Missa ad maiorem Dei gloriam

Wolfram Buchenberg’s Missa ad maiorem Dei gloriam in Latin for big band, chorus, and baritone is a good half hour in duration. In the Kyrie the composer takes as his theme people’s deep-seated fear and its overcoming through faith: the Gloria and Sanctus/Benedictus express overwhelming joy, and the “Dona nobis” in the Agnus Dei dies away in a mood of weightless floating. This absolutely thrilling setting of the mass, influenced by Latin jazz, suitable for concert or equally for liturgical performance, requires a large, well-rehearsed chorus and big band.

Missa ad maiorem Dei gloriam

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.

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

Son Qual Misera Colomba : 51. Aria Aus Cleofide

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

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

Zehn schwäbische Lieder : In Sätzen für Singstimme und Klavier und Melodieinstrument ad libitum

Zehn schwäbische Lieder : In Sätzen für Singstimme und Klavier und Melodieinstrument ad libitum

Duo Seraphim clamabant alter ad alterum : Second Responsory of the Third Nocturn a 8

Orgelbuch Light Zum Gotteslob 2 : Einfache, dreistimmige Begleitsätze manualiter z.T. mit instrumentaler Oberstimme ad lib - ab GL 352

Perpetuum Mobile : Songs from the Codex Buranus

  Codex Buranus, den berömda samlingen av medeltida dikter och dramatiska texter från Benediktbeuern-klostret, innehåller fortfarande många spännande hemligheter idag. Vem skrev texterna, för vilka tillfällen och framför allt, för vem? I sitt verk Perpetuum mobile har kompositören Peter Schindler satt samman 44 texter från Codex för att skapa en ny 90-minuters sångcykel i 4 akter för solister, kör, jazzkvartett och stråkensemble (ad lib.).

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.

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.

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.

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.

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.

Cantatas for Soprano Solo

In the depth of its expression and richness of form Johann Sebastian Bach's music has no equal. This becomes especially clear in the famous cantatas for solo soprano, as can be heard in this recording, featuring Ich bin in mir vergnügt BWV 204 and Mein Herze schwimmt in Blut BWV 199 (Weimar version, 1714). The recording is rounded off by a performance of the famous soprano aria Alles mit Gott und nichts ohn' ihn BWV 1127. Once again Dorothee Mields shows that she is one of the leading interpreters of our time for the music of the 17th and 18th centuries. Performed with L’Orfeo Barockorchester, under the direction of Michi Gaigg, this is an exemplary interpretation of theseseldom heard solo cantatas.

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 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.