Missa latina

Solo Soprano voice, SATB Choir (with choral pitches and choral solo), Violin, Bandoneon (Accordion), Electric Piano, Contabass, Drums, Percussion - Level 4

SKU: CA.2800703

Composed by Bobbi Fischer. Sacred vocal music, Sacred vocal music - Jazz, Masses, Latin. Vocal score. 80 pages. Duration 35 minutes. Carus Verlag #CV 28.007/03. Published by Carus Verlag (CA.2800703).

ISBN 9790007171551. Language: Latin.

The Missa latina is a complete setting of the Latin Mass for solo soprano, large mixed choir (SATB divisi as well as soloists from the choir) and a band consisting of violin, bandoneon (accordion), piano, double bass, drums and percussion. The word latina not only refers to the Latin text, but also to the musical style which makes use of Latin-American rhythms. Thus elements from Argentinian tangos stand side by side with Caribbean rhythms and Latin jazz with enough space provided for instrumental improvisations. Score available separately - see item CA.2800700.

Orchestra (Solo S, Coro SATB (mit Stimmteilungen), Alt-Sax/ Fl (1 Bläser), 2 Vl, Pfte, Cb, Perc (3 Spieler: Drum Set, Congas, Claves, Güiro, Maracas, Shaker)) - Grade 4

SKU: CA.2720605

Composed by Bobbi Fischer. Choral Score. Composed 2017. Duration 33 minutes. Carus Verlag #2720605. Published by Carus Verlag (CA.2720605).

ISBN 9790007330392. Latin.

The Magnificat was commissioned in 2017 by the Landesakademie für die musizierende Jugend in Baden-Württemberg for the Choir of the International Choir Festival C.H.O.I.R. In this setting of the hymn of praise from St Luke’s gospel, we hear the solo soprano as the voice of Mary. The work draws on the wealth of Afro-Caribbean rhythms. The first movement gives a hymn-like expression to the message of the text with the tremendous energy of the Cuban salsa. There are many examples of the relationship between word and music throughout the work. An example of this is the passage Deposuit potentes (“He hath put down the mighty from their seat and hath exalted the humble and meek”). In this passage, a 9-part canon vividly portrays the words et exaltavit and deposuit through chromatic passagework in contrary motion extending over an octave.

With this work composer Bobbi Fischer has created a musical bridge between Europe and South America as well as stylistic links to his Missa latina (Carus 28.007). The rhythm group (piano, bass, drums, and percussion) is identical; new instrumental colors from the Latin world are added with two obbligato violins and one reedplayer (alto saxophone/flute) – in the place of the bandoneon and violin used in the Missa latina.

The Magnificat is also available on CD (Carus 83.483). Score available separately - see item CA.2720600.

Orchestra (Soli SB, Coro SATB (teilw. geteilt/partly divisi), [Gde/congregation], Tr, Tsax, Pfte, Bass, Glsp, Vib, Drums, Perc, Timp) - Grade 3

SKU: CA.2718803

Composed by Bobbi Fischer. Vocal score. Duration 40 minutes. Carus Verlag #2718803. Published by Carus Verlag (CA.2718803).

ISBN 9790007250911. Language: LAT/EN/DT.

After Missa Latina and Magnificat, Te Deum is now the third major composition by musician and composer Karl Albrecht “Bobbi” Fischer published by Carus. Fischer’s musical roots lie in classical music, which he combines with jazz elements and Latin American rhythms.

All three styles appear in the Te Deum. In keeping with the proclamation “Te Deum laudamus” (We praise thee, O God), the work begins with the festive (Cuban) energy, propelled by timpani and trumpet; the choir can also be heard imitating fanfares. Later, a cappella choruses become a recurring element, in which phrases set as Gregorian chant are presented against an ever-changing chordal background. But the score also features elements of swing and rhythm and blues, frenetic choral outbursts of joy, as well as moments of mystic contemplation. Moreover, the instrumentalists are given ample opportunity for improvised solos. Interwoven into the otherwise Latin text is the well-known German chorale Großer Gott, wir loben dich. Here several verses can be sung with the congregation; alongside the original German text, the score features the English translation “Holy God, we praise thy name”.

- An exciting combination of classical choral music with elements of jazz and Latin American music

- The congregation can take part in the performance (chorale)

- Singers can choose between Latin/German or Latin/English

- Varied mix of styles

- An enrichment of our crossover program

By Roberto Sierra. For Soprano and Baritone Soloists, SATB Chorus and Orchestra (Soprano, Baritone Soloists; SATB Chorus; 2(1).2(1).2 (bass clarinet).2(1) - 4.3.3.1 - timpani, percussion, piano, harp; strings). Choral. Study score. Composed 2006. Duration 75'

SATB Choir, 2 Violins, 2 Violas, Basso continuo

SKU: CA.3500913

Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Viola 1. Sacred vocal music, Masses, Latin. Single Part, Viola 1. Duration 12 minutes. Carus Verlag #CV 35.009/13. Published by Carus Verlag (CA.3500913).

ISBN M-007-25281-6. Latin.

This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works.

SATB Choir, 2 Violins, 2 Violas, Basso continuo

SKU: CA.3500912

Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Violin 2. Sacred vocal music, Masses, Latin. Part. Duration 12 minutes. Carus Verlag #CV 35.009/12. Published by Carus Verlag (CA.3500912).

ISBN M-007-25280-9. Latin.

This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works.

SATB Choir, 2 Violins, 2 Violas, Basso continuo

SKU: CA.3500900

Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Sacred vocal music, Masses, Latin. Full Score. Duration 12 minutes. Carus Verlag #CV 35.009/00. Published by Carus Verlag (CA.3500900).

ISBN M-007-24548-1. Latin.

This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works.

SATB Choir, 2 Violins, 2 Violas, Basso continuo

SKU: CA.3500914

Composed by Johann Hugo von Wilderer. Edited by Frieder Rempp. Arranged by Paul Horn. Viola 2. Sacred vocal music, Masses, Latin. Single Part, Viola 2. Duration 12 minutes. Carus Verlag #CV 35.009/14. Published by Carus Verlag (CA.3500914).

ISBN M-007-25282-3. Latin.

This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer; his output as Kapellmeister at the Electoral Palatinate court, which resided in Mannheim from 1720 onwards, was mainly devoted to opera. The three-part Kyrie, the through-composed Gloria, and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court, but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor, as shown, for example in the form of the Adagio introduction of the Kyrie I in both works.

Guitar, keyboard

SKU: GI.G-7400

This edition: Pew edition. Hymnal. Oramos cantando series. Sacred. Book. GIA Publications #7400. Published by GIA Publications (GI.G-7400).

ISBN 9781579999698.

Intended especially for the growing number of multicultural, bilingual (Latino/Anglo) parishes and communities in the United States, Oramos Cantando / We Pray in Song is a hymnal and service book that is comprehensive enough to satisfy the liturgical needs of such communities, when they are worshipping in Spanish, in English, or bilingually. Bilingual from the first page to the last. Organized to reflect the liturgical life of the Church: morning, evening and night prayer from the Liturgy of the Hours, the sacramental rites of Christian initiation of adults, baptism of children, holy communion outside Mass, eucharistic exposition and benediction, reconciliation of penitents, anointing of the sick, marriage, and funerals, the Order of Mass, service music, hymns and songs, lectionary responsorial psalms. All ritual texts are from the English- and Spanish-language liturgical books approved for use in the dioceses of the United States of America Seventy settings of psalms and biblical canticles in a variety of styles, for use in the Liturgy of the Hours, at Mass, and in other liturgical rites. Many employ Gelineau, Guimont, or Conception Abbey tones. Standards from the “Celebration-style” repertoire by Haugen, Joncas, Haas, and others. All with Spanish and English texts ICEL chants for the Order of Mass, accompanied by the complementary plainsong chants in Spanish. Five bilingual settings of the ordinary of the Mass, along with one Latin and two English-only Mass settings, plus a number of additional service music items to serve the liturgical needs of Anglo/Latino parishes for many years to come A broad and stylistically diverse collection of nearly 550 hymns, psalms, and inspired songs, containing the best and most beloved traditional and contemporary music of Latino and Anglo communities, with more than 300 items newly translated according to guidelines for preserving meaning, rhyme, and meter Music from around the world, encompassing plainsong chants, classical hymnody, contemporary scripture-based songs, Taizé chants, and world music from Asia and Africa. Settings originally with Spanish texts are from the United States, Spain, Mexico, Central and South America, and the Caribbean Lectionary psalms with USCCB-approved refrains in both English and Spanish and verses from The Revised Grail Psalms and the salterio of Spain’s Conferencia Episcopal Española (CEE). These bilingual lectionary psalms have been included in the Sacred Song missalette program of The Liturgical Press since 2005 Eleven indexes: liturgical, topical, psalms and canticles, service music, scripture references in hymns, hymn tunes, tune meters, musical settings using languages other than Spanish and English, psalm refrains set to music, common titles and first lines, and hymnal contributors (composers, authors, translators, sources) A hymnal which not only addresses the liturgical experience of today, but also opens the door to new possibilities in the future. Fulfilling the statement of the American bishops: Liturgical music today must reflect the multicultural diversity and intercultural relationships of the members of the gathered liturgical assembly. The varied use of musical forms such as ostinato refrains, call and response, song translations, and bilingual or multilingual repertoire can assist in weaving the diverse languages and ethnicities of the liturgical assembly into a tapestry of sung praise. Sing to the Lord, 60 Destinado especialmente para el creciente número de parroquias y comunidades multiculturales, bilingües (Latinas/Anglas) en los Estados Unidos, Oramos Cantando / We Pray in Song es un himnario y ceremonial lo suficientemente completo para satisfacer las necesidades litúrgicas de tales comunidades, cuando oran en español, en inglés, o de una manera bilingüe. Bilingüe desde la primera página hasta la última. Organizado para reflejar la vida litúrgica de la Iglesia: oración matutina, vespertina y nocturna tomada de la Liturgia de las Horas, los ritos sacramentales de la iniciación cristiana de adultos, del bautismo de niños, para la sagrada comunión fuera de la Misa, para la exposición y bendición eucarística, para la reconciliación de varios penitentes, para la unción de los enfermos, el matrimonio, y las exequias, el Ordinario de la Misa, música para las ceremonias, himnos y cantos, salmos responsoriales del leccionario. Todos los textos de los ritos están tomados de los libros litúrgicos en inglés y en español aprobados para su uso en las diócesis de los Estados Unidos de América. Setenta arreglos de salmos y cánticos en una variedad de estilos, para usarlos en la Liturgia de las Horas, en la Misa, y en otros ritos litúrgicos. Muchos emplean los tonos de Gelineau, Guimont, o Conception Abbey. Normas del repertorio del “estilo-de-celebración” por Haugen, Joncas, Haas, y otros. Todos con el texto en español y en inglés. Cantos de ICEL para el Ordinario de la Misa, acompañados por los cantos llanos complementarios en español. Cinco arreglos bilingües para el ordinario de la Misa, junto con uno en latín y dos arreglos para la Misa sólo en inglés, además de un número de cantos adicionales para responder a las necesidades litúrgicas de las parroquias anglas/latinas por muchos años en el futuro Una colección amplia y de diversos estilos de casi 550 himnos, salmos y cantos inspirados, que contienen lo mejor y lo más apreciado de la música tradicional y contemporánea de las comunidades latinas y anglas, con más de 300 composiciones recientemente traducidas según las normas para la preservación del significado, del ritmo, y del metro Música de todo el mundo, incluyendo cantos llanos, himnos clásicos, cantos contemporáneos basados en la biblia, cantos de Taizé, y música mundial de Asia y África. Arreglos originales con textos en español que vienen de los Estados Unidos, de España, de México, de Centro y Sud América, y del Caribe. Salmos del Leccionario con estribillos aprobados por la Conferencia Episcopal de Estados Unidos (USCCB) tanto en inglés como en español y versos del salterio: The Revised Grail Psalms y del salterio de la Conferencia Episcopal Española (CEE) de España. Estos salmos bilingües del leccionario se han incluido en el programa del misalito Sacred Song de la editorial: The Liturgical Press desde 2005 Once índices: litúrgico, temático, salmos y cánticos, música para celebraciones, referencias bíblicas en himnos, tonadas de himnos, metros de himnos, arreglos con idiomas además de español e inglés, antífonas musicalizadas para los salmos, títulos comunes y primeras frases, y contribuyentes al himnario (compositores, autores, traductores, fuentes) Un himnario que no sólo responde a la experiencia litúrgica de hoy, sino también abre la puerta a nuevas posibilidades en el futuro. Cumple la declaración de los obispos americanos: “La música litúrgica de hoy debe reflejar la diversidad multicultural y las relaciones interculturales de los miembros de la asamblea litúrgica reunida. El uso variado de formas musicales como estribillos en ostinato, llamado y respuesta, traducción de cantos, y el repertorio bilingüe o multilingüe puede ayudar a entretejer los diferentes idiomas y etnias de la asamblea litúrgica en un tapiz de alabanza cantada.” Cantemos al Señor, 60 There is no doubt that the goal of singing each other's liturgical music as an expression of the catholicity of our faith embodied in this volume, does in fact allow bilingual and multicultural parishes through the United States—and beyond—to respond to the liturgical needs of today while opening the door to new possibilities. — Becca Whitla The Hymn Society Journal. Volume 66, No. 4.