Messe de Requiem : Op. 54

Saint-Saëns’ colorful Messe de Requiem op. 54, originally opulently scored, is published here in an ingenious reduced version, so that smaller choirs, and choirs with more limited resources of space or finance can also perform this attractive work with smaller instrumental forces. The original large forces – quadruple wind and brass and four harps – may have been a reason why the expressive and richly colored work was less well-known than the composer’s Oratorio de Noël (Carus 40.455), a popular work the world over. To expand the options for performance, Carus has therefore published two versions of the Messe de Requiem – the original version, whose material has been arranged in such a way that the work can alternatively be performed with 11 instead of 20 wind and brass instruments (Carus 27.317), and a version without any wind or brass, scored just for strings, one or two harps, and organ. These versions are based on an arrangement published by Durand in 1927, and newly adapted by Klaus Rothaupt. The organ is allocated sections of the original wind and brass parts; registration details will help rehearsing. The vocal and string parts are unaltered compared with the original composition, so the vocal and choral score of the original version can also be used for this version. This is a fine-sounding, distinctive setting of the Requiem Mass which is undoubtedly one of the composer’s most important works.

Louis Vierne: Pièces de fantaisie op. 53 + 55

To continue the complete recording of the organ works of Louis Vierne on the Carus label, the second part of his 24 Pièces de fantaisie with Kay Johannsen on the Kern-Orgel of the Frauenkirche Dresden has now been released. The recordings of the Suites op. 53 and and 55 treat the themes of man and nature, as is shown, on the one hand, in the famous “Feux follets”, and on the other hand is reflected in pieces such as “Les cloches de Hinckley” [The bells of Hinckley], which shows Vierne’s fascination for cathedral architecture.

Tombeau De Josquin Desprez (O Mors Inevitabilis)

The 16-part Tombeau de Josquin Desprez, with text taken from the inscription on a gravestone in St. Gudula, Brussels, is a study of Josquin’s polyphony. Over its course, the piece increasingly approaches Josquin’s tonal language, leading up to a couple of measures which are actually by him, before drifting away again.

Messe solennelle de sainte Cécile : CG 56 - Large Score

“Shining rays stream from the ‘Messe de sainte Cécile‘. At first people were ­dazzled, then bewitched, then overcome.” This is how the composer Camille Saint-Saëns described his impression of what was probably Charles Gounod’s best-known setting of the mass. The work written in 1855 in honor of the patron saint of church music, soon became well-known beyond the borders of France and acquired a degree of popularity like almost no other sacred composition. In the Messe de sainte Cécile, Gounod combines sublime simplicity with operatic-dramatic elements and a colorful, effective orchestration. Critical edition in proven Carus quality.

Louis Vierne: Pièces de fantaisie op. 51 + 54

Carus has continued the recording of the complete Works of Louis Vierne in the Frauenkirche Dresden with the first part of the 24 Pièces de fantaisie. Kay Johannsen performs the Suites op. 51 and 54 [1926 27] on the Kern organ in the Frauenkirche. The final movement of the Troisième suite op. 54, “Carillon de Westminster,” is by far the most well-known piece of this collection, and next to the finale of the 1ère Symphonie is surely the most famous of all Vierne’s compositions. Kay Johannsen makes full use of all the sonoral possibilities of the French Kern Organ and skillfully combines his sensitive interpretation with the extraordinary acoustic of the Frauenkirche. This SACDoffers all music lovers unlimited aural delights.

Camille Saint-Saëns: Oratorio de Noël [Speck]

To equate the concept of the “Christmas oratorio” with the work of J. S. Bach distorts our view of the great variety to be found within this genre. Thus, the Oratorio de Noël of Camille Saint-Saëns is an important and enriching part of the repertoire. This ten-movement work is presented by an unusual ensemble: The vocal part, with string quintet and organ accompaniment, is augmented by the special sonorous effect of a harp, which lends a special atmosphere to the piece. This atmosphere evoked through gentle harmonies, straightforward choral settings and the almost chamber music-like use of the orchestra is interrupted by only a few dramatic passages. The resultingtensions lead to the engaging charm of this work, which also explains the worldwide success of the oratorio. The Vocalensemble Rastatt, Les Favorites and the organist Romano Giefer under the baton of Holger Speck show, with their distinct interpretation, that the concept of the “Christmas oratorio” encompasses many more impressive facets than is often assumed.

Messe in Es - : Vesperae solennes de Confessore

Schubert’s connection to sacred music originated during his youth, when he sang as an eleven-year-old soprano soloist in the Lichtenthal Church in Vienna and later also contributed compositions for mass, as well as other sacred works for worship services. On the other hand the Mass in E flat major D 950 is among Schubert’s last completed works. It was composed in 1828, probably for the Trinity Church in Vienna, Alsergrund. Like many of Schuberts works on a large scale, it was largely forgotten after his death and was only rediscovered on the initiative of Johannes Brahms in 1865. Sir Charles Mackerras conducted the Mass with the Staatskapelle Dresden in this recording for hisbelated debut at the Dresdner Faruenkriche with renowned soloists, including Genia Kühmeier und Matthew Rose. Mozart’s equally-beloved Vesperae solennes de confessore KV 339, with the famous „Laudate Dominum“ completes this recording and it is much more than just a supplement to Schubert’s Masse it points towards the roots of Schubert’s sacred music. The booklet contains an in-depth interview with Sir Charles Macherras.

Au bord de l'eau : Op. 8 no. 1

In "Au bord de l’eau" (By the water) two lovers sit as in a dream, removed from the real world with all its conflicts. They only take themselves seriously, the surrounding nature lies as beneath a dream-like veil: steadily like the river flowing by, the passing clouds, the babbling brook, time also passes. The poet Sully Prudhomme, the first Nobel prizewinner for literature (1901), ends the poem with the assertion that only love is immortal. With this knowledge, Gabriel Fauré’s setting turns from a dreamy, deceptive C sharp minor to a more promising C sharp major. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger hascarefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Messe de Minuit pour Noël

Kinderhits Mit Witz 22 : Droles De Tubes

Oratorio de Noël (Weihnachtsoratorium) op. 12 : Soprano

O père qu'adore mon père (Hymne de Lamartine)

Cantique de Jean Racine D flat major - op. 11 : Streicherfassung

Til de Dode - E flat major, Op. 67,10 : To the dead

Donna Non Vidi Mai : Romanza by De Grieux from Manon Lescaut

Gran miracol d'amore : from: Secondo libro de madrigali a quattro voci, Venedig 1570

Hor che la vaga Aurora : from: Ghirlanda de madrigali a quatro voci, Venedig 1593

Deh poi ch’era ne’ fati ch’io dovessi : from: Il settimo libro de madrigali a cinque voci, 1595

Deux Antiennes à la Vierge : H 18, 19

In the extensive œuvre of French composer Marc-Antoine Charpentier, the Marian Antiphons take pride of place among the smaller sacred works. He devoted himself to them for almost 25 years while working in the Italian-influenced circle of the Duchess Marie de Lorraine (known as Mademoiselle de Guise) and later in the service of the Paris Jesuits. This volume contains settings of the Salve Regina and the Ave Regina caelorum for two sopranos, mezzo-soprano, and basso continuo.

Choral collection Bruckner : Sacred Choral Music

Stor kunst i små former – Bruckners mindre hellige værker afslører en mere personlig side af mestersymfonisten og skaberen af store orkestermesser. Gennem hele sit liv inspirerede Bruckners dybe tro og dedikation til den katolske liturgi ham til at skrive kirkemusik i mindre former, der egner sig til opførelse ved søndagsgudstjeneste eller ved hellige koncerter. De lange fraser og glitrende lyde fra Locus iste, de kromatiske modulationer og spændende klimaks i Christus factus est (1884) og i Virga Jesse (1885), eller brugen af kirkelige indstillinger i næsten alle motetterne giver en række fascinerende udfordringer for enhver kor. Ud over de kendte motetter omfatter korsamlingen mindre hellige værker som korte messeopsætninger (a cappella eller med orgel) og simple liturgiske sange og salmer, nogle med orgel eller lejlighedsvis med tromboner. Derudover præsenterer bindet to noget længere værker fra Bruckners ungdom: et Magnificat og en kulisse af Salme 23, begge med klaverakkompagnement.Korsamlingen Bruckner. Sacred Choral Music er en udvidet ny udgave af den succesrige korsamling Anton Bruckner für Gottesdienst und Konzert (Hellige værker til gudstjeneste og koncert, Carus 2.065). Et detaljeret forord og flere indekser supplerer noderne i udgavenCHORLEITUNG med information om værkerne og deres liturgiske anvendelighed. Et prisbilligt bind (editionCHOR) kan også købes, samt separate udgaver i trykt og digital form.•,Nyt udvidet bind med 39 hellige korværker på alle sværhedsgrader•,Til brug både til gudstjeneste og koncert.

Nell

The writer Charles Marie René Leconte, born on the French island of La Réunion, published his literary works under the nom de plume Leconte de Lisle ("the Count of the island"). His poem Nell, a poetic vow of eternal fidelity to the beloved, was written in 1852 and set to music by Gabriel Fauré in 1878. Long vocal phrases unfold over continuous sixteenth-note figurations in the piano, which combine emphatic depictions of nature and affirmations of love both in text and music. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by alarger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Kleinere Kirchenwerke : Bd 15 der Vierne-Gesamtausgabe

This volume contains the smaller sacred works for voice[s] and organ composed by Louis Vierne between 1886 and 1929. Thus the Carus edition of selected works by Louis Vierne is completed. In addition to the Messe solenelle [Carus 27.017] these are the only surviving liturgical works for voice by Vierne. The pieces with Latin text are easy to perform and fit well within the framework of worship services. The texts for the somewhat more demanding works set in French, Cantique Saint Louis de Gonzague and Les Angélus, are included in the edition in both German and English translations.

Christmas Carols for violoncello : 20 easy carols for winter, Advent and Christmas for 1?3 violincellos and piano

Hvad ville juletid være uden at lave musik sammen? Advents-, jule- og vintersange spiller en vigtig rolle for alle begyndere på et melodiinstrument, for med disse kan de vise deres fremskridt på instrumentet det første år. Og intet er bedre egnet til dette end elskede og populære juleklassikere. Bindene i vores serie til instrumental undervisning, udviklet i samarbejde med Landesakademie für die musizierende Jugend i Baden-Württemberg, indeholder alle 20 nemme julesange arrangeret i progressivt niveau af vanskelighed. Erfarne instrumentallærere har lavet et udvalg af julesange for hvert instrument efter specifikke kriterier. Disse kan mestres som en del af musikskoletimerne efter blot et par uger og måneder. Alle julesangene er blevet valgt og transponeret, så rækkevidden og fingersætningskombinationerne ikke overstiger sværhedsgraden i de første tre års indlæring. Klaverakkompagnementet er af moderat sværhedsgrad. Til mange af julesangene medfølger en ad lib over- eller understemme, som også kan spilles af instrumentale elever. Bindene er derfor velegnede til individuel undervisning såvel som gruppeundervisning. Arrangementerne er baseret på klaver- og instrumentalbøgerne fra JULESAMMEN-projektet (Carus 2.403/03 og 2.404/03), som er en del af LIEDERPROJEKT, det velgørende projekt for at fremme synger med børn. Bøgerne indeholder sangtekster til alle julesangene, hvilket giver en bred vifte af muligheder for at synge og spille sammen i julen. Alle bøgerne inkluderer den trykte musik af klaverakkompagnementet. Digitale spilnumre er tilgængelige for alle bøgerne. Yderligere udgaver for fløjte, klarinet, altsaxofon, trompet, violin, cello.

Johannes Eccard: Preußische Festlieder

In his edition of the Preussische Festlieder [Prussian Festive Songs] in 1642 [Erster Theil] [first part] and 1644 [Ander Theil] [other part] the Brandenburg-Prussian court kapellmeister Johannes Stobæus erected a musical monument to himself and his teacher Johannes Eccard [1553 1611]. Eccards works are of great significance to the development of Protestant church music of the time since, on the one hand, they address the need for relatively easy-to-perform Gebrauchsmusik [functional music] for festive occasions, yet on the other hand, his music also satisfies high artistic standards. The five-part to eight-part Preussische Festlieder, which played a particularly important role inEccard’s rediscovery in the middle of the 19th century, demonstrate a striving towards the development of sonorous potential. The recording by the Vocal Concert Dresden and the Capella de la Torre turns the 400th anniversary of Eccard’s death into a celebration of Eccard and Protestant church music.

Italienische Madrigale, Complete recordings, V. 2

“Heinrich Schütz The complete recording”: In the coming year a recording of the complete works of Heinrich Schütz under the direction of Hans-Christoph Rademann will be released on the Carus label. Together with the Dresdner Kammerchor and many renowned soloists these works, true to historical performance practice, will be presented. Thanks to a stipend from his patron, the Landgrave Moritz von Hessen-Kassel, Schütz was able to pursue a three-year course of study under Giovanni Gabrieli in Venice from 1609 to 1612, which he concluded with the publication in 1611 of the madrigal collection Il Primo libro de Madrigali. Already in this, his Opus primus, Schütz emerged as anoutstanding composer: In their musical quality, the 18 five-part madrigals exceed much that was still composed in the traditional madrigal style at the beginnning of the 17th century. A coproduction with MDR Figaro.