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Chorbuch a Tre

Chorbuch a Tre

Today an increasing number church choirs are lamenting the lack of male voices. The present Chorbuch a tre (choir book a tre), anticipated by many, addresses this situation. It contains 160 three-part settings for two female voices and one male voice (some with accompaniment). The collection, designed for ecumenical use, offers a broad selection of choral settings for the church year, times of the day, praise and thanks, the Ordinary, etc. It includes works from from the 17th century to the present, and presents a range of various styles (including gospel and sacred pop). About 50 settings were written for this choir book by renowned composers and church musicians. Choirmasterscan now enjoy having a current, comprehensive collection of three-part choral settings with a variety of ideas for singing and making music in worship services.

SEK 505.00
1

A Jazzy Dozen -Arrangements for Jazz and Pop Choir

A Jazzy Dozen -Arrangements for Jazz and Pop Choir

Exciting new compositions and arrangements for Jazz and Pop choirs. In "A Jazzy Dozen" eight established arrangers have presented a diversity of styles in vocal jazz and jazz- related music. A cappella ballads, Latin groove, swing and writing in close harmony appear alongside popular songs, gospel and new compositions. Not only the stylistic variety, but also the cooperation between internationally renowned arrangers make this a very special collection.

SEK 285.00
1

Chorbuch Kirchenjahr : A-cappella-Repertoire für den Gottesdienst

Chorbuch Kirchenjahr : A-cappella-Repertoire für den Gottesdienst

The just-published Chorbuch Kirchenjahr [Choral collection for the church year] comprises a basic repertoire of sacred a cappella church music. 158 motets are presented in a volume of 184 pages. The selected choral pieces, motets, spirituals and new sacred songs range in difficulty from easy to medium levels so that most of the them require little rehearsal time. The repertoire is designed for practical use and includes works from the Renaissance to the 20th century. With an order of Chorbuch Kirchenjahr in choral quantity, a choir will be well-prepared for worship services throughout the church year as well for sacred concerts.

SEK 409.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 82.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 345.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 163.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 802.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 89.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 82.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 192.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 82.00
1

Magnificat a 4 : Warb E 22

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.

SEK 82.00
1

Otto Nicolai: Messe D-Dur und A-cappella-Werke

Otto Nicolai: Messe D-Dur und A-cappella-Werke

The name Otto Nicolai is most closely associated with his opera The Merry Wives of Windsor. Less well known, on the other hand, is his extensive output of sacred music, which inlcudes a cappella works and choral works with orchestra. As Mendelssohn's successor as artistic director of the Berlin Cathedral, with the Mass in D major Nicolai composed a sacred work well worth discovering. It is an important contribution to church music of the 19th century. In addition to this festive mass with orchestral accompaniment, the chamber choir CONSONO under Harald Jers also presents several other choral works which with their varied scorings, some a cappella, some withinstrumental accompaniment, show the diversity of Nicolai's sacred compositions.

SEK 249.00
1

Circus Allegro : A Circus Musical for all kids under 100

Circus Allegro : A Circus Musical for all kids under 100

Following the great success of this musical in German, it is now also available in English. Everything seems to be going wrong at "Circus Allegro". Bruno the Bear refuses to appear on stage, his assistant, Bella Stella, has disappeared, and finally, even the tiger escapes! Circus director Ricardo Grande has to improvise constantly. Luckily, his new assistant, clumsy August the Clown, always has a brilliant idea just at the right time. Despite all mishaps, the audience gets to experience a splendid circus evening. And in the middle of all the excitement, the tiger and Bella suddenly reappear. The audience is swept off its feet. Wherever the world-famous "Circus Allegro"appears, audiences shed tears of joy and are enchanted visually, acoustically and emotionally. The individual numbers of this children's musical are composed in different styles and the songs can be performed either with an orchestra or just with a piano.

SEK 145.00
1

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

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

SEK 3793.00
1

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

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

SEK 186.00
1

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

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

SEK 345.00
1

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

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

SEK 141.00
1

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

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

SEK 141.00
1

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

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

SEK 141.00
1