/ Choeur SA Et Piano
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: HL.49010406
ISBN 9783795763619. UPC: 841886003507. 5.25x7.5x0.126 inches. Latin.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: BR.CHB-5171-02
ISBN 9790004410950. 7.5 x 10.5 inches.
In Naples, late in the year 1734, Giovanni Battista Pergolesi obtained a commission from a brotherhood of noblemen to write a new setting of the Stabat mater text in order to replace the work of Alessandro Scarlatti, who had passed away in 1725. This work, too, was to be limited to two vocal parts, which reflects the intimate character of this devotional work. Just a few years after its creation, Pergolesi's Stabat mater setting became known throughout the entire musical world, regardless of all religious boundaries. No other musical work was printed and copied more often in the 18th century than the Stabat mater. The present edition is based on the autograph, which contains corrections and deletions. It seems to have been hastily transcribed from sketches intended for the copyist's use. The publisher thus faced a particularly challenging task here.Besten Dank fur die Bereitstellung von Notenmaterial auf dem letzten Stand fur gerade dieses hervorragende Meisterwerk!(Singende Kirche)Breitkopf stellt zu seiner Ausgabe des Stabat-Maters eine Taschenpartitur zur Verfugung - eine nach den Quellen sorgfaltig erstellte, vorbildliche Ausgabe in ubersichtlichem Druck und ausfuhlichem Vorwort.(Wurttembergische Blatter fur Kirchenmusik).
SKU: CA.7008950
ISBN 9790007167646. Text language: Latin.
Following his early departure from the opera stage in 1829, besides chamber music Gioachino Rossini composed only larger scored works of church music. The Stabat Mater is among these. It was composed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary's pain in the face of the crucified Christ. Time and again the vivid language of this text, a Latin poem probably from the 13th century, has inspired settings by composers including illustrious names such as Pergolesi, Joseph Haydn and Verdi. In 10 movements Rossini unites different forms such as aria, duet, quartet and chorus, an operatic aria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre. For this arrangement, the vocal score (CV 70.089/03), choral score (CV 70.089/05) and parts for strings and timpani from the original orchestral version can also be used. Score available separately - see item CA.7008900.
SKU: HL.48024526
ISBN 9781784544409. UPC: 888680925765. 9x12 inches. Text: Jacopone da Todi.
Composed in 2015, Stabat Mater was commissioned by the Genesis Foundation for Harry Christophers and The Sixteen. Scored for mixed chorus and string orchestra it is a long-awaited sequel to the early masterpiece Seven Last Words from the Cross (1993), for the same forces; indeed, the later work begins with the pianissimo 'dying breaths' with which the earlier score so unforgettably closes. Cast in four movements Stabat Mater has a duration of 53 minutes. Following the première London's Financial Times commented that the composer “speaks of a 'painful world of loss, violence, and spiritual desolation' [...]. Both sides of MacMillan are to be found here,the devotional and the painter of bold, dramatic canvases - the former in the ethereal writing for solo and ensemble voices, the latter in the lacerating blows and feverish anxieties depicted in the string ensemble.&rdquo.
SKU: HL.48024551
ISBN 9781784544393. UPC: 888680916695. 7.25x10.0x0.472 inches. Text: Jacopone de Todi.
Composed in 2015, Stabat Mater was commissioned by the Genesis Foundation for Harry Christophers and The Sixteen. Scored for mixed chorus and string orchestra, it is a long-awaited sequel to the early masterpiece Seven Last Words from the Cross (1993), for the same forces; indeed, the later work begins with the pianissimo 'dying breaths' with which the earlier score so unforgettably closes. Cast in four movements, Stabat Mater has a duration of 53 minutes. Following the premiere London's Financial Times commented that the composer speaks of a 'painful world of loss, violence, and spiritual desolation'. Both sides of MacMillan are to be found here, the devotional and the painter of bold, dramatic canvases - the former in the ethereal writing for solo and ensemble voices, the latter in the lacerating blows and feverish anxieties depicted in the string ensemble..
SKU: CA.7008904
ISBN M-007-24968-7. Latin.
Following his early departure from the opera stage in 1829, besides chamber music Gioachino Rossini composed only larger scored works of church music. The Stabat Mater is among these. It was composed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary's pain in the face of the crucified Christ. Time and again the vivid language of this text, a Latin poem probably from the 13th century, has inspired settings by composers including illustrious names such as Pergolesi, Joseph Haydn and Verdi. In 10 movements Rossini unites different forms such as aria, duet, quartet and chorus, an operatic aria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre. This work is now available in carus music, the choir app! Score available separately - see item CA.7008900.
SKU: UT.TIB-13
ISBN 9790215318458. 9 x 12 inches.
A talented and complex figure with a character of rare depth and irreproachable morals, Fermo Bellini lived a life rich in experiences in the most disparate cultural fields, building his period in music between 1839 and 1850. A pupil of the distinguished violinist and conductor Gaetano Zocca in Ferrara, he specialized on the trombone, perhaps encouraged by his teacher, who had invented a new form of bow for this instrument. His son relates his success in the various theatres where he performed and in Milan, where he was held in esteem both as a composer and a theorist, transcribing opera scores particularly for wind instruments according to the fashion of the day. He was musically productive from 1833, the date of the printing of his first work continuing til the middle of the century when his passion for literature and social comment took on greater significance. Treatises, duets, trios, quartets and divertimenti demonstrate his considerable mastery and knowledge of wind instruments. such that it made him the leading exponent of the Milanese scene: works which were published by the major publishers of Milan such as Francesco Lucca and the Ricordi family confirm the reputation and success that Bellini achieved there.
SKU: SU.00220557
This CD Sheet Music™ collection makes available 85 major choral works by 32 composers from the Renaissance to the early 20th century Works Include: Berlioz (L'Enfance du Christ, Requiem, Te Deum); Borodin (Polovetzian Dances & Choruses); Bruckner (Masses Nos. 1, 2, 3, Requiem, Te Deum); Buxtehude (Magnificat, Missa Brevis); Carissimi (Jephtha); Cherubini (Requiem); Debussy (La Damoiselle Élue); Delius (Sea Drift); Dubois (Seven Last Words of Christ); Dvorák (Mass in D major, Requiem Mass, Stabat Mater, Te Deum); Elgar (The Dream of Gerontius, The Kingdom); Fauré (Requiem); Franck (Psalm 150, Solemn Mass); A. Gabrielli (Missa Brevis); Gaul (Holy City); Gounod (Gallia, Mass of the Sacred Heart of Jesus, Messe Solenelle); Grieg (Peer Gynt); Liszt (Hymn to the Virgin Mary, Missa Choralis, Missa Solemnis, Via Crucis); Mahler (Symphony No. 8); Palestrina (Missa Papae Marcelli, Missa Ave Regina Caelorum, Missa O Magnum Mysterium, Missa L'Homme Armé); Pergolesi (Stabat Mater); Purcell (Ode on St. Cecilia's Day, O Sing Unto the Lord, Te Deum); Rachmaninoff (The Bells); Rossini (Petite Messe Solennelle, Stabat Mater); Saint-Saëns (Christmas Oratorio, Mass for Four Voices, Messe de Requiem); Schumann (Messe, Neujarhslied, Requiem8, Paradise and Peri); Schütz (Christmas Oratorio, Seven Last Words); Stainer (The Crucifixion); Vaughn Williams (Mass in G minor, Five Mystical Songs, A Sea Symphony); Verdi (Requiem, Hymn of Nations, Four Sacred Pieces); Vivaldi (Gloria), and more Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 5400+ pages; 2 CDR Set
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: HL.48024592
ISBN 9781784540685. UPC: 888680931285. 9.0x12.0x0.226 inches.
This 17-minute choral sequence is scored for mixed chorus and organ, with optional percussion, and presents five of the Latin motets’which occur at the end of movements in MacMillan's St John Passion (2007): Astiterunt reges terr, Judas, mercator pessimus, Peccantem me quotidie, Crucifixus etiam pro nobis, Stabat Mater. In the last of these, MacMillan quotes Bach's Passion Chorale; Bach's original is therefore included as an optional opening movement in the sequence, to be sung in German or English. The sequence was selected by Nigel Perrin (Bath Camerata), who comments, “I chose these movements because they stand on their own and are effective as 'motets' with organ accompaniment. The order of movements forms a sort of chronological sequence. Although the keys do not relate I felt that this did not matter as each movement is completely different, creating its own sound-world and emotion. I have not added to the original settings; rather, I have removed material so that the choral construction can stand alone.†A Choral Sequence from the St John Passion represents a significant addition to the repertory of devotional works for Passiontide and is appropriate for church and concert performance alike.
SKU: HL.48024826
ISBN 9781784545673. UPC: 840126902464. 7.25x10.25x0.302 inches. Psalm 51.
Miserere: Songs of Mercy and Redemption is a sequence of reflections on the theme of mercy, in response to the recent and ongoing tragic conflicts in the Middle East and other regions. Woven around verses selected from Psalm 51, the inspiration for composers from Allegri to Part, the work features an eclectic range of settings of Rumi, St Thomas Aquinas, Isaac Watts, Carol Barratt and Dylan Thomas. Scored for countertenor (or mezzo-soprano), solo cello, mixed chorus, strings, harp and percussion, Miserere: Songs of Mercy and Redemption is a profound meditation on humanity and atonement, from the composer of The Armed Man: A Mass for Peace, Requiem, The Peacemakers and Stabat Mater.