Sgambati: Messa da Requiem

“Through the fine performance in this production, a work unjustly forgotten becomes a lasting experience“.

Da pacem, Domine

Messa da Requiem : Tenor

Messa da Requiem : Bass

Messa da Requiem : Alto

Messa da Requiem : Soprano

Alle Vögel Sind Schon Da : C Major

Wohl denen, die da wandeln : G major

Messa Da Requiem : Arrangement for chamber orchestra

Froschrap : from: Sternenzauber. Wir sind für dich da!

Missa Sine Nomine

Giovanni Pierluigi da Palestrina's 'Missa Sine Nomine' set of parts.In the course of his life, Johann Sebastian Bach assembled an extensive musical library that today can only be reconstructed in fragments. It reflects Bach's curiosity, starting in his youth and continuing into old age, to get to know compositions from different epochs and styles. The two complete Masses and six individual Palestrina metrics testify to Bach's interest in 16th-century compositions. In his Weimar years, Bach first used the works for a theoretical examination of the stile antico, his idiosyncrasies of vocal conduct and modal harmony. In his last years in Leipzig Bach plannedperformances of at least two of the fairs. In this context, he supplemented the works with instrumental parts and a Basso Continuo. The Masses by Giovanni Pierluigi da Palestrina, created by Bach, form an important document on the performance practice of works of the austere style in the eighteenth century.

Der Fromme stirbt : Johannespassion

The oratorio Passions by Homilius were among the last compositions of their kind in the 18th century. In an oratorio Passion the chorus is restricted mainly to singing the chorales and the interjections of the crowd; only the conclusion of a Passion provides an opportunity for an extensive choral movement. In the St. John Passion the final chorus emphasizes the supreme importance of the Crucifixion as the climax of St. John's Gospel. The free elements of the composition take the forms customary at the time: da capo arias are predominant.

Homilius: Johannespassion [Kreile] : Johannespassion

The oratorio Passions by Homilius were among the last compositions of their kind in the 18th century. In an oratorio Passion the chorus is restricted mainly to singing the chorales and the interjections of the crowd; only the conclusion of a Passion provides an opportunity for an extensive choral movement. In the St. John Passion the final chorus emphasizes the supreme importance of the Crucifixion as the climax of St. John's Gospel. The free elements of the composition take the forms customary at the time: da capo arias are predominant.

Missa In Jazz

This is the individual Bass part for Peter Schindler's 'Missa In Jazz'.The Missa in Jazz is based on the five parts of the Ordinary of Roman Catholic liturgy. These texts, which originated at the time of early Christianity, have served as inspiration for composers throughout the ages. Missa in Jazz continues this tradition and encounters the words and meanings of the Ordinary of the Mass through the elements of jazz - improvisation and pulsating rhythm - one of the musical languages possible in the present age.

Missa in Jazz

The Missa in Jazz is based on the five parts of the Ordinary of Roman Catholic liturgy. These texts, which originated at the time of early Christianity, have served as inspiration for composers throughout the ages. Missa in Jazz continues this tradition and encounters the words and meanings of the Ordinary of the Mass through the elements of jazz - improvisation and pulsating rhythm - one of the musical languages possible in the millenium which has just begun.

Missa in tempore incerto

Following the great success of his Magnificat, the internationally famous pop and jazz choir composer Christoph Schönherr has composed his MISSA in tempore incerto. “MISSA in tempore incerto Mass in a difficult time. The beginning of the 21st century is beset by threats to the planet that will pose undreamt-of challenges to humanity. The music oscillates between fervent entreaties, cries for help, and hope. For the musical exegesis I found suitable and contemporary idioms in blues and Latin styles in particular. The instrumental scoring of the Mass is similar to that of the Magnificat, and thus a concert combining the two works would be possible.

Missa in illo tempore

Monteverdi's Missa in illo tempore for six voices, together with the Vespers form a collection of church music which was printed in Venice in 1610 and dedicated to Pope Paul V. During the period of transition from the older [16th century] polyphonic style to the new concertante style Monteverdi displayed his compositional abilities in this collection using both means of expression. Whereas the Vespers contained, for their time, the most modern concerti, contemporaneously the Missa employed the already obsolete genre of parody mass based on themes from a motet by Nicolas Gombert; it was composed consciously in the stile antico. The vocal parts are accompanied by a basso continuotreated as a basso seguente.

Leben und Werk in Bildern

This is the second supplemental volume to the complete works. It was awarded the Music Edition Prize in 1998. In spite of various books on the life and work of Rheinberger, until this publication there has not been a portrayal in pictures, with authentic texts, of his creative work and of his influence upon his contemporaries. The present publication fills this need and in preparing the book the editor has been able to choose from a large selection of, in part, previously unpublished pictures which in this collection, as a whole, present a vivid picture of Josef Gabriel Rheinberger in his surroundings and make the course of his development clearly understandable. The texts whichaccompany the pictures are drawn primarily from contemporary letters, reviews, monographs, etc., and they have been chosen to underscore the images of each picture.

In Exitu Israel : RV 604

This is the individual Viola part for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the Choral Score for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the individual Organ part for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

Miserere In C Minor

It was not only the musicians of the 16th and 17th centuries who – for liturgical reasons – regularly presented settings of the penitential psalm 50 (51). Even in later times, composers occasionally cultivated this tradition, for example, the "Bückeburger" Johann Christoph Friedrich Bach with his 12-movement composition dated around 1770 which was only discovered in 1975. Bach’s Miserere, held almost exclusively in flat keys, consists of a balanced alternation of choral and solo sections. One common stylistic feature of all the sections is, in particular, the lavishly used "empfindsam" suspensions and small ornamental notes. As an example of the pre-Classical era, thecomposition is well suited for programmes featuring fast and penance compositions from several epochs.

In Exitu Israel : RV 604

This is the individual part for Violin 1 for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.

In Exitu Israel : RV 604

This is the individual part for Violin 2 for Antonio Vivaldi's 'In Exitu Israel'.One of a total of 13 psalms, the present work based on psalm 113 was probably composed for the Easter Sunday in 1739. In 'In Exitu Israel' Vivaldi treats the voices homophonically (in block chords), accompanied by a String Orchestra and Basso Continuo. Although it is rather a short piece the text of psalm 113 is over twice the length of any of the other psalms set by Vivaldi but even set as a single continuous movement it still keeps the composer’s acute sensitivity regarding the emotional content of the text.