Edizione Nat. delle Opere di Puccini, Bd. III/2

Critical edition of Puccini’s only Mass. Based on a comparison with the autograph score, numerous errors were corrected which had been present in previous editions of this Mass. In preparing this edition, Puccini’s additions to the instrumentation in the Benedictus and his new version of the tenor aria “Gratias agimus” from the Gloria have both been taken into consideration. The newer version of the tenor aria changes the character of the piece to such a great degree, that it has been included separately as an appendix in this edition. The doubling of the brass and string parts, the addition of two French horns and a harp, as well as the addition of an instrumental postludewhich consists of a repetition in the violoncelli of the main section of the aria, leads one to believe that possibly Puccini considered having this Aria performed outside the context of the Mass as a separate concertante piece.

Son Qual Misera Colomba : 51. Aria Aus Cleofide

Digli Ch'io Son Fedele : 41. Aria Aus Cleofide

Al Nostro Consolo Accendan la Face : 68. Aria Aus Cleofide

Missa ad maiorem Dei gloriam

Ad cor tuum : from: Perpetuum mobile - Songs from the Codex Buranus

Klinget Für Freuden Ihr Lärmen Klarinen : BuxWV 119 - 65

Although a large proportion of Buxtehude’s vocal works are sacred compositions, he also composed for secular occasions. In 1680 he composed the wedding aria Klinget für Freuden, ihr Lärmen-Klarinen BuxWV 119 for the marriage of the Swedish King Charles XI to the Danish Princess Ulrika Eleonora. At the same time the Peace of Lund, concluded in 1679 marking the end of an almost five-year-long war between Denmark-Norway and Sweden, was celebrated. The five-verse wedding poem is sung by two sopranos and bass, and the basso continuo has two violins and two trumpets as accompanying instruments in the alternating instrumental ritornelli. Whilst the first and fourth verses expressjoy about the peace settlement between Denmark and Sweden, verses two and three are predominantly concerned with the bridal couple. Finally, in the last verse, God is asked for his blessing both for the peace settlement and for the royal couple. The later sacred parody of the work for the Feast of the Circumcision of Christ, New Year’s Day, as the aria Klinget mit Freuden, ihr klaren Klarinen BuxWV 65 cannot be more precisely dated. Now the trumpets proclaim to the Christian congregation about Jesus and the “brightly shining light” of the divine word.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

Dein edles Herz, der Liebe Thron - Kantaten

Little is known about Dieterich Buxtehude’s life [ca. 1637 1707] and about the circumstances of his work in St. Mary’s Church in Lübeck, but on the other hand, more is known about his influence on the musical life of his times. Thus, in 1703 George Frideric Handel and Johann Mattheson, and in the winter of 1705/1706, Johann Sebastian Bach spent time with Buxtehude in Lübeck in order to round offer their training with him in the art of composing and organ playing. Mattheson described him as a “highly-regarded organist” and Handel was even interested in succeeding Buxtehude in Lübeck. The musicians of Capella Angelica and the Lautten Compagney have approached his vocal work with theelan and joy of discovery. Their search has proved enlightening, yielding chorale melodies, as well as works in the then modern styles of concerto, aria and mixed form.

Buxtehude: Membra Jesu nostri [Rademann]

For Passion in 1680 Dieterich Buxtehude composed his greatest ortatorio-like work, the cantata cycle "Membra Jesu nostri". He dedicated it to his friend Gustav Düben, the Swedish Court Composer. Basically, the seven individual cantatas followed thestructural scheme of an “ instrumental introduction choral movement based on a biblical text vocal solo [aria] based on a sacred text of the Middle Ages and a repetition of the opening choral movement.” Within this scheme the feet, knees,hands, side, chest, heart and face of the crucified Christ are treated allegorically. Under the direction of Hans-Christoph Rademann the solo ensemble and the Dresdner Kammerchor have achieved amost impressive rendering of this work, which isentirely indebted to the gesture and expression of the text. The CD is rounded off by world premiere performances of two chorale cantatas by this composer from Lübeck, the 300th anniversary of whose death is being commemorated this year.

Puccini: Canti per voce e pianoforte

The present collection of 16 smaller vocal compositions is doubly a novelty: On the one hand, among these are three works presented here which were either lost for more than a century [Dios y Patria], or they were never published in their definitive form [Salve Regina and Ad una morta!]. On the other hand, they appear here in the first critical edition of these vocal works ever published; through the consistent consultation of the original sources numerous false readings which had been handed down over the years could be corrected.

Missa in g. Hasse-Werkausgabe IV/3

After Johann Adolf Hasse had ended his career as a composer for the opera stage and finally settled down in Venice, he wrote a number of sacred works. Since he had long been obligated to the Saxon Court, where he served as a composer for three decades until 1763, these works were originally intended for the Catholic Court Church in Dresden. The solemn-pathetic Missa in G minor [1783], with the inserted movement "Ad te levavi," is Hasse's final work: a crowning conclusion to an oeuvre whose significance in music history has only recently begun to be recognized and has now received the fitting acknowledgement it deserves.

Festkonzert im Weihezeitraum : Frauenkirche Dresden

After Johann Adolf Hasse had ended his career as a composer for the opera stage and finally settled down in Venice, he wrote a number of sacred works. Since he had long been obligated to the Saxon Court, where he served as a composer for three decades until 1763, these works were originally intended for the Catholic Court Church in Dresden. The solemn-pathetic Missa in G minor [1783], with the inserted movement "Ad te levavi," is Hasse's final work: a crowning conclusion to an oeuvre whose significance in music history has only recently begun to be recognized and has now received the fitting acknowledgement it deserves.

Missa sancta No. 1 E-flat major : WeV A.2

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname “Freischütz Mass” because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into accountliturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too “operatic” by critics, it was very well received by audiences and also pleased the King. • Practically oriented edition based on the sources, performance material available on sale for the first time • Easy to medium difficulty level • Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time

Missa sancta No. 1 E-flat major : WeV A.2

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname “Freischütz Mass” because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into accountliturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too “operatic” by critics, it was very well received by audiences and also pleased the King. • Practically oriented edition based on the sources, performance material available on sale for the first time • Easy to medium difficulty level • Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time

Johann Christian Bach: Concerti

In the 1770s Johann Christian Bach may have been among the most successful and prosperous musicians in all of Europe. In the 18th century the youngest son of Bach was regarded as the most famous and successful members of the Bach family. However, it appears his reputation faded even during his lifetime today he is known by many only as a forerunner of Mozart. The new recording of five of his orchestral works, a sequel in the Carus CD series with instrumental music of Bach’s sons, shows that his music has been unjustly forgotten and that definitely it breathes its own independent spirit. Similar to Mozart, the “Milan Bach,” later known as the “London Bach” knew how to pourhis varied musical experiences into his works and thus achieve his own unique style. Johann Christian Bach preferred colorful instrumentation in his compositions and he experimented with different solo instruments. His works are characterized by noble elegance and the cantabile style of the Italian opera aria. Later generations of musicians accused Bach of making composition too easy. The present recording shows most clearly that on this CD every piece is an inspired, original work of great music. These are brilliant pieces that showcase the musical trademarks of the Freiburger Barockorchester outstanding artistic level of performance, joy in experimentation, and a passion for playing which here are once again realized to the highest degree.

Chorbuch zum Evangelischen Gesangbuch : 63 works in einem flexibel besetzbaren Arrangement.

Flexible music-making in church worship with choirs, organ, congregation, brass ensemble, and other instruments. The new Chorbuch zum Evangelischen Gesangbuch is being published for the Reformation anniversary year 2017. It features an innovative modular principle which offers new ideas for group music-making with different church music groups in parishes. Over 60 hymns are arranged in the form of "modular settings". Each arrangement can be performed by different forces: by a 4-part mixed choir (SATB), a 3-part mixed choir (Soprano, Alto, Mezzo) or a 2- to 3-part children’s choir (mainly melody and descant), each with a common organ part. The arrangements of each hymn arecompatible with each other, so they can be performed separately or together to accompany the congregation, or they can be sung alternately. There are also one or two ad lib upper instrumental parts which fit with all the versions. The organ part can alternately be played by the brass ensemble.

Chorbuch zum Evangelischen Gesangbuch : 63 works in einem flexibel besetzbaren Arrangement.

Flexible music-making in church worship with choirs, organ, congregation, brass ensemble, and other instruments. The new Chorbuch zum Evangelischen Gesangbuch is being published for the Reformation anniversary year 2017. It features an innovative modular principle which offers new ideas for group music-making with different church music groups in parishes. Over 60 hymns are arranged in the form of "modular settings". Each arrangement can be performed by different forces: by a 4-part mixed choir (SATB), a 3-part mixed choir (Soprano, Alto, Mezzo) or a 2- to 3-part children’s choir (mainly melody and descant), each with a common organ part. The arrangements of each hymn arecompatible with each other, so they can be performed separately or together to accompany the congregation, or they can be sung alternately. There are also one or two ad lib upper instrumental parts which fit with all the versions. The organ part can alternately be played by the brass ensemble.

Chorbuch zum Evangelischen Gesangbuch : 63 works in einem flexibel besetzbaren Arrangement.

Flexible music-making in church worship with choirs, organ, congregation, brass ensemble, and other instruments. The new Chorbuch zum Evangelischen Gesangbuch is being published for the Reformation anniversary year 2017. It features an innovative modular principle which offers new ideas for group music-making with different church music groups in parishes. Over 60 hymns are arranged in the form of "modular settings". Each arrangement can be performed by different forces: by a 4-part mixed choir (SATB), a 3-part mixed choir (Soprano, Alto, Mezzo) or a 2- to 3-part children’s choir (mainly melody and descant), each with a common organ part. The arrangements of each hymn arecompatible with each other, so they can be performed separately or together to accompany the congregation, or they can be sung alternately. There are also one or two ad lib upper instrumental parts which fit with all the versions. The organ part can alternately be played by the brass ensemble.

Chorbuch zum Evangelischen Gesangbuch : 63 works in einem flexibel besetzbaren Arrangement.

Flexible music-making in church worship with choirs, organ, congregation, brass ensemble, and other instruments. The new Chorbuch zum Evangelischen Gesangbuch is being published for the Reformation anniversary year 2017. It features an innovative modular principle which offers new ideas for group music-making with different church music groups in parishes. Over 60 hymns are arranged in the form of "modular settings". Each arrangement can be performed by different forces: by a 4-part mixed choir (SATB), a 3-part mixed choir (Soprano, Alto, Mezzo) or a 2- to 3-part children’s choir (mainly melody and descant), each with a common organ part. The arrangements of each hymn arecompatible with each other, so they can be performed separately or together to accompany the congregation, or they can be sung alternately. There are also one or two ad lib upper instrumental parts which fit with all the versions. The organ part can alternately be played by the brass ensemble.

Missa solemnis : D major - Op. 123

Beethoven described his Missa solemnis several times as his greatest work. "Coming from the heart", it was intended to touch and move audiences. Beethoven worked long and intensively on the composition in order to give what he felt was adequate expression to the text. In its length and musical demands, the Missa solemnis goes far beyond typical liturgical settings; for good reason, the premiere took place in a concert hall. With this arrangement for chamber orchestra (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani and strings, plus organ ad lib), smaller choirs, as well as choirs with more limited resources of space or finance, can now perform this work too.However, the symphonic character and wide dynamic range of the work remain. The scoring of 7 instead of 18 winds offers an optimal balance between transparency and orchestral sound. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal score and chorus score of that version can be used. Major mass can also be performed by smaller choir Wind and brass parts of the original version reduced to just seven single instruments Vocal scores and choral scores from the original version can be used. carus plus: the work (original version) is available in carus music, the choir app, and in the practice CD series Carus Choir Coach.

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.