucified Christ are interpreted allegorically. The original scoring for strings in No. VI ('Ad Cor') consists of a consort of five gambas. If this group of instruments isnot available then violins I/II can be substituted for gamba I/II and the gamba V parts can be played by the violone (the music for these substitute parts is contained in each respective parts) so that in this case only two gambas (III IV) are needed. For such a performance only two copies of the Gamba performance score (Carus 36.013/16) are required.
Pre-shipment lead time: In Stock | | |
| Jonathan Dove: Arion and
the Dolphin: Mixed Choir:
Vocal Score
Choral SSATB
Peters
Music runs through the story of Arion which begins with a singing competition i...(+)
Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship. At the end of his song he jumps overboard and one of the dolphins carries him to safety. So Arion’s musical gift gets him into trouble but it is also his salvation. The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where “it soon succumbed to a life of luxury.” However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there. Apollo placed the dolphin among the stars and next to it Arion’s lyre in recognition of his musical skill. This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children’s voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana a work that as well as using children’s chorus features a solo countertenor. I thought the magical otherworldly quality of this
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