1X | 2020| 201X CHORALCHORMUSIK MUSIC HEUTE TODAY CARUS MagazineMagazin

NEW DIRECTIONS Choral finales by Beethoven and Mahler

SMART AND SUCCESSFUL James Bond for choir

COLORFUL SONORITY Sacred choral works with wind accompaniment

MOZART UNVOLLEN- DET Fragment c-Moll-Messe

GOUNOD GEISTLICH INTEGRATION MUSIKALISCH Chorwerke für die Kirche Kinderlieder für alle

C Carus Choral Collction Beethoven for mixed choir C C C

Ed. Jan Schumacher

• 41 choral settings for SATB, SA some with piano accompaniment • Well within the capabilities of amateur choirs • With original works and arrangements of Beethoven’s vocal and instrumental works from three centuries • Suitable for concerts, church services, and many social occasionse C C • CD with selected works included with C_C the conductor’s score • Inexpensive choral edition (editionchor)

The anniversary edition Have a look and a listen: for all choirs www.carus-verlag.com/4025

conductor’s score with CD editionchor 23 x 32 cm, 136 pages 19 x 27 cm, 104 pages Carus 4.025 Carus 4.025/05 available from 20 copies Introductory price: 33.90 € valid through 30.11.2020 Introductory price: 12.80 € retail price from 1.12.2020: 37.90 € valid through 30.11.2020 retail price from 1.12.2020: 14.80 €

www.carus-verlag.com/beethoven Dear choir and music enthusiasts,

This year, we have a whole collection of good reasons to celebrate together. Firstly, we will be marking the 150th birthday of Louis Vierne, not to mention the 250th anni- versary of Beethoven’s birth. We were motivated by the latter composer’s anniversary to re-issue his major choral works in modern urtext editions: thanks to our Choral Col­ lection Beethoven, you will now also be able to perform less well-known, easier smaller-scale pieces with your choir. Are you familiar with our LIEDERPROJEKT which is devoted to encouraging children to sing? We are celebrating its first Carus, the specialist for choral and sacred music, has dedicat- ten years together with the supporting creative individuals ed itself intensively to supporting musicians. It is therefore my behind our award-winning charity project. hope that the pages in this issue will both inspire and aid you in your planning, your next rehearsals and concerts and naturally In June 2020, we and you are jointly invited to a special type also in your next own special celebrations. of family celebration by the Leipzig Bach festival under the motto “Bach – we are family”. The culmination of a long- Sincere greetings term project provides further justification for celebration: Hans-Christoph Rademann and the Dresdner Kammerchor have finally reached the conclusion of their collected re- cordings of compositions by Heinrich Schütz with the issue of the final CD box. My own personal favorite is volume 19 featuring madrigals and wedding music: this recording will Ester Petri guarantee a festive atmosphere within your own four walls Managing director on any day of the year. P.S.: Did you find anything in this issue surprising, particularly We would also like to draw your attention to less well- enjoyable or superfluous? What do you think is especially worth known background stories and new perspectives: have you celebrating at Carus and is there anything we need to improve? ever heard the story behind the world-famous James Bond I look forward to hearing your comments! Contact me by post melody and are you familiar with the special techniques uti- or via email at [email protected]. lized by Clytus Gottwald to lend his choral transcriptions a special timbre? What is more, you can also discover won- derful choral compositions accompanied only by wind in- struments composed in the past centuries.

Follow us! You can read the magazine online: www.carus-verlag.com/en/focus/carus-magazine

IMPRINT Editorial staff: Christina Rothkamm, Marion Beyer Editor Translation: Lindsay Chalmers-Gerbracht Carus-Verlag GmbH & Co KG Layout: Nadine Kristen Sielminger Str. 51, D-70771 Lf.-Echterdingen Cover: Frank Walka, from Die schönsten Lieder, Carus 2.411 Tel: +49 (0)711 797 330-0 Fax +49 (0)711 797 330-29 Errors excepted. [email protected] www.carus-verlag.com ± price valid from 20 copies, from 40 copies 10% discount, Carus 99.009/14, press date: January 2020 from 60 copies 20% discount SHORT NOTES

Messe in C op. 86 Kyrie Ludwig van Beethoven 1770 –1827 Andante con moto assai vivace quasi Allegretto ma non troppo Klavierauszug:Klavierauszug: Paul Horn (1922–2016) Paul Horn Tutti Soprano Ky ri e e lei son, e lei son, e Tutti Alto

Tutti Ky ri e e lei son, e lei son, Tenore 8 Tutti Ky ri e e Basso Ky ri e e lei son, e lei son, e Archi Oboi Clarinetti Fagotti Corni Archi, Organo

SPECIAL 8 cresc. lei son, e lei son, cresc.

e lei son, e lei son, cresc.

8 lei son, e lei son, cresc.

lei son, e lei son, Tutti + Ob OFFER Clt, Fg Tutti cresc. cresc.

Vl

vocal 15 Soprano solo

Ky ri e, Ky ri e, Ky ri e e lei Take the ­opportunity Archi Clt + Ob I

Fg © 2010 2010 by by Carus-Verlag, Carus-Verlag, Stuttgart Stuttgart – –7. CV Auflage 40.688/03 / 7th Printing 2019 – CV 40.688/03 Urtext Vervielfältigungen jeglicherjeglicher Art Art sind sind gesetzlich gesetzlich verboten verboten../ Any/ Any unauthorized unauthorized reproduction reproduction is prohibitedis prohibited by bylaw. law. edited by to experience our ­innovative Alle Rechte vorbehalten //All All rights rights reserved reserved / /Printed Printed in in Germany Germany / /www.carus-verlag.com www.carus-verlag.com ErnstErnst HerttrichHerttrich practice aids: From 1 March to 15 April 2020 Beethoven’s Masses are avail- able in carus music,­ the choir app, and in the series Carus Choir Coach at ­reduced prices. See page 30.

BEETHOVEN’S WORKS FOR CHOIR AND ORCHESTRA HÖLDERLIN ANNIVERSARY Ludwig van Beethoven’s large-scale choral works have We will not only be celebrating Beethoven’s anniversary been issued by Carus in modern Urtext editions to mark in 2020: the German poet Friedrich Hölderlin was also his centenary year. The new practical slipcase is user born 250 years ago! One of the most famous musical friendly, containing study scores of the two Masses, the settings of his texts is without doubt the Schicksalslied oratorio Christus am Ölberge (The Mount of Olives) by Johannes Brahms which is available from Carus not and the three secular works with orchestral accompa- only in the original version (Carus 10.390) but also in a niment (Choral Fantasy, Meeres Stille und Glückliche version for reduced forces (Carus 10.399/50) – a great Fahrt [Calm Sea and Prosperous Voyage], Elegiac Song) opportunity for many choirs to celebrate Hölderlin. (Carus 23.901). An extra added bonus is the Kyrie based on the Adagio from the “Moonlight Sonata” for choir and orchestra in the version by Beethoven’s contempo- rary Gottlob Benedict Bierey – a genuine treat suitable HEINRICH SCHÜTZ for all anniversary concerts. COMPLETE RECORDING The first Heinrich Schütz Complete Recording concluded in 2019 and featuring the Dresden Chamber Choir under the direction of Hans-Christoph Rademann has set both ANNIVERSARIES 2020 artistic and editorial benchmarks. The Carus label pres- ents this commendable conclusion to the prize-winning Ludwig van Beethoven 1770 –1827 series (Carus 83.043) with 250th anniversary of birth the issue of the last of three top-quality boxes. The current Gabriel Fauré 1845–1924 box containing Volumes 15 to 175th anniversary of birth 20 includes outstanding com- Louis Vierne 1870–1937 positions such as Schwanen­ 150th anniversary of birth gesang (Swan Song) and the Jan Dismas Zelenka 1679 –1745 Kleine geistliche ­Konzerte II 275th anniversary of death (Small Sacred Concertos) alongside less well-known 2021 secular Madrigals & Wedding Music. (See also page 13). Rudolf Mauersberger 1889–1971 50th anniversary of death Michael Praetorius 1571–1621 400th anniversary of death Camille Saint-Saëns 1835–1921 100th anniversary of death

4 WORKSHOP JON LAUKVIK The Carus editor Jon Laukvik, long-time professor for Meet us! organ at the Musikhochschule Stuttgart and visiting professor at the Institute of Sacred Music of Yale Uni- 1–4 April 2020 11–13 September 2020 versity in New Haven during the current academic year, Frankfurt Paris will enrich this year’s especially diverse program of the International Music Fair Congrès international National Convention of the American Guild of Organ- des chefs de chœur ists with a reading session on the topic “Historical Per- 6–10 July 2020 formance Practice for Organists: Atlanta, USA 26–30 October 2020 Modern and Contemporary” on American Guild of Organists Carus-Verlag, 10th July. The convention will (AGO) National Convention Leinfelden-Echterdingen be held in Atlanta from 6 to 7th Stuttgart Choratelier 10 July 2020. Carus will be 11–28 July 2020 presenting its music edition Auckland, New Zealand program at the event. World Symposium on Further information at Choral Music www.agoatlanta2020.com. We would be very pleased to meet you there!

GOTTWALD 95 YEARS WORKSHOPS AT THE BACH The choral conductor and ar- FESTIVAL LEIPZIG 2020 ranger Clytus Gottwald will be celebrating his 95th birthday Ton Koopman, the Dutch conductor and president of on 20 November 2020. He has the Bach Archive in Leipzig, has been invited by the greatly enriched the choral rep- ­Carus-Verlag to hold two workshops on the Bach mo- ertoire with his transcriptions of tets Jesu, meine Freude BWV 227 and Der Geist hilft lieder and instrumental works unser Schwachheit auf BWV 226 for choral conductors for choir. His arrangements of and church musicians (also open to students within these Strauss lieder will be published in fields) on 16 and 17 June 2020 during this year’s Bachfest spring this year. Find out more on in Leipzig. Further information and application form at

Photo: SWR / Hugo Jehle page 18. [email protected]. See also page 21.

WORLD SYMPOSIUM ON CHORAL MUSIC The next World Symposium on Choral Music will be held in Auckland, New Zealand from 11 to 18 July 2020. We are overjoyed to be given the opportunity to present our latest new editions and classical works from our publish- ing program on our publishing stand at the symposium. Photo: Foppe Schut You can also visit our workshops held by Frieder Bernius and Jan Schumacher. Program details will be announced in spring at www.wscm2020.com.

Want to know what’s going on at Carus? Have a look at our social ­media channels at Instagram and Facebook!

5 THE EGG OF COLUMBUS The choral finale in the Symphonies of Beethoven and Mahler

The baritone begins with the words “O Freunde, nicht diese Töne” (“O friends, not these sounds”) in Ludwig van Beethoven’s­ famous finale, heralding the entry of the choir in the symphony – a genuine innovation in the history of music. Beethoven had long struggled with this compositional solution and retained doubts up to the end. This innovation would, however, be taken up by many successors down the centuries – in particular the twentieth – of whom Gustav Mahler was also a decisive forerunner.

Mahler’s concerns were understandable as Mahler’s Symphony No. 2 was therefore Beethoven had ultimately revolutionized by no means the first vocal symphonic the previously purely instrumental genre work since Beethoven’s Ninth, but it is not with his Ode to Joy in the finale of hisSym ­ possible to speak of a continuous tradition phony No. 9. Years beforehand, Beet­hoven – the aesthetic circumstances of the very had experimented with the possibilities of different works are too disparate. What is a symbiosis between vocal and instrumen- more, although Mahler’s early symphonic ahler took more than six years from tal music in his Choral Fantasy (thematical- compositions were initially conceived pro- Mthe first sketches of theSymphony ly closely related to the Symphony No. 9). grammatically, the composer distanced his No. 2 to complete his composition finally The integration of vocal elements in the creations from genuine program music in in the summer of 1894 – none of his other sublime and formally relatively strict genre the sense of Berlioz and Liszt. By compar- works occupied him for such an extensive of the symphony was, however, a genuine ison, it was something entirely different time span. It seems that Mahler was long innovation which had an effect on subse- if the content of a composition “soars to plagued by the question of an appropriate quent generations of composers. such heights and embodies such forms that ending for his symphony, before finding the musical notes are no longer sufficient for solution during the memorial service for the Just under two decades after Beethoven, the composer who is grappling with the conductor Hans von Bülow. As a counter- Felix Mendelssohn Bartholdy created a most exalted mode of expression which he weight to the initial movement, originally combination of symphonic form and vo- can only achieve in the unification with the separately conceived under the title Todten­ cal expression in his Lobgesang which was human voice and well-articulated poetic feier (Obsequies), it would be perfectly log- however quite different: unlike Beetho- words, as is the case in both Beethoven’s ical to end the work with the Resurrection, ven’s finale, the vocal element did not con- Ninth and my own C minor Symphony.” for which he set verses of the poem of the sist of a single symphonic movement, but same name by Friedrich Gottlob Klopstock instead was a cantata in several sections There are, however, several musical paral- augmented by his own words. Mahler with substantially greater proportions than lels which suggest that Mahler did indeed then went on to rework his Wunderhorn the purely instrumental symphonic first orientate himself after Beethoven’s Ninth lied Urlicht for alto solo to form the fourth part of the work. As Beethoven had not in his Symphony No. 2. For instance the movement of the symphony. Much later, only utilized the voice as an instrument in central themes of both compositions are he termed the concept of utilizing text and his Symphony No. 9, but additionally em- introduced instrumentally before subse- the human voice for the end of the work as ployed the written word as a non-musical quently becoming semantically substan- “the egg of Columbus” and wrote: “At the signifier for the composition, this concept tiated in textual settings. Additionally, time, I wrestled long with the idea of incor- was also adopted in programmatic works both Mahler’s and Beethoven’s work ad- porating a choir for the last movement and such as Roméo et Juliette by Hector Berlioz here to a ‘per aspera ad astra’ dramatur- only hesitated repeatedly due to concerns and the Faust and Dante symphonies by gy with the choral finale as the final desti- that this would be considered as a mere Franz Liszt. nation: although Mahler introduces song imitation of Beethoven!” in the fourth movement Urlicht, it is only

6 Gustav MAHLER Sinfonie Nr. 2 4. und 5. Satz/4th and 5th movement Urlicht „Aufersteh’n“ in the resurrection concept expressed by His Symphony No. 2 was, how­ever, not the choir (and solo soprano and alto) in only a forerunner for new vocal sym- the finale that the subject of death al- phonic concepts in his own compositional ready thematicized in the opening move- output. Once Mahler’s contemporaries ment, can be overcome. Here a certain – including Alexander Scriabin­ in his Sym­ C influence of Beethoven also becomes vis- phony No. 1 (1900) and Ralph Vaughan Carus 23.802/03 ible: the opening baritone solo “O Freun- Williams in his Sea Symphony (around de, nicht diese Töne” at the beginning of 1910) – had employed choirs within a Gustav Mahler (1860 –1911) his finale rebuffs the themes quoted from symphonic concept, the principle of Symphony No. 2 4th and 5th movement the previous movements, instead placing blending vocal and symphonic structures Urlicht / Die Auferstehung (German) the human voice and its joyful message as was subsequently utilized within a variety  Carus 23.802, vocal score 12.95 €, the central focus. It is also significant that of musical configurations: in Igor Stra­ Vocal score XL 16.95 €, choral score ±8.95 €

both final movements begin with an or- vinsky’s Symphony of Psalms (1930), chestral “fanfare of terror” (“Schre­ckens­ Darius Milhaud’s Symphony No. 3, culmi- Ludwig van ­fanfare”), as Richard Wagner termed the nating in a Te Deum, and in works by BEETHOVEN Beethoven vocal Fantasie Urtext im Dienste historisch informierter Aufführungspraxis für Klavier, Chor und Orchester l wissenschaftlich zuverlässige Notentexte für die Praxis unter Berücksichtigung des aktuellen Standes der Beethoven-Forschung for piano, choir and orchestra beginning of Beethoven’s finale, thereby Benjamin Britten, Philipp Glass, Hansl informative Vorworte zu Entstehungsgeschichte, Rezeption op. 80 und aufführungspraktischen Fragen sowie Kritische Berichte

l vollständiges Aufführungsmaterial: Partitur, Studienpartitur, Klavierauszug, Chorpartitur und Orchesterstimmen

l Innovative Übehilfen für Chorsänger/innen enhancing the radiant effect of the choral Werner Henze, Krzystof Penderecki,sowie SerNoten im Großdruck (XL)- erhältlich. Beethoven vocal Urtext for historically informed performance

l musicologically reliable editions for the practical pursuit of music, taking into account the most current state of Beethoven research

l informative forewords on the work’s history, reception conclusion of both compositions. gei Rachmaninov, Alfred Schnittke and performanceand practice and Critical Reports l complete performance material available: full score, study score, vocal score, choral score, and orchestral parts

l Innovative practice aids are available, as well as sheet music in large print (XL).

most notably Dmtri Shostakovich. As firstwww.carus-verlag.com/beethoven

Beethoven vocal Beethoven Meisterwerke für Chor in Urtextausgaben Urtext utilized in the finale of Beethoven’sNinth Masterpieces for choir in Urtext editions It is also significant that vocal and continued in Mahler’s concept, C_itCarus C CV 10.394 Carus ISMN M-007-18767-5 Carus 10.394 both final movements was spiritual and/or political issues which9 790007 187675 begin with an orchestral defined the individual works. Mahler’s Symphony No. 2 as a significant mile- Ludwig van Beethoven (1770–1827) Choral Fantasy (German) stone within this temporarily fragile tradi- “fanfare of terror”.  Carus 10.394, full score 39.95 €, tion was not a singular contribution, but vocal score 9.95 €, The completion of the Symphony MNo. 2 preparedENDELSSOHN the way for the establishment complete orchestral parts 114.00 € was for Mahler an act of liberation: from of vocal symphonic structures and their

this point onwards, he regularly com- various forms of further development. Ludwig van posed symphonies – both with and with- Johann Layer BEETHOVEN

Der Klavierauszug für Chor und Solisten des Finalsatzes der 9. Symphonie basiert Symphonie Nr. 9 auf dem bewährten Klavierauszug von Carl Reinecke, der gegen Ende des 19. Jahr- out the incorporation of vocal elements. hunderts entstand. Die weltweit beliebte Klavierfassung kommt dem Orchestersatz op. 125 klanglich sehr nahe und ist gleichzeitig gut spielbar. Unter Berücksichtigung aktueller Forschungsergebnisse wurde dieser Klavierauszug aktualisiert. Eingefügt wurden die Finale „Ode an die Freude“ verschiedenen Probebuchstaben der gängigen Materialien, sodass diese Ausgabe Finale “Ode to Joy” He even employed the human voice Lobgesangauch zu bereits vorhandenen· Notenausgaben Hymn verwendbar ist. 交響曲第９番、フィナーレ「歓喜の歌」 of Praise op. 52 The vocal score of the finale of Beethoven’s 9th Symphony, for vocal soloists and choir, is based on the trusted vocal score of Carl Reinecke, which he completed at the end of the 19th century. This version for piano, beloved and acclaimed world- wide, comes nearest to rendering the sound of Beethoven’s orchestral writing and at the same time is very playable. Taking into account the most current research, it Symphony No. 8 has been modernized. The different rehearsal letters found in current performance throughout his which he materials have been inserted so that this vocal score may be used together with the editions of the symphony which are already available.

合唱とソリストのための「交響曲第９番 フィナーレ」ヴォーカルスコアは、 Sinfonie-Kantateカール · ライネッケが19世紀末に完成させた、定評あるスコアを土台として · Symphony cantata again evaluated as the “egg of ­Columbus”. います。世界中で認められているそのヴォーカルスコアは、オーケストラの 響きの再現度が非常に高く、なおかつ大変演奏しやすく書かれています。 最新の研究成果も考慮に入れ、このヴォーカルスコアは現代的に生まれ変わ りました。現在の演奏楽譜に見られる練習記号を補っているため、すでに 出版されている様々な版との併用が可能です。

Beethoven vocal Zu diesem Werk ist {carus music} , die Chor-App, erhältlich, die neben den Noten und einer Einspielung einen Coach zum Erlernen der Chorstimme enthält. Mehr Informationen unter www.carus-music.com Urtext For this work , the choir app, is available. In addition to the vocal score and a recording, the app offers a coach which helps to learn the choral parts. Please find more information at www.carus-music.com

この作品は合唱アプリ でもご利用になれます。タブレット端末（Android／iOS）画面にヴ ォーカルスコアが表示され、楽譜をご覧になりながら演奏をお聞き頂けます。合唱パートの練習に最適な 機能「Coach」もございます。詳細は以下をご覧ください。www.carus-music.com（ドイツ語／英語）

C_Carus C

CV 23.801/03 Carus ISMN M-007-16501-7 Carus 23.801/03

9 790007 165017

Ludwig van Beethoven (1770–1827) Symphony No. 9. Finale Ode to Joy (German) CHOIR E AP German text also in phonetic transcription TH P  Carus 23.801/03, vocal score 9.00 €, Vocal score XL 15.95 €, choral score ±4.20 € Carus Choir Coach practice CDs in carus music, the choir app

MENDELSSOHN

Lobgesang · Hymn of Praise op. 52 Sinfonie-Kantate · Symphony cantata

CHOIR E AP TH P

Stuttgarter Mendelssohn-Ausgaben Urtext

C Carus 40.076

Felix Mendelssohn Bartholdy (1809 –1847) Johann Layer studied historical musicolo- Hymn of Praise. Symphony cantata gy, systematic musicology and law at the (German/English) University of Hamburg. He is currently  Carus 40.076, full score 84.00 €, focusing on Gustav Mahler’s reception of vocal score 13.95 €, Vocal score XL 17.50 €, Beethoven in his doctoral thesis, with choral score ±5.95 €, study score 27.50 €, support from the Gerda complete orchestral parts 271.50 € Henkel Foundation and the Carus Choir Coach practice CDs in prep. DAAD (German Academic Exchange Service). in carus music, the choir app  : Practice aids for choir singers (carus music, the choir app; practice­ CDs Carus Stuttgarter Mendelssohn-AusgabenChoir Coach) and Vocal scores XL in large print are available for many works Urtext 7

C Carus 40.076 COLORFUL SONORITY Sacred choral works accompanied by wind instruments

For centuries there has been a strong link between wind instruments and vocal ensembles as the sound of a blown instrument has a close affinity to the singing voice. What is more, wind groups, city waits and later Harmoniemusik (wind music ensembles) and military and brass bands were universally ubiquitous and readily available, resulting in a wide variety of compositions for all types of wind ensembles. Among the genre of choral compositions accompanied purely by wind instruments, a broad spectrum of works with highly different timbres are waiting to be discovered.

esides soons, three trombones and continuo; it been a good reason for Bruckner­ to have Bthe piano, was performed in Salzburg Cathedral in scored his Mass in E minor for eight voices it was above all wind ensembles 1777. The dispensation with strings had “with Harmonie accompaniment” which in varied instrumentation – depending on nothing to do with a lack of space or the was performed by a military band. At the regional and local circumstances – which particular occasion, but was actually an first performance of the revised second more or less undertook the function of experiment which more than achieved version (1885) in the old Linz cathedral, a radio during the 18th and 19th cen- its intended effect: “What particularly Bruckner’s E minor Mass was however turies; countless arrangements for wind pleased me was that the oboes and bas- transported back into the church, despite ensembles from the operatic and concert soons came very close to the sound of its unchanged instrumentation! repertoire enabled a broader familiarity human voices so that the tutti sections with this music without the necessity of appeared to be performed purely by huge a special performance location or the in- vocal forces” (Leopold Mozart). Other The restriction to wind volvement of highly sensitive string and “Harmonie” masses were especially com- ­instruments in no way keyboard instruments. A well-known quo- posed for specific ensembles, for example tation from a letter by Mozart to his father court Harmoniemusik or rural wind bands, limits the range of timbres underlines how lucrative this musical mar- but were also performed in the church. A of a ­composition. ket could be: “I have plenty of work. – By small tradition of wind masses was there- a week on Sunday, my opera [Il Seraglio] fore created which also included well- must be adapted for the Harmonie [wind known and frequently performed works Modern wind ensembles still base them- band] – otherwise someone else will have such as Franz Schubert’s German Mass selves on the model of Harmoniemusik got there first – and can then pocket the D 872 (Carus 70.060) dating from 1827 from the 18th century, frequently in a profits.” There was however a great deal featuring a large-scale wind orchestration quintet formation which can be augment- of original music composed for this then and organ. ed to form a sextet, septet etc. as required. highly fashionable type of ensemble; di- This type of ensemble has retained a cen- vertimentos, nocturnes and serenades for By the turn of the 19th century, Harmonie­ tral pillar of the repertoire consisting of wind bands were created in large quanti- musik was swiftly giving way to military music for ‘Harmonie instrumentation’ ties and their genre labeling gives a good music in which brass instruments were composed in the 18th century. For this indication of their musical utilization: this allocated greater importance. Newly reason, it is entirely plausible to revive the form of musical entertainment was mostly formed wind bands, frequently in rural concept of arrangements for wind ensem- intended for evening performance at table areas, oriented themselves increasingly to ble. Dvořák’s Mass in D major in its first and in the taverns. It was most probably the military band instrumental structure version for organ and therefore with quasi the special sonority of these wind ensem- with a repertoire chiefly consisting of ar- ‘wind’ accompaniment is virtually predes- bles which brought them back into con- rangements and a wide variety of perfor- tined for a corresponding arrangement. cert halls and churches. mance locations, including open-air con- The wind player Joachim Linckelmann has certs. The performance in the cathedral reduced the orchestral accompaniment to In Johann Michael Haydn’s “Oboe Mass” square of Linz in 1869 marking the con- a wind quintet in 2013, creating an ar- (Missa Sancti Hieronymi MH 254), for ex- secration of the votive chapel (the chapel rangement that works extraordinarily well. ample, the ‘orchestra’ consists exclusively alongside the crypt was the first stage in Equally successful is Johannes Ebenbau- of wind instruments: soloists and choir the construction of the new city cathedral, er’s arrangement of Bruckner’s Te Deum are accompanied by four oboes, two bas- not completed until 1924) would have with an accompaniment consisting of

8 Anton BRUCKNER Messe e-Moll WAB 27 Zweite Fassung/Second version 1882

Urtext

C_Carus C

CV 27.093 Carus ISMN M-007- Carus 27.093

Anton Bruckner (1824–1896) Antonín Dvořák (1841–1904) wind quintet and organ. This version has NEW: Mass in E minor Carus 83.1 Mass in D major op. 86 CCarus however less to do with the Harmonie­ Charles Gounod WAB 27 Anton Brucner Arrangement for wind quintet Requiem ss Antonín Dvořák messe in D musik tradition than masses scored for 2nd version 1882 ose ariel Soli SATB, Coro SATB, Fl, Ob, Reinerger u s Rundfunkchor Berlin · Risto Joost Polyphonia Ensemble Berlin pure brass ensemble and choir – a sepa- Coro SSAATTBB, 2 Ob, 2 Clt, Clt, Cor, Fg / 42 min Hye-Lin Hur, Orgel

KaerCor Saarrcen Kaerilaronie rate individual tradition still existing up to 2 Fg, 4 Cor, 2 Tr, 3 Pos Mannei ed. Joachim Linckelmann eorg rn the present day, for example in the Missa 37 min  Carus 40.653/50, brevis for choir and brass quintet by the ed. Dagmar Glüxam full score 39.95 €, vocal score 11.95 €,  Carus 27.093, full score 33.00 €, vocal choral score ±8.50 €, set of parts 53.00 € Swiss composer Cyrill Schürch composed score 10.50 €, Vocal score XL 13.95 €, CD Carus 83.386 in 2015, an expressive example from this choral score ±8.50 €, set of parts 90.00 € tradition (Carus 10.804). CD Carus 83.414 Orchestral version Soli SATB, Coro SATB, 2 Ob, 2 Fg, 3 Cor, The choral repertoire with wind accom- Te Deum WAB 45 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, Org paniment is naturally not limited to mass- Version for soli, choir, brass quintet ed. Klaus Döge es. A delightful work that is frequently and organ  Carus 40.653, full score 39.95 €, Soli SATB, Coro SATB, 2 Tr, Cor, Trb, Tb, study score 17.50 €, complete coupled with Haydn’s “Oboe Mass” but Org / 24 min orchestral parts 170.00 € originates from a completely different pe- ed. Johannes Ebenbauer riod is Ottorino Respighi’s sensitive and  Carus 27.190/50, full score 78.00 €, vo- Organ version intimate pastoral composition Lauda per cal score 10.50 €, Vocal score XL 15.95 €, Soli SATB, Coro SATB, Org la Natività del Signore dating from 1930 choral score ±5.70 €, ed. Günter Graulich which is scored for woodwind ensemble set of parts 70.00 €  Carus 40.651, (without brass) with piano duet and tri- full score 19.95 €, Original version organ part 14.50 € angle. Respighi, a master of orchestration, Soli SATB, Coro SATB, 2 Fl, 2 Clt, 2 Fg, in carus music, the choir app specially selected the wind instruments to 4 Cor, 2 Tr, 3 Trb, Tuba, Timp, 2 Vl, Va, Vc, CD Carus 83.106 create the appropriate pastoral setting and Cb, Org tone coloring. ed. Ernst Herttrich Ottorino Respighi (1879–1936)  Carus 27.190, full score 26.95 €, Lauda per la Natività del Signore (Italian)

The tradition of combining wind instru- study score 17.50 €, complete orchestral Canto (with several solo CCarus

parts 189.00 € parts), Coro SATB uh unhauser dam undunchor Berlin ments and singers naturally goes back olhonia Ensemble Berlin Nicolas in (with divided parts), Māris Sirmais much further than Haydn’s “Oboe Mass”; Johann Michael Haydn (1737–1806) 2 Fl (Fl+Picc), Ob, Eh, 2 Fg, we find all manner of works using this Missa Sancti Hieronymi MH 254 Triangolo, piano duet combination in the compositional output Soli SATB, Coro SATB, 4 (2) Ob, 2 Fg, 24 min of Heinrich Schütz and his contemporar- 3 Trb, Bc / 40 min ed. Christine Haustein ies and know that music for singers and ed. Armin Kircher  Carus 10.084, wind ensembles was highly popular be-  Carus 54.254, full score 39.95 €, full score 46.00 €, ± fore 1600. Woodwind instruments are vocal score 17.95 €, choral score 8.50 € vocal score 19.50 €, complete orchestral parts 99.00 € choral score ±7.50 €, also closest to the human voice. The fact complete orchestral parts 43.50 € that a restriction to wind instruments Franz Schubert (1797–1828) CD Carus 83.473 does in no way limit the tone coloring Deutsche Messe D 872 (dt) of a composition is clearly underlined by Orchestra version: Coro SATB, 2 Ob, 2 Clt, Cyrill Schürch (*1974) the above-mentioned works, above all 2 Fg, 2 Cor, 2 Tr, 3 Trb, Timp, [Cb]; Missa brevis Bruckner’s Mass and Respighi’s Christmas Organ version: Coro SATB, Org / 35 min Soli SB, Coro SATB, 2 Tr, Cor, Trb, Tb, Org ­Cantata. ed. Salome Reiser 13 min  Carus 70.060, full score 13.95 €, reduc-  Carus 10.804, full score 30.00 €, Uwe Wolf ± tion for organ 6.00 €, choral score 3.20 €, vocal score 9.50 €, set of parts 25.50 € set of parts 22.00 €

Dr. Uwe Wolf has been chief editor of Carus since 2011. Previously he was involved in Bach research for over twenty years. He has been an active wind player for far longer, playing on instruments ranging from the Baroque trumpet to the cornett.

9 As one of the first German musicians of European stature Schütz left behind an oeuvre that was as extensive as it was varied. With enormous artistry, he succeeded in bringing music and text together in a way that amazes and moves. Ich bin ein rechter Weinstock Musicians and musicologists present the wealth of facets in (I am the only true vine) individual works of the early Baroque master that they feel a SWV 389, from: Geistliche particular affinity for. Chor-Music 1648 Carus 20.389

In my opinion, the motet “Ich bin ein Anima mea liquefacta est / rechter Weinstock” from Geistliche Chor-Music Adiuro vos, filiae Hierusalem 1648 is one of the most beautiful compositions SWV 263–264 by Heinrich Schütz. This motet teaches you how from: Symphoniae Sacrae I to see with your ears and listen with your eyes in a Carus 20.263 way that hardly any other musical piece can. I sang this composition with the Dresdner Kreuzchor as a What superb music! You think you will hardly be able to bear the tension! Ever since I

Photo: Martin Foerster ten-year-old boy and had encountered it time and again by the time I was 18. It touched me deeply heard these two companion pieces for two ten- every time, but I didn’t know why. There had to ors, two cornetts, and continuo over 30 years be a secret to it. ago (on an LP record!), they have fascinated me as few other compositions among Heinrich One day, this ‘secret’ finally revealed itself to me: Schütz’s amazing output. Since then I have in Radebeul, near Dresden, I was able to enjoy heard them countless times in a huge variety of the view of a vineyard behind my house every recordings, and have even taken part in perfor- day – and suddenly, I saw the music by Heinrich mances myself a few times. And this music still Schütz in the landscape! I perceived the terrace gets right under my skin! In particular, the end and the small terrace steps in a different way, and of the second part packs quite a punch. After I recognized the structures of music in this image. a recitative section which concludes with a fer- Here, I saw the deeply familiar motet “Ich bin ein mata, there are two tutti measures at the word rechter Weinstock”. “quia” (“because”), which almost seem to open a door: this suddenly feels like music scored for Schütz writes a vineyard into the score, with large forces, yet there are still only four parts terrace-shaped melodic lines and interspersed plus basso continuo. After a further fermata, little motif units as descending steps. And he the music at the words “quia amore langueo” composes vines with series of eighth notes that (“because I languish for love”) turns into an im- surround the pitches. A section of the middle itative song of lamenting, liberally sprinkled with part, where the text reads “wird er reinigen”, dissonances. Yet despite the suspensions which is composed in triple time. “ER”, signifying the dovetail into each other, nothing sounds “false”, trinity, is symbolized by the number 3. In general, but the tension produced is almost impossible numerical symbolism plays an important role. to listen to. Personally, I consider these multifaceted levels of meaning in Heinrich Schütz’s scores to be a Schütz had been living in Venice for just under real treasure. At the very top is the motet “Ich a year when he had this pair of works published bin ein rechter Weinstock”, which I would love in the Symphoniae sacrae I in September 1629. to conduct over and over again, as it always An earlier version of the composition, scored emerges with the same freshness and novelty as for similar forces, survives in manuscripts. Some the first time I encountered it with the Dresdner things from the early form of the work can be Kreuzchor. recognized in the printed version, yet worlds lie between the two versions. The dissonant fi- Prof. Hans-Christoph Rademann is one of the most nal section (and the highly effective fermatas) sought-after choir conductors and renowned choral sound are also missing. Here we notice quite direct- specialists in the world. His concerts and recordings with the Dresdner Kammerchor and the Dresdner Barock- ly something of Schütz’s encounter with new orchester are pioneering, especially those of Central Ger- Venetian music, which had “greatly changed man musical treasures from the 17th and 18th centuries. ... and markedly improved” following his first Under the leadership of Musical Director Hans-Christoph Venice trip – and in which Claudio Monteverdi Rademann, the Dresdner Kammerchor released the first complete recording of Heinrich Schütz’s works together now set the tone. with the publisher Carus-Verlag Stuttgart. Dr. Uwe Wolf has been Chief Editor of Carus-Verlag since October 2011. Before that he worked in Bach re- search for 20 years. As a cornett player he participated in many performances of works by Heinrich Schütz in the 1980s and 1990s.

10 Heinrich Schütz Complete Edition

Gib unsern Fürsten The Stuttgart Schütz Edition is a (Grant to our people) Photo: Jens Meisert complete edition 1992 taken over Wo der Herr nicht SWV 373, by the Carus-Verlag, founded on a das Haus bauet from: Geistliche critical examination of the sources. (If the Lord build not ­Chormusik the dwelling) It is being published in cooperation Carus 20.373 SWV 400, from: with the renowned Heinrich-Schütz-­ War raged on in Europe for thirty long years ­Symphoniae Sacrae III Archiv of the Hochschule für Musik and caused a tremendous amount of dam- Carus 20.400 Dresden. age in many areas, including Saxony. Heinrich A favorite work by Heinrich Schütz? Every work Schütz, Kapellmeister at the court in Dresden, from the collection Symphoniae sacrae “tertia All works are also published in composed many splendid works during the war pars”, in which he shaped the ideas he had separate editions. years, on the occasion of visits of political im- brought with him from Italy to create an in- portance or in thanksgiving. He offered all his disputable high point of German music of the art of polychoral composition in these repre- 17th century, has become dear to my heart. sentative, “political” works – their magnificent When I saw the third setting of these, “Wo arrangement audibly shows what a precious der Herr nicht das Haus baut...”, SWV 400, a commodity peace was. setting of Psalm 127, for the first time, I was dumbfounded by the abundance of harmonic, For me, however, a completely different kind of metric, rhythmic, and rhetorical details found peace composition has become my Schütz fa- in this score. Was this the same composer who vorite: the five-part motet “Gib unsern Fürsten” had primarily gained his “image” through hon- SWV 373 (as secunda pars connected with est, large-scale traditional motet performances, the motet “Verleih uns Frieden genädiglich” which had hindered my appreciation of his mu- SWV 372). It comes from the Geistliche sic for such a long time? Chor-Music, a collection of 29 motets, which Schütz published in the year of peace in 1648. But what we have here is a complete contrast: In October of this year, the peace treaties were the concertante style of a two- to three-part finally signed in Münster after many years of solo, or favoriti, choir, instrumental and vocal negotiations. The peace treaty was later re- writing interwoven in the finest style, likewise ferred to as the “Peace of Westphalia.” the most subtle semantic relationships at the cornett call of the watchman, the rhetorical With his Geistliche Chor-Music, for the first pauses after “umsonst” (“in vain”), chromat- Kleine geistliche Konzerte II 1639 time, Schütz dedicated a collection not to a ic ascending harmonies (via G sharp minor!) nobleman, but rather to a bourgeois group, at “mit Sorgen euer Brot essen” (“to eat the (Small sacred concertos) namely the mayor and councilors of the city of bread of sorrows”), or racing coloraturas, chas- ed. Michael Heinemann Leipzig as well as the Thomaner choir, which ing each other at “Pfeilen in der Hand eines Complete edition, vol. 10 he treasured. With this music, Schütz explicitly Starken” (“arrows in the hand of a mighty  Carus 20.910, 189.00 € addresses the simple people who experienced man”). all the horrors of war – as he did himself. The The Kleine geistliche Konzerte motet SWV 373 is anything but a representative The work begins with a Symphonia in which by Heinrich Schütz represent solo composition, rather a silent, heartfelt request the whole wealth of instrumental color – vio- vocal music right at the height of turned into music: that the mighty be given “a lins, cornetts, and gambas as an instrumental its time, the result of his (second) good regiment,” so that we ourselves may lead ‘complementum’ group ad lib – is placed be- journey to Italy and his encounter our lives in peace. The music clings closely to the fore the imitative writing of the two sopranos. with ­Claudio Monteverdi’s musico-­ words here, such as the imploring “Give” of the But the instruments not only play first, but also beginning, the deceleration when it comes to provide expressive commentaries. And at the dramatic works. the “calm and quiet life,” or the eighth ascents concluding high point of the work, “Wohl dem, to “leading,” which show the direction of our der seine Köcher derselben voll hat” (“happy Separate editions of all included striving. is the man that hath his quiver full of them”), works are available. all the groups combine, declaiming together in For me, this is a special treasure of “musicus highly artistic fashion as well as in the syllabic www.carus-verlag.com/en/ ­poeticus:” small in its outer dimensions, but ex- and melismatic phrases tossed from one group composers/schuetz/kleine- pressive music that has lost none of its power to another. geistliche-konzerte-ii-swv-306-337 over 350 years since its composition; Music that is current given our confusing global political Which work offers more than this? Claudio situation as never before; Music that you want Monteverdi, who died shortly before the pub- the despots of our time to be sure to remember. lication of the collection, would probably have Iris Pfeiffer, musicologist and since 2003 at Carus, is been astonished about this congenial “Ger- head of the Business Development & Marketing depar- man” adaptation of the seconda prattica. tement as well as authorized signatory. She has been singing in several choirs for many years. Prof. Frieder Bernius is in great demand worldwide as a conductor, seeking a sound which is both authentic and at the same time distinctive and personal – whether in the vocal works of Monteverdi, Bach, Handel, Beetho- ven, Schütz, or Ligeti, the incidental music of Mendels- sohn, or the symphonies of Haydn and Schubert. 11 Sei gegrüßet, Maria (The annunciation) SWV 333, from: Kleine ­Geistliche Konzerte II Also hat Gott die Welt geliebt Carus 20.333 (For God so loved this sinful world) SWV 380, from: Geistliche Chormusik 1648 The works by Schütz which I most Carus 20.380 admire include his setting of a text which marks the beginning of the Christian story of sal- One of the best-known motets by Schütz has vation: the Annunciation of the birth of the Sav- accompanied us for several years and has be- ior Jesus Christ to Mary, the one chosen as his come a real favorite of ours. We love singing mother. This scene has been depicted countless the motet right at the beginning of a concert. times in the fine arts, with the Archangel and the The first two chords are very simple, but effec- Virgin portrayed as of equal importance and on tive! It is like opening the gate to a sound world equal terms. When composers began to com- which immediately enchants listeners! In our pose settings of this text in the form of a dialog, rehearsals we hit on the idea that in the 17th it transpired that the Archangel had much more century, the German word “also” (therefore) text than Mary. To achieve a balanced musical was probably pronounced differently from to- setting Schütz devised a highly original artistic day, with the emphasis on the second sylla- treatment. In his setting Mary reacts to Gabriel’s ble – at least with Schütz this sounds highly first words even before he has uttered his first likely (and for good reason), when the pitch greeting in full, and she sustains her reaction and harmonic tension rises from A minor to until the name of the expected son is given. E major and the scene is set, so to speak, for what follows. Then the piece really begins, and Schütz presents Mary’s thoughts, which Luther full of thankfulness we sing of the love of God, translated in the form of direct speech (“Welch with rhythmically thrilling joy in performing, ein Gruß ist das?”– “Hark, who haileth me?”), sometimes in contrapuntal writing, sometimes in a highly unusual, not to say strange, musical concisely. Through the repetition of the sec- version. It is a five-note ostinato in which we tions we have a lot of freedom to shape the hear Mary “think aloud” five times. In fact we piece, to narrate the text in a great variety of do not hear a real vocal melody, but a construct: ways, and it can be wonderful to add loud and five different notes within the range of a hexa- soft into the mixture here. We feel that the chord, four different intervals. One of the char- final triple-time section is often performed with acteristics of this five-note formula is that the the wrong tempo relationship, that is, too fast. rhythmic-metrical progression is in duple-time Then the life everlasting rushes past you ... A note values, and thus has the effect of slowing peaceful 2:3 relation seems better and more down the overall triple-time metre of the An- correct to us, then the life everlasting and our gel’s message in an unconventional manner. You anticipation of it have a fitting grandeur. could almost say that Schütz composed a “motif for Mary” here, and that thanks to this, the first Incidentally, Dolf Rabus, the founder and di- section of the piece is effectively the main focus rector of the Musica Sacra Festival in Markt­ of the composition and not merely a simple in- oberdorf, uploaded a live recording of „Also troduction to Mary’s ultimate agreement to take hat Gott die Welt geliebt“ on YouTube in up her intended place in the history of salvation. 2008. This video remains the most frequent- ly-watched Calmus video, and it is evidently One final thought: Giovanni Gabrieli was not also a favorite piece among our listeners. only organist of San Marco, but he was also responsible for the music at the Scuola Grande www.youtube.com/watch?v=fScwzH23sQo! di San Rocco. Schütz undoubtedly entered this building countless times, and anyone who en- A perfect blend of sound, precision, lightness, and wit. These are the hallmarks of Calmus, now one of the most tered it immediately saw Jacopo Tintoretto’s successful vocal groups in Germany. Carus-Verlag has painting of the Annunciation. Did this image released many CDs by Calmus, and several of our cho- have a lasting impression on Schütz and his ap- ral collections contain works specially composed for the

proach as composer to the subject? We do not ensemble. Borggreve Photo: Marco know.

Prof. Dr. Werner Breig was Professor of Musicology at the Staatliche Hochschule für Musik Karlsruhe, then at the Bergische Universität Wuppertal until 1988, and sub- sequently at the Ruhr-Universität Bochum until 1997. The main emphasis of his research is the music of Hein- rich Schütz, Johann Sebastian Bach and Richard Wagner.

12 Heinrich Schütz The complete recording

Dresdner Kammerchor · Hans-Christoph Rademann

83238_cov_3. Auflage:Layout 1 03.03.2017 16:19 Seite 2

Heinrich cht C Carus Carus

ar der erste deutsche usiker on europischem Rang

bersette orte in usik ermhlte die italienische ca mit der Heinrich cht deutschen o usikalische Eeuien schuf musikalische Predigten on ungeahnter larheit

gab einem Jahrhundert seine musikalische estalt

ist der a oa ca oa, der ater unserer modernen usik

r Hans-Christoph Rademann ie esamteinspielung lc al

ields · gner · chneider obo · thger · an der amp · Lute rsr arr carus-erlagcom Carus Cs Carus Carus asCrs aa1

Geistliche Chor-Music 1648 Italian Madrigals Musikalische Exequien Twelve Sacred Songs Cantiones Sacrae (Sacred Choral Music) Carus 83.237 (Funeral Music) Carus 83.239 Carus 83.252, 2 CDs Carus 83.232, 2 CDs Carus 83.238

Carus Carus Heinrich cht Heinrich cht Psalmen aids eihnachtshistorie

Cs mann · Jantschek · erneburg · tosiek · unath ields · erneburg · Erler · unath Poplut · thger · chandtke Poplut · thger · acLeod · chandtke rsr arr rsr arrsr rsr arr rsr arrsr asCrs aa asCrs aa

St. Luke Passion & Small Sacred Concertos I Psalms of David The Story of the Christmas History The Seven Last Words Carus 83.254, 2 CDs Carus 83.255, 2 SACDs Resurrection­ Carus 83.257 Carus 83.253 Carus 83.256

Carus Carus Carus Carus Carus Heinrich cht Heinrich cht Heinrich cht Heinrich cht Heinrich cht atthuspassion ymphoniae acrae Johannespassion ymphoniae acrae Becker-Psalter

ields · Hofbauer · Jantschek · tosiek · Erler · unath eorg Poplut · eli Rumpf Poplut · thger · chicketan · chandtke Jan obo · Harry an der amp orothee ields · sabel Jantschek · aid Erler resdner ammerchor rsr arr rsr arr rsr arrsr rsr arr Cs eorg Poplut · obias thger · eli chandtke asCrs aa Cs asCrs aa asCrs aa asCrs aa Hans-Christoph Rademann

St. Matthew Passion Symphoniae Sacrae III St. John Passion Symphoniae Sacrae I Becker-Psalter Carus 83.259 Carus 83.258, 2 CDs Carus 83.270 Carus 83.273, 2 CDs Carus 83.276

Carus Carus Carus Carus 7 Carus 8 Heinrich cht Heinrich cht Heinrich cht Heinrich cht Heinrich cht chanengesang leine geistliche onerte ymphoniae acrae Madrigale & Hochzeitsmusiken Psalmen & Friedensmusiken

Gerlinde Sämann · Isabel Schicketanz · Maria Stosiek · Dorothee Mields ields · mann · Erler · unath erlinde mann · sabel chicketan · aria tosiek orothee ields · sabel chicketan · aid Erler Dorothee Mields · Isabel Schicketanz · David Erler David Erler · Stefan Kunath · Georg Poplutz · Tobias Mäthger Poplut · thger · chicketan · chandtke aid Erler · eorg Poplut · obias thger eorg Poplut · obias thger Georg Poplutz · Tobias Mäthger · Felix Schwandtke Felix Schwandtke · Martin Schicketanz Cs rsr arr Cs obias Berndt · eli chandtke Cs eli chandtke · eli Rumpf Dresdner Kammerchor Dresdner Kammerchor asCrs aa tefan aass · atthias ller · Ludger Rmy Hans-Christoph Rademann asCrs aa asCrs aa

Schwanengesang Small Sacred Symphoniae Sacrae II Madrigals & Psalms & (Swan Song) Concertos II Carus 83.274, 2 CDs Wedding Music Music for Peace Carus 83.275 Carus 83.271, 2 CDs Carus 83.277, 2 CDs Carus 83.278, 2 CDs

CD BOX SETS

Box I (11 CDs)  Carus 83.041 Box II (8 CDs)  Carus 83.042 Box III (9 CDs) Carus 83.043

www.carus-verlag.com/en/recordings/series-topics/schuetz-complete-recording

13 INFECTIOUS ENTHUSIASM Musicians and arrangers in the LIEDERPROJEKT

The LIEDERPROJEKT – a charity project for singing with children – has motivated many parents, grandparents and children to take up singing over the past ten years. Innumerable committed individuals have con- YEARS tributed to this wonderful success story: the initiators, the arrangers, the musicians and the designers of the CDs, songbooks and choral collec- tions. Right from the start, the project was taken up with much love and enthusiasm and continues to blossom. You can get to know some of the musical creatives who have worked on this project on these pages.

KLAUS PETER WAGENLEITER SCHINDLER Klaus Wagenleiter has The composer Peter incorporated a jazz Schindler is characterized flavor andconvincing ­ by versatility: his compo- groove into the sitional output spans the LIEDERPROJEKT.­ He genres chanson, cantata, has brought these instrumental pieces, sacred ingredients from sources works and theatre music. including the Berkley He is particularly fond of College of Music in composing for children Boston / USA where he studied following his course and has already written musicals, musical comedies and innumerable at the Staatliche Hochschule für Musik in Stuttgart, songs, so it was a matter of course for him to become involved in the Germany. The pianist, composer and arranger has LIEDERPROJEKT with great enthusiasm, providing substantial support added high-spirited band arrangements to the Chil­ as a composer and performer. The creation of new arrangements of drens’s songs and recorded them for the CDs. In the traditional children’s songs is one of his major interests and he succeeded recordings, he was accompanied by his friends who in incorporating a wealth of fresh ideas into the LIEDERPROJEKT series are all well-known soloists from the SWR Big Band Children’s songs. His arrangements can additionally be found scattered and Symphonieorchester. through each of the other volumes. He can be heard performing with the Vokalhelden of the Berlin Philharmonic on the recording Children’s songs from Germany and Europe.

LUDWIG BÖHME His baritone voice as an element of the Calmus Ensemble’s special timbre can be heard on many of the LIEDERPROJEKT CDs. As a member of the Thomanerchor Leipzig, Ludwig Böhme was quasi predestined to pursue a musical career. His love of vocal music prompted him to study in Leipzig and subsequently pass his graduate concert examination. Since then, he has been active in a variety of musical fields, establishing the renowned Calmus Ensemble in 1999 and taking over the direction of the chamber choir Josquin des Préz in 2002. He has employed his compositional and arranging skills in numerous contributions to the LIEDERPROJEKT­ choral collections, including sonorous arrangements of Christmas carols and most recently folk songs.

CORO SATB emschter Chor ed Chor CORBC RST CORO SATB

85 Arrangements aus aller Welt B 35 S Chorsätze SATB Choral works ed. Jan Schumacher

C C_Carus C Chorleterand mt C Carus Chorleterand mt C C ncluded Carus Chorleiterband mit CD C Carus

Choral collection Choral collection Choral collection Choral collection LIEDER (SATB) Folk Songs (SATB) Christmas Carols Christmas Carols Carus 2.210, 15.90 € conductor’s score SATB, conductor’s score of the World (SATB) 14 Carus 2.214, 24.90 € Carus 2.130, 29.95 € Carus 2.142, 34.95 € INFECTIOUS ENTHUSIASM

CHRISTINE BUSCH BOBBI FISCHER The wonderfully versatile sound The pianist and arranger of the violin played by Christine Karl ­Albrecht Fischer, alias Busch – concertmaster under Bobbi Fischer, has con- Philipp Herreweghe (Collegium tributed a large number Vocale Gent) and Kay Johannsen of witty and humorous – has been a characteristic song arrangements to element of the ­LIEDERPROJEKT the ­LIEDERPROJEKT. The since its beginnings. One of her creative musician has most exceptional recordings is drawn inspiration from a the Lullaby sing-along CD in variety of popular music genres including tango, which she performs the Lullaby book created by her husband jazz and Latin music. Above all, he is fascinated Frank Walka, accompanied by the pianist Juliane Ruf. She has by the connection between music and theatre subsequently lent the sonorous “voice” of the violin to many which explains why his music is also found in folk songs, Christmas carols and children’s songs, without categories such as theatre, film and music com- doubt encouraging a wealth of individuals of all ages to sing edy. Not only children will be fired with enthusi- or hum along to the music. The professor of the Musikhoch- asm for his song arrangements. schule Stuttgart also involved her Salagon Quartet to ac- company Dorothee Mields in the LIEDERPROJEKT collection Love Songs. Christine Busch was, however, not only active in the LIEDERPROJEKT as an instrumentalist: she was also the co-editor of the substantial family songbook Die schönsten Lieder with Frank Walka.

VEIT HÜBNER The double bass player Veit Hübner is often on tour with Bobbi Fischer in the world of music comedy. After 25 years with the group Tango Five, they are currently on tour with the trio Berta Epple which was awarded a cabaret prize in 2019. He has also received numerous awards as a jazz musician. Veit Hübner has contributed a variety of spirited, swinging Christmas carol arrangements to the LIEDERPROJEKT and can of course also be heard playing the double bass on the CD recordings.

Look and listen: Explore the variety of settings from the LIEDERPROJEKT: www.carus-verlag.com/en/focus/liederprojekt

CORO SATB CORO SATB Volkslieder · Klavierband Die schönsten Lieder · Klavierband · Lieder schönsten Die Chorbuch Wiegen ­ und Abendlieder

Aus der atemberaubenden Fülle an Liedern aus sieben Jahrhunderten wur- den 166 Volks- und Kinderlieder, Kanons und Songs zu einem umfassenden Liederschatz für Singstimme und Klavierbegleitung zusammengestellt. Die Auswahl der Lieder ist so bunt wie das Leben: Feiern, Geschichten erzäh- len, Tanzen, Lachen, Nachdenken über Freundschaft und Liebe, Reisen und Entdecken oder Abschiednehmen. Das Repertoire reicht vom Morgenkanon bis zum Abendlied, vom Frühlingstraum bis zum Weihnachtsfest. 40 love songs Neben beliebten Begleitsätzen des 17. bis 20. Jahrhunderts, etwa von Diese Sammlung mit mehr als 70 der schönsten deutschen Volkslieder Silcher, Erk, Brahms, Humperdinck oder Britten, stehen neue Arrangements Für den ruhigen Ausklang oder die stimmungsvolle Gestaltung eines Kon­ Corofür Singstimme SATB und Klavier lädt ein, die alten Lieder neu zu entdecken. von über 25 Komponistinnen und Komponisten. So ist eine breite Palette zerts bieten sich klangvolle Abendlieder an. Das Chorbuch versammelt rund forNeben wedding vielen bekannten Liedern wie »Wenn ich ein Vöglein wär«, unterschiedlicher Stilrichtungen vorhanden. Bei aller Vielfalt können die 40 deutsche, englische und internationale Wiegen­ und Abendlieder in »Die Gedanken sind frei« und »Es klappert die Mühle« sind auch Klaviersätze gut von Laien gespielt werden und eignen sich zum gemein- stilis tisch viel fältigen, gut sing baren Sätzen für gemischten Chor, teilweise mit Lullabies and weniger concert bekannte Lieder enthalten, wie das jiddische Lied »Papir is samen Singen und Musizieren in der Familie, in Schulen und Kinderchören. Klavier begleitung. Das Repertoire reicht von Werken aus der Barockzeit über doch waiß«. Einige Sätze enthalten eine einfache zweite Singstimme oder eine optionale viele Sätze der Romantik bis hin zu modernen, für die Sammlung neu kom­ and Evening instrumentale Oberstimme. Alle Textstrophen sowie Akkordsymbole sind Mit Arrangements aus vier Jahrhunderten spiegelt der Klavierband ponierten Arrangements von altbekannten Wiegen­ und Abendliedern. abgedruckt. Songs die stilistische Vielfalt des Volkslieds wider. Rund 30 Lieder wurden von Zum hier vorliegenden Chorleiterband, dem eine CD mit einer Auswahl der zeitgenössischen Komponisten des In- und Auslandes neu arrangiert, Der Klavierband „Die schönsten Lieder“ ist Teil des preisgekrönten LIEDER- Sätze beiliegt, ist eine kostengünstige Chorausgabe editionchor erschienen. daneben fi nden sich ausgewählte alte Bearbeitungen, unter anderem PROJEKTS, einem Benefizprojekt für das Singen mit Kindern. Neben diesem von Johannes Brahms und Friedrich Silcher. Bei aller Vielfalt sind die Klavierband sind ein gleichnamiges und in der Auswahl identisches, fantasie- Melodious evensongs lend themselves to a quiet ending or an imaginatively voll illustriertes Liederbuch sowie zwei Deluxe-CD-Sammlungen erschienen. Sätze von Laien gut spielbar, die Singstimme ist in mittlerer bis hoher accented concert. This choral collection is a selection with about 40 English, German and international lullabies and evensongs of stylistic diversity, with Lage gehalten, die Textstrophen sind vollständig abgedruckt. easily singable settings for mixed choir, some of which include piano accom­ Der Klavierband ist Teil des Liederprojekts, paniments. The repertoire ranges from Baroque and Romantic works to con­ einer Initiative von Carus und SWR2 für das temporary works, with settings newly­composed for the collection. Singen mit Kindern, die mit den Wiegenliedern begann. Neben diesem The present choral conductor’s edition contains a CD with selected works. Klavierband erscheinen ein fantasievoll illustriertes Volkslieder-Buch As an economical alternative, a choral edition (editionchor) is also available. (Carus/Reclam) mit Mitsing-CD und eine exklusive Volkslieder- CD-Sammlung mit bekannten Sängerinnen und Sängern. 166 Lieder Carus www.liederprojekt.org für Singstimme & Klavier

CV 2.409/03 Carus CV 2.211 Carus ISBN 978-3-89948-295-9 ISMN M-007-18640-1 ISMN M-007-17063-9 ISMN 979-0-00709-546-8 ISBN 978-3-89948-150-1 www.carus-verlag.com C Klavierband CC_ aru sCarus 2 .4 01/03 9 783899 482959 9 790007 186401 C Klavierband C_Carus www.carus-verlag.com C Carus 9 790007 170639 C mit CD | CD included C Carus C www.carus-verlag.com mit CD | CD included Carus

Choral collection Choral collection SATB Choral collection Volkslieder The most beautiful songs Christmas Carols Lullabies & Evening songs Love songs SATB (German Folk songs) Piano volume of the World (SATB) conductor’s score with CD conductor’s score with CD Piano volume, Voice, Pfte Voice, Pfte Carus 2.142, 34.95 € Carus 2.211, 24.95 € Carus 2.212, 24.95 € Carus 2.401/03, 26.90 € Carus 2.409/03, 39.00 € 15 SHAKEN AND James Bond: STIRRED three choral arrangements The new volume in the series chorissimo! MOVIE allows school choirs and others to include the enthralling music of secret agents in their programs. Christoph JK Müller has created arrangements of three of the most success- ful title songs for mixed-voice choir. Almost everyone will recognize the catchy tunes (composed by Paul und Linda McCartney, Madonna and others) – the history of their composition is however less well known: a series of MOVIE disputes and surprises.

et’s turn back the calendar to 1961: Back in 1962, the Beatles were celebrating LMonty Norman, the son of Jewish im- the signing of their first ever record contract migrants in London and a singer, com- in Hamburg and if anyone had put the child poser and songwriter, has just concluded Madonna on stage at that time one would his work on the musical A House for Mr. have said: “sweet, but who’s that girl?” Ten James Bond Biswas which included the song Bad Sign, years later, the young girl who was now SATB, Klavier und / oder Streicher Good Sign. The musical was however nev- attending high school in Michigan was still er performed and that was the end of the unknown, but the most successful band of story. We would never be able to hear the all time had already become history. Seven melody of Bad Sign, Good Sign – at least years after their first record contract, the chorissimo! MOVIE vol. 4 that is how it seemed: but things turned out Beatles split up over disputes in 1970. After James Bond very differently! the split, it was particularly John Lennon and Three arrangements for choir Paul McCartney, the two brains behind the James Bond Theme / Live And Let Die / In 1962, the film producer Harry Saltzman band, who could not abstain from attacking Die Another Day acquired the film rights for theJames Bond and insulting each other, chiefly in songs on arr. Christoph JK Müller books from the author Ian Fleming and em- their respective solo albums. By this time, Coro SATB, Pfte, [2 Vl, Va, Vc] barked on the production of the first film of seven James Bond films had already been  Carus 12.434 the series with his partner Albert Broccoli: released and the eighth, Live and Let Die, full score 24.80 € Dr. No. Broccoli and Saltzman – a successful was in the pipeline. Although the script was choral score ± 6.80 € duo – established the company Eon espe- still unfinished, Paul ­McCartney was invit- set of parts 69.80 € cially for the Bond films. The film company ed to write the title song. Together with United Artists which had been founded his wife Linda, he went on to compose the back in 1919 was responsible for distribu- eponymous title song which is universally tion: the firm’s best-known founding mem- well known from the hit parades (No. 2 in ber was none other than Charlie Chaplin. the Billboard 200 and No. 9 in the UK Top As far as the film music was concerned, the 40), also becoming the firstBond title song idea was to create a sort of leitmotif for the to be nominated for an Oscar! hero. Monty Norman was charged with this task and, due to pressures of time (the film A dispute then erupted between the orig- was completed in less than three months), inal composer of the Bond theme and the did not wait for inspiration for a typical arranger Barry: the latter had publically secret agent-flavored music to strike, but described himself as the composer of the instead simply submitted the melody of his Bond theme which Norman was not will- never performed song Bad Sign, Good Sign. ing to accept. Following years of dispute, The melody was thought to be suitable and the familiar James Bond theme was taken was then passed on to the band leader John apart into individual elements which were Barry who arranged and recorded the film ascribed to the two musicians; the High music. This is how the song which we had Court in London subsequently established thought had been lost not only became that Norman was the real composer and the title melody for the firstBond film, but awarded him £ 30 000 in damages. would then be combined with the title song of each subsequent Bond film and incorpo- rated into the soundtrack.

16 chorissimo! MOVIE Choir arrangements of well-known movie soundtracks

MOVIE MOVIE MOVIE Band 1 – Die Kinder des Monsieur Mathieu Band 2 – The Hobbit Band 3 – Songs aus Disney-Filmen Band 4 – James Bond (i.V.)

Die Reihe wird fortgesetzt.

corssmo V, die Carus-Reihe zum Singen in der Schule, enthält zeitgemäße und Due to these disputes which were anonly der Schulchorpraxis orientierte fi Chorarrangements- zu bekannten Filmmusiken. Band 1 präsentiert drei Lieder aus dem französischen Kinofi lm „Die Kinder des Monsieur Mathieu“ („Les choristes“), dessen großer Erfolg nicht zuletzt auf der anrührenden Musik basiert. Drei der schönsten Lieder werden hier zusätzlich zum französischen Originaltext in einer singbaren deutschen Übersetzung angeboten, arrangiert für zweistimmigen Kinderchor und begleitet von leicht ausführ- nally settled in 2001, we have completelybaren Streicherstimmen oder auch nur mit Klavier: Sieh auf deinem Weg o r o ch Sanft weht ein Hauch überm Meer r r oc forgotten the little girl and now gaze Papierfl ieger rowith CV 12.2 Carus   Die Kinder des Monsieur Mathieu Sons aus isneilmen 9 783899 482393 disbelief at the stage where Madonna is do-   SA, Klavier (Streicher) SA, Klavier

9 790007 094133 ing what she always dreamed of as a child: www.carus-verlag.com singing and dancing. The difference is that she has now made it: two children, two marriages, numerous affairs, and a bunch of scandals and, what is more, everybody knows her now! Alongside Michael Jackson MOVIE MOVIE MOVIE MOVIE and Prince, Madonna is one of theBand mostie Kinder des Monsieur Mathieu Band ie Kinder des Monsieur Matthieu Band The oit aeral Cls lavera ussrace laac uo rragemes Band The oit Band James Bond i V Band James Bond i V successful solo singers of all time (sinceie eihe ird ortesett the ie eihe ird ortesett

existence of the charts). She was quickcorssmo V, die aruseiheto um Sinen in der Schule, enthlt eiteme und an der Schulchorrais orientierte hor chorissimo MOVIE, die aruseihe um Sinen in der Schule, enthlt arranements u eannten ilmmusien eiteme und an der Schulchorrais orientierte horarranements u eannten ilmmusien Band rsentiert drei eliete Sons aus h o r emischten hor SATB oder leiche Stimmen SSA, ahleise mit Klavier oder Band rsentiert drei eliete Sons aus h o r emischten respond to a commission for the titleStreichereleitun song hor SATB oder leiche Stimmen SSA, ahleise mit Klavier oder Streichereleitun Blunt The Knives h o c or Blunt The Knives aus h o c or Mist Mountains h o c or Mist Mountains h o c or I See ire h o h oo I See ire aus h o h oo for the twentieth Bond film Die Anotherr die Beareitunen eichnet der mehrach r seine ilmmusien rmierte Komonist und Arraneur Enott Schneider verantortlich r die Beareitunen eichnet der mehrach r seine ilmmusien rmierte Komonist und Arraneur Enott Schneider verantortlich CV 12. Carus CV 12. Carus     The oit The oit Day – an easy task – and the song immedi- 9 783899 482331 9 783899 482355   SSA, Streicher   SATB, Klavier

9 790007 164270 9 790007 164263 www.carus-verlag.com ately leaped to the top of the British charts. www.carus-verlag.com This song is merely one of eleven titles on the LP American Life which remained at the top of the LP charts for weeks. And we were C. Barratier / B. Coulais The Hobbit moved by this girl who was simultaneously The Chorus Three arrangements so successful and yet so human, so close (Les Choristes) for youth choir to her fans. (German/French) arr. Enjott Schneider arr. Rainer Butz version SATB, Pfte [2 Vl, Va, Vc] It is estimated that half SA, Pfte [2 Vl, Va, Vc]  Carus 12.433  Carus 12.425 full score 15.95 € the world’s population full score 15.95 € vocal score 11.80 € choral score ± 3.80 € choral score ± 4.95 € is able to recognize the set of parts 24.00 € set of parts 52.50 € musical leitmotiv of the Songs from Disney films version SSA, Pfte Bond theme. (Mary Poppins / The little  Carus 12.433/50 ­Mermaid / Tangled) full score 15.95 € arr. Rainer Butz vocal score, 11.80 € Today it is estimated that half the world’s SA, Pfte choral score ± 4.20 € population has seen at least one James  Carus 12.435 set of parts 52.50 € Bond film and is able to recognize the mu- full score 19.95 € sical leitmotif of the Bond theme. We can choral score ± 4.60 € naturally ask ourselves whether a secret agent who is known to half of the global population still fulfils the fundamental re- quirements for his job – but let’s abandon that question! We as the public will always look up to him, or rather look at the screen where James Bond continues to put his life in jeopardy in his conquests for us and our world. In the hope that he will continue to operate for many more years, we now open our choir books and sing together: Ingo Zeller teaches music and mathematics at high school level “dedegededee, dedede dedegededee…”. and directs a variety of instru- Ingo Zeller mental and vocal ensembles.

17 Transcriptions for a cappella choir by Clytus Gottwald have been performed to great ac- CHORAL claim across the world. Vocal versions of works by compos- ers including Berlioz, Wagner, Debussy and Mahler are dis- ORCHESTRATION played in an utterly different light. Gottwald achieves a particular sonorous timbre Transcriptions by Clytus Gottwald through special techniques adopted from music from the Renaissance and contempo- rary choral compositions.

“The term transcription does not describe Gottwald has always been fascinated by utilized the ‘instrument’ choir in this man- any particular musical form, unless it follows the fundamental technique – the transfer ner, focusing chiefly on the transcription of the original model note for note, thereby from one system to another – whether it lieder for choir. merely reproducing its form. In his ‘adap- concerned the adaptation of exotic note tations’ for piano solo, Liszt never adhered systems or the transcription of notational Since the choir treated as an instrument has slavishly to his models and if the mood took systems from the Renaissance period. His its own tonal potential, Gottwald utilizes him, could even test this term beyond its intensive study of music from this peri- techniques with which he is familiar from limits, venturing into the area of a ‘fantasy’. od was not limited to his doctoral thesis. works of the Renaissance and contempo- … Liszt succeeded in exposing the absolute Gottwald studied choral conducting with rary choral compositions. He succeeds for essence of the music in his transcriptions. Kurt Thomas and was a cantor in St. Paul’s example in extending the limits of the cho- My own transcriptions are breaking new Church in Stuttgart when he founded the ral range by creating combined notes in ground in the sense that they are not for Schola Cantorum in 1960, a specialized vo- a low range of the bass part in a special piano but for multi-voiced a cappella choir.” cal ensemble which concentrated on per- vocal texture. The overtones of the higher forming works of the 15th and 16th cen- voice parts are also exploited to achieve a Highly creative aspirations are expressed tury. This ensemble consisting of between richer sound in the lower voices. What is in this statement by the choral conductor, 16 and 18 professional singers ultimately more, Gottwald creates an extensive color musicologist and arranger Clytus Gottwald gained its chief reputation for its inter- palette through the flexible employment who has not only broken new ground but pretations of contemporary compositions, of part-writing: “In order to produce and also conquered concert stages around the achieving no fewer than 80 premieres of retain a colorful vocal structure, I take world. Even though Gottwald describes new compositions by the time the ensemble great care in forming each individual voice himself as a “musically thinking individual” was disbanded in 1990. The two opposite independently. … This type of ‘coloration’ and not a composer, he considers the choral poles of Renaissance music and contempo- requires special techniques: in a collective adaptation of compositions as a “produc- rary music have exerted a decisive influence eruption in ff for example I do not pitch tive transformation”, claiming that “for a on Gottwald’s work. the notes against each other, but attempt transcription to be successful, it must be just to lend the sound a specific tonal coloring as good as the original, if not even better.” In the 16-voice lieder Der Abend and through movement in the middle voices.” Hymne composed by Richard Strauss in 1896/97, Clytus Gottwald identified the potential of a new choral sonority, a sort of My transcriptions are sound composition. Although familiar with breaking new ground precursors of this type of composition in the Renaissance, for example a Mass by An- in the sense that they toine Brumel, he very much regretted that are for multi-voiced a this type of choral music had not found any champions during the first decades of the cappella choir. 20th century. It was only in a commission for the Schola Cantorum, a good half-cen- In his choice of texts which are necessary tury after the Strauss lieder, that Gottwald in the transcription of instrumental pieces discovered a corresponding ‘orchestration’ and also the accompaniment of solo lieder, of vocal music in Ligeti’s choral composition Gottwald first listens carefully to the con- Lux aeterna. The musical progression of this tent of the music, identifies connections work is articulated by sound coloration as and augments the facets of interpretation. opposed to changes in pitch and it opened In Solveig’s Song by Grieg for instance, he up a completely new perspective for Gott- aims at a certain degree of alienation by wald which he then employed to shed a giving the orchestral accompaniment the radically different light on music particu- text of a song in which Peer Gynt sings the larly from the Romantic-Impressionist era. praises of a demimondaine: “Solveig who He selected works by composers such as is awaiting the ultimate return of Peer Gynt Wagner, Mahler and Debussy who had not sings her song under the awareness of the

18 Carus hormusik Mixed choir / Chœur mixte

Richard Strauss/ Clytus Gottwald Drei Lieder

Ständchen op. 17,2 „Mach auf, mach auf, doch leise“ Text: Adolf Friedrich v. Schack

Photo: © SWR Coro SMsATBB

Aus den Liedern der Trauer op. 17,4 „Von dunklem Schleier umsponnen“ Text: Adolf Friedrich v. Schack Coro SAATTBB

Freundliche Vision op. 48,1 „Nicht im Schlafe hab ich das geträumt“ Text: Otto Julius Bierbaum Coro SAATBB

(Ausgabe erscheint 2020) The SWR Vokalensemble C_Carus 9.162 Stuttgart conducted by Marcus Creed has given the Transcriptions (selection) first performances of many of Gottwald’s transcriptions. In Richard Strauss (1864 –1949) Two early songs (German) March, their program will be Coro SATBB resp. SATTBB ± focused on a variety of tran-  Carus 9.161, 7.95 € scriptions of Strauss lieder. publication in April 2020

Three Songs (German) Coro SAATTBB resp. SAATBB, SAATTBB ±  Carus 9.162, 9.95 € publication in April 2020 questionability of her hopes. This enhances choir singers and choral music, opening new Zwei schlichte Weisen (German) the tragic dimensions of the song.” Gott- horizons and creating new opportunities for SATBB ± wald also strives for a similar commentated further development. In his book on the  Carus 9.160, 6.95 € relationship between the text and the music choral music of the 20th century, Gottwald publication in April 2020 in his transcription of the Adagietto from expresses his hopes and views that “singers Morgenrot op. 46,4 (German) Mahler’s 5th Symphony which he considers will be able to learn to hear complex chords Coro 16 voices / 2 min ± a “vocal piece in orchestral disguise” and without losing sight of the underlying tonal  Carus 9.163, 12.95 € a love song for Alma. Here the harrowing framework. What can also be learned is that publication in April 2020 music appears to challenge the serenity of the symphonic differentiation of sound does Traum durch die Dämmerung op. 29,1 Eichendorff’s poem Im Abendrot. not stop at the limitations of individual in- (German) struments, but can be taken a further step to Coro 16 voices ± Although Gottwald’s transcriptions were achieve an individual beauty within a choral  Carus 9.150, 8.95 € created through the “impulse to recon- context.” publication in April 2020 struct already constructed music”, they si- Christina Rothkamm Waldseligkeit op. 49,1 (German) multaneously provide a great enrichment for Coro SSSAAATTTBBB ±  Carus 9.164, 6.95 € The quotations by Gottwald are taken from the essay “Transkriptionen als neue Chormusik” (Transcription publication in April 2020 as new choral music) from the anniversary publication “Günter Graulich. Chorleiter und Musikverleger“, Stuttgart, 2016, Carus 24.090, and accompanying CD texts. Claude Debussy (1862–1918) Les Angélus (French) / SSSAAA ±  Carus 9.503, 4.40 €

Soupir (fr) / 16stg ±  Carus 9.119, 5.20 €

SELECTED CDS Edvard Grieg (1843–1907) Three Songs (2012) (German) Hymnus an das Leben 1. Ein Traum op. 48,6 SSATBB 2. Ich stand in dunklen Träumen op. 2,3 Kammerchor Saarbrücken, SSATBB Georg Grün 3. Solvejgs Lied op. 23,19 SSAATTBB ±  Carus 83.458, 19.90 €  Carus 9.145, 9.95 €

Alma and Gustav Mahler Gustav Mahler (1860–1911) SWR Vokalensemble Stuttgart, Im Abendrot (German); Vocal arrangement Marcus Creed of the Adagietto from the 5th Symphony (German) / 16 voices  ± Carus 83.370, 19.90 €  Carus 9.134, 8.50 €

Choral arrangements Erinnerung (German) SSAATTBB Berlioz, Berg, Debussy, Liszt, Mahler, ± Ravel, Wagner, Webern, Wolf  Carus 9.133/10, 4.40 € Kammerchor Saarbrücken, Urlicht (German) Georg Grün SSAATTBB ± cooperation with  Carus 9.133/20, 4.40 € Saarländischer Rund­funk  Carus 83.182, 19.90 € Richard Wagner (1813–1883) Three Songs to Tristan und Isolde (German) 16 voices Im Treibhaus ±  Carus 9.120/10, 6.20 € Träume ±  Carus 9.120/20, 7.95 € Isoldes Liebestod ±  Carus 9.120/30, 8.50 €

19 BACH – WE ARE FAMILY

In 2020 Leipzig celebrates an extraordinary Bach Festival

With the Bach Festival every year in June Leipzig pays homage to its major Cantor at St. Thomas: Johann Sebastian Bach. This follows a tradition founded by Felix Mendelssohn Bartholdy. In the season 2020, Leipzig celebrates an exceptional Bach Festival from 11 to 21 June with the motto “BACH – We Are FAMILY,” in which renowned interpreters from all over the world can be heard in over 150 performances.

In June 2020 the renowned St. Thomas Choir of Leipzig will be joined by choirs from all over the world.

The Bach Festival 2020

When we first started planning, we had The response exceeded all our expecta- a vision of a celebration like the ones the tions. Some 50 Bach choirs and ensem- Bach family used to hold in Thuringia. Once bles will be making the pilgrimage from a year, this extensive family of musicians every continent to Leipzig to take an ac- met together somewhere to make music tive part in the festival. And so we can together and sing the legendary quodli- already proudly and joyfully announce bets. Today, the Bach family is a global one. that the 2020 Bach Festival will be the All over the world, there are people who largest family festival ever celebrated by come together in Bach societies and choirs the global Bach community. That fits in for the love of Johann Sebastian Bach. In perfectly with the title »BACH – We Are 2020, the oldest of these, the Neue Bach-­ FAMILY«, because it stands for this won- Gesellschaft, will be celebrating its annual derful feeling of belonging that binds us all Bach Festival with us. But this time we have together. Love of Bach’s music knows nei- also invited all the other ›family members‹, ther geographical, cultural nor that is, all the Bach groups we could find confessional boundaries. around the globe: more than 250 of them! PD Dr. Michael Maul, Artistic Director of the Bach Festival CV 40.398/30 KCMY

Bach Bach vocal at Carus vocal It is a pleasure for us to accompany and support this special Bach Festival as part of the extended Bach family, partic- Photo: Gert Mothes ularly as the publication and dissemination With the Bach vocal project the of music by Johann Sebastian Bach was Carus-Verlag is publishing the one of our fundamental concerns since the vocal music by Johann Sebastian foundation of the Carus publishing house Bach. ­Bach’s complete sacred vocal works are now available in Unique choral cantata cycle in 1972. The aim of our large-scale project Bach vocal spanning several decades was modern Urtext editions, together with performance material. The This year, an extraordinary sequence of to make available all of Bach’s sacred vocal project continues with the edition concerts will span the entire ten days of works in practical performance material ac- of selected secular cantatas. the Bach festival. For the very first time, cording to most recent musicological find- all cantatas from Bach’s so-called choral ings. This project was only made possible  Musicologically reliable editions cantata series from 1724/25 will be per- by the close cooperation with researchers for the practical pursuit of mu- formed within this framework – an initia- from the two globally leading Bach research sic, taking into account the most tive which Carus is pleased to support by institutes: the Leipzig Bach Institute which current state of Bach research the provision of music for the choirs. The was also involved as the associate editor of  Choir of Trinity Wall Street from the USA the Stuttgart Bach Edition, and the Johann Informative forewords on the will open the cycle with O Ewigkeit, du Sebastian Bach Institute in Göttingen. Our work’s history, reception and Donnerwort BWV 20 and the Nederlandse proud moment then arrived in 2017 when performance practice and Bach­vereniging from the Netherlands will we were able to celebrate the conclusion ­Critical Reports conclude the series with the cantata Nun of the sacred vocal works series. Since  Complete performance materi- danket alle Gott BWV 192. Voices from then, choirs across the world have given al available for sale: full score, all round the world will join in the series Bach concerts using reliable Carus material study score, vocal score, choral of cantata performances. oriented to practical utilization. And this score, and orchestral parts will also be the case at the Bach festival 2020. We will be taking part in this very special musical family festival with great Workshops with Ton Koopman enthusiasm.

Carus cordially invites you to participate Dr. Johannes Graulich in workshops given by the renowned con- Managing Director ductor Ton Koopman to work on motets Carus-Verlag by J. S. Bach. On 16 June 2020, the focus Culmination of a great will be on the motet Jesu meine Freude publication project: BWV 227 and on 17 June 2020, the mo- J. S. Bach tet Der Geist hilft unserer Schwachheit auf The Sacred Vocal Music BWV 226. For registration, please look at Complete edition in 23 volumes www.carus-verlag.com/news.  Carus 31.500

www.carus-verlag.com/en/composers/bach

21 INTERPLAY BETWEEN LIGHT AND SHADOW The Life and Works of Louis Vierne

In 2020, we celebrate the 150th anniversary of the birth of the composer and organist Louis Vierne whose life was not only marked by artistic success but also by health problems and personal misfortune. Above all, his impaired sight from birth would prove to be a heavy burden throughout his life which he countered through his active career as an organist and composer.

ouis Vierne was born almost blind; al technique. His marriage to the singer Alongside beautiful melodic invention Lthis perhaps heightened his sensitivity Arlette Taskin in 1899 ended in divorce in the slow movements and the occa- towards musical impressions. According in 1909. What is more, his eyesight sionally startling and bizarre ideas in the to his own memory, he experienced his became further impaired by glaucoma Scherzos and Intermezzos, it is primar- first deeply emotional encounter with and he was forced to seek treatment in ily chromaticism which characterizes the sound of the church organ at the Switzerland in 1916. He endured the ­Vierne’s style. All six symphonies are in tender age of six. He received tuition in painful loss of his son during World War minor keys and the later compositions piano and organ at the Institut National I; and his beloved organ in Notre-Dame are characterized by a dark and gloomy des Jeunes Aveugles (National Institute also suffered extensive damage during atmosphere. Vierne did have plans for a for Young Blind People)­ in Paris and an the war. Vierne collected funds for its seventh symphony in C major, but the operation helped to improve his sight. renovation on concert tours through work was never written. Europe, Canada and the USA during He was deeply impressed by César the 1920s. Although he was much cel- Liturgical vocal music plays only a small Franck’s skills on the organ and became ebrated as a composer and organist on role in Vierne’s oeuvre. The Messe his pupil at the Paris Conservatoire. Un- these tours on which he was accompa- ­solennelle was composed in 1899 fortunately, the tuition with the fatherly nied by the singer Madeleine Richepin, during a comparatively positive phase friend and patron came to an abrupt he generally found travelling a great of his life and can be counted among end after four weeks when Franck died strain. the highlights of Late Romantic organ following a road accident. His succes- masses. His only other works for choir sor Charles-Marie Widor subsequent- The final years of Vierne’s life were bur- are the very early composed works ly appointed Vierne as his assistant in dened by his decreasing eyesight, oth- Tantum ergo op. 2 and Ave ­Maria his post in Saint-Sulpice in Paris with er physical infirmities and depression. op. 3 (1886) as well as the much later the great Cavaillé-Coll organ in 1892. During an organ recital in Notre-Dame Cantique à Saint Louis de Gonzague The organ was one of the largest of its on 2 June 1937, he suffered a stroke (1926), and for solo voice the Ave time and proved to be a great source and died immediately. The funeral ­verum op. 15 (1899), and Les Angélus of inspiration for Vierne. When Widor service was held only a few days later op. 57 (1929) published in Carus 4.109; gave up his organ class to be appoint- in the same location – the organ was the latter work is also available in a cho- ed as professor of composition in 1896, swathed in black and remained silent. ral transcription by Clytus Gottwald ­Vierne was passed over as his successor (Carus 9.144). to his great chagrin. He was however Organ symphonies, vocal music and fortunate to be selected by a promi- chamber music Alongside organ works and church mu- nent jury as the organist of Notre-Dame sic, Vierne’s compositional output also ­Cathedral in 1900. Vierne‘s six organ symphonies repre- includes numerous works of different senting the summit of this genre’s glo- genres. He composed the symphonic After a number of contented years, rious French tradition are without doubt legend Praxinoé op. 22 for soloists, ­Vierne endured much misfortune over the most significant works in the com- choir and orchestra in 1906, the sym- the following decades which took a poser’s output for organ. Vierne’s com- phonic poem Psyché on a text by Victor great toll on his health: in 1906, a bro- positional role models – chiefly Franck Hugo op. 33 in 1914 and a whole series ken leg with complications forced him and Widor – are clearly audible in of other works for orchestra and cham- to give up playing the organ for six these compositions which also contain ber music ensembles. months and completely relearn his ped- hints of Mendelssohn and Schumann.

22 Louis Vierne (1870–1937)

Complete ­Organ Works

ed. David Sanger, Jon Laukvik

13 volumes in a box  Carus 18.150 259.00 €

My colleague David Sanger (†) and I were able to peruse his manuscripts in libraries and private collections and ère gained further insight. While the early Vol. 1: 1 Symphonie op. 14 manuscripts are relatively easy to read  Carus 18.151 26.00 € (Vierne wrote in large notation on large Vol. 2: 2ème Symphonie op. 20 The dedications in many of his compo- manuscript paper), the manuscript of  Carus 18.152 26.00 € sitions reflect the events of Vierne’s life: the 6ème Symphonie for example is Vol. 3: 3ème Symphonie op. 28 the Piano Quintet op. 42 (1917/18) was at times hard to decipher. Our edito-  Carus 18.153 24.00 € composed in memory of his son Jacques rial work was made easier by the fact ème who died in World War I; four piano that Vierne rarely made subsequent Vol. 4: 4 Symphonie op. 32 pieces entitled Solitude op. 44 were alterations to finished manuscripts – in  Carus 18.154 27.00 € dedicated to his brother René, another contrast to Widor and other composers. Vol. 5: 5ème Symphonie op. 47 victim of the war. A number of works  Carus 18.155 29.00 € including the five Songs on Texts by The Carus Complete Edition also con- Vol. 6: 6ème Symphonie op. 59 Charles Baudelaire op. 45 (1924) were tains organ works not notated by  Carus 18.156 26.00 € dedicated to his friend and companion Vierne; at the end of the 1920s, he Madeleine Richepin. Finally, each move- recorded three improvisations in No- Vol. 7: Pièces de Fantaisie. Première suite op. 51  Carus 18.157 19.95 € ment of the Messe basse pour les dé­ tre-Dame for Odéon: Cortège, Marche funts (Low Mass for the Dead) op. 62 épiscopale and Méditation. Although Vol. 8: Pièces de Fantaisie. Deuxième suite op. 53 for organ (1934, available in: Carus the three improvisations were tran-  Carus 18.158 27.00 € 18.163) is written in memory of a de- scribed and published by Maurice Du- Vol. 9: Pièces de Fantaisie. Troisième suite op. 54 ceased friend who was either blind or a ruflé, he deviated in several passages  Carus 18.159 24.00 € helper of the blind. As Vierne had almost and altered the sequence of the three completely lost his remaining sight by improvisations in comparison with the Vol. 10: Pièces de Fantaisie. Quatrième suite op. 55  Carus 18.160 24.00 € the time of its composition, he notat- recorded version. Volume 13 of the ed the work in Braille and subsequently Carus Complete Organ Works (Carus Vol. 11: Pièces en style libre op. 31/1 dictated it to Madeleine Richepin. This 18.163) contains a version compiled by  Carus 18.161 23.00 € would be his final composition. David Sanger which adheres directly to Vol. 12: Pièces en style libre op. 31/2 Vierne’s performance.  Carus 18.162 26.00 € The Carus Critical Edition Jon Laukvik Bd. 13: Smaller pieces The Critical Edition of the composi-  Carus 18.163 33.50 € tions of Vierne published by Carus containing all organ works, the Messe solennelle and the smaller-scale choral Messe solennelle op. 16 compositions provides a meticulously Louis Prof. Jon Laukvik received his earliest music VIERNE Coro SATB, 2 Org / 25 min exact and authentic musical text. Ob- training in his native town Oslo. He contin- Messe solennelle op. 16  Carus 27.017/10, ued to study organ in Cologne and Paris. vious printing errors in the first edition full score 24.00 €, have been corrected, doubtful passag- From 1980 to 2016 he was professor at the ± University of Music and Interpretative Art in choral score 4.60 € es are commented on and alternative Stuttgart, where he taught organ and his- Arrangement for solutions offered. As all Vierne’s organ torical keyboard instruments. He was also choir & organ visiting professor at the Royal Academy of  Carus 27.017/45 works and liturgical compositions were Carus 27.017/10 published during the composer’s life- Music in London and at the Yale University full score 26.00 € in New Haven, USA. time, the printed editions from a variety At Carus he edited the of French publishing houses served as works of Vierne and Louis the principle sources for this edition, the popular books on VIERNE Œuvres sacrées mineures Shorter Sacred Works Shorter Sacred Works · Kleinere Kirchenwerke although it is not clear whether Vierne performance practice for choir or Solo S/T in the Baroque, Clas- himself was able to participate in the and organ sical, Romantic and  Carus 4.109 proofreading of his musical texts due modern period. to his poor eyesight. full score 24.95 €, reduction for organ 17.80 €, ± Carus 4.109 choral score 2.50 €

23 NEW EDITIONS CHORAL MUSIC

Dieterich Johann Sebastian Peter BUXTEHUDE BACH UEHLING

Die Hochzeits-Aria Klinget für Freuden, ihr Lärmen-Klarinen BuxWV 119 Klinget für Freuden, ihr Stuttgarter Bach-Ausgaben Schweigt stille, plaudert nicht Evangelienrezitationen zur Markus-Passion entstand 1680 anlässlich der Vermählung des schwedischen Königs Karl XI. Urtext im Dienste historisch informierter Aufführungspraxis Gospel recitations for the St. Mark Passion mit der dänischen Prinzessin Ulrika Eleonora. Die spätere geistliche Parodie Lärmen-Klarinen Be silent, not a word l wissenschaftlich zuverlässige Notentexte für die Praxis unter von Johann Sebastian Bach des Werks für das Fest der Beschneidung Jesu, den Neujahrstag, als Aria Berücksichtigung des aktuellen Standes der Bach-Forschung Kaffeekantate/Coffee Cantata Klinget mit Freuden, ihr klaren Klarinen BuxWV 65 ist zeitlich nicht näher BuxWV 119 BWV 247 l BWV 211 zu bestimmen. informative Vorworte zu Entstehungsgeschichte, Rezeption und aufführungspraktischen Fragen sowie Kritische Berichte Das fünfstrophige Gedicht wird von zwei Sopranstimmen und Bass vorge- für Sprecher tragen, zum Generalbass treten in den alternierenden Instrumentalritornellen Klinget mit Freuden, ihr l vollständiges Aufführungsmaterial: Partitur, Taschenpartitur, Klavierauszug, Chorpartitur und Orchesterstimmen Viola da gamba und Violoncello zwei Violinen bzw. zwei Trompeten als Begleitinstrumente hinzu. klaren Klarinen for speaker BuxWV 65 Stuttgart Bach Editions The wedding aria Klinget für Freuden, ihr Lärmen-Klarinen BuxWV 119 Urtext for historically informed performance viola da gamba and violoncello for the marriage of the Swedish King Charles XI to the Danish Princess l musicologically reliable editions for the practical pursuit of music, Ulrika Eleonora was composed in 1680. The later sacred parody of the taking into account the most current state of Bach research 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 l informative forewords on the work’s history, reception and performance practice and Critical Reports precisely dated. The five-verse poem is sung by two sopranos and bass, and the basso con- l complete performance material available: full score, study score, tinuo has two violins and two trumpets as accompanying instruments in the vocal score, choral score, and orchestral parts alternating instrumental ritornelli. www.carus-verlag.com/bach

Stuttgarter Buxtehude-Ausgaben Stuttgarter Bach-Ausgaben Stuttgarter Bach-Ausgaben Urtext Kantaten · Messen · Oratorien · Passionen · Motetten Urtext Cantatas · Masses · Oratorios · Passions · Motets

CV 36.065 Carus ISMN M-007-24448-4 C C_Carus C C Carus 36.065 C_ 9 790007 244484 Carus CV 31.211 Carus www.carus-verlag.com Carus 31.247/80 ISMN M-007- Carus 31.211

Dieterich Buxtehude (1637–1707) Johann Sebastian Bach (1685–1750) Peter Uehling (*1970) Klinget für Freuden, ihr Lärmen-Klarinen Schweigt stille, plaudert nicht Gospel recitations for the BuxWV 119 / Klinget mit Freuden, ihr Be silent, not a word BWV 211 St. Mark Passion (German) klaren Klarinen BuxWV 65 (German) Coffee Cantata Speaker, Vga, Vc Coro SSB, 2 Tr, 2 Vl, Bc / each 7 min (German/English) ed. Frieder Rempp Soli STB, Fl, 2 Vl, Va, Bc / 27 min addition to: ed. Uwe Wolf Johann Sebastian Bach (1685–1750) Although a large proportion of Buxte- St. Mark Passion BWV 247 (German) hude’s vocal works consists of sacred In 1729 Bach took over the running of Reconstruction Hellmann / Glöckner compositions, he also composed for the “Collegium musicum” in Leipzig, Soli SAT, Coro SATB, 2 Fl, 2 Ob/2 Obda, secular occasions. In 1680 he composed founded by Telemann, and continued 2 Vl, Va, 2 Vga, [2 Lt], Bc / 75 min the wedding aria Klinget für Freuden, the tradition of giving concerts at least ed. Andreas Glöckner ihr Lärmen-Klarinen BuxWV 119 for the once a week with this ensemble in marriage of the Swedish King Charles XI Zimmermann’s coffee house or, during Despite many newly-composed inter- to the Danish Princess Ulrika Eleonora. summer, in the coffee garden there. polations, ranging from stylistic copies At the same time the Peace of Lund, The compositions which were proba- to modern interpretations, performing concluded in 1679 marking the end of bly composed for performance there the Gospel text in Bach’s lost St. Mark an almost five-year-long war between include Bach’s famous Coffee Cantata. Passion continues to present many Denmark-Norway and Sweden, was cel- The cantata is only superficially about challenges for performers. With his ebrated. The later sacred parody of the daughter Liesgen’s addiction to coffee, recitations for narrator, gamba, and work for the Feast of the Circumcision in fact it is really about her strict father cello, Peter Uehling has found a way of Christ, New Year’s Day, as the aria Schlendrian’s educational efforts, which of maintaining the musical flow, while Klinget mit Freuden, ihr klaren Klarinen ultimately remain ineffective – but only nevertheless preserving the fragmentary BuxWV 65 cannot be more precisely in Bach’s cantata. In Picander’s printed character of the work. The reduced mu- dated. Now the trumpets proclaim to the libretto it seems as if Schlendrian might sical language of the recitations places, Christian congregation about Jesus and prevail, and only in Bach’s cantata, so to speak, bare walls between Bach’s the “brightly shining light” of the divine which includes two movements setting colorful figured “tonal language”. An word. additional text, is there a twist to the important point for performance: despite contrary. Might Bach’s experiences as a the free tonal harmony, the recitations  Carus 36.065, full score 10.95 €, ­ father have come into play here? lead convincingly into the opening notes choral score ± 3.70 €, complete ­orchestral of the chorales. parts 22.00 €  Carus 31.211, full score 17.50 €, vocal score 8.50 €, complete orchestral Gospel recitations parts 73.00 €  Carus 31.247/80, full score 14.95 €, set of parts 49.00 €

St. Mark Passion  Carus 31.247, full score 49.00 €, Bach vocal score 16.95 €, choral vocal score ± 4.95 €, complete orchestral parts 117.00 €

24 NEW EDITIONS CHORAL MUSIC

Ludwig van BEETHOVEN

Beethoven vocal Kyrie Urtext im Dienste historisch informierter Aufführungspraxis nach dem Adagio der „Mondscheinsonate“ bearbeitet von l wissenschaftlich zuverlässige Notentexte für die Praxis unter based on the Adagio of the “Moonlight Sonata” arranged by vocal Berücksichtigung des aktuellen Standes der Beethoven-Forschung Gottlob Benedict Bierey l informative Vorworte zu Entstehungsgeschichte, Rezeption und aufführungspraktischen Fragen sowie Kritische Berichte l vollständiges Aufführungsmaterial: Partitur, Studienpartitur, Ludwig van Damijan Močnik Ludwig van Klavierauszug, Chorpartitur und Orchesterstimmen An die Freude Beethoven vocal Hommage à Beethoven BEETHOVEN Urtext for historically informed performance BEETHOVEN l musicologically reliable editions for the practical pursuit of music, taking into account the most current state of Beethoven research Beethoven vocal Beethoven vocal Fantasie l informative forewords on the work’s history, reception Elegischer Gesang Urtext im Dienste historisch informierter Aufführungspraxis für Klavier, Chor und OrchesterUrtext im Dienste historisch informierterand Aufführungspraxis performance practice and Critical Reports op. 118 l wissenschaftlich zuverlässige Notentexte für die Praxis unter l wissenschaftlich zuverlässige Notentexte fürl complete die Praxis performance unter material available: full score, study score, Berücksichtigung des aktuellen Standes der Beethoven-Forschung for piano, choir and orchestra Berücksichtigung des aktuellen Standes der vocalBeethoven-Forschung score, choral score, and orchestral parts l informative Vorworte zu Entstehungsgeschichte, Rezeption op. 80 l und aufführungspraktischen Fragen sowie Kritische Berichte informative Vorworte zu Entstehungsgeschichte, Rezeption und aufführungspraktischen Fragen sowie Kritische Berichte l vollständiges Aufführungsmaterial: Partitur, Studienpartitur, Klavierauszug, Chorpartitur und Orchesterstimmen l vollständiges Aufführungsmaterial: Partitur, Studienpartitur, www.carus-verlag.com/beethoven Klavierauszug, Chorpartitur und Orchesterstimmen l Innovative Übehilfen für Chorsänger/innen sowie Noten im Großdruck (XL) erhältlich. Beethoven vocal Beethoven vocal Beethoven vocal Urtext for historically informed performance Urtext for historically informed performance l musicologically reliable editions for the practical pursuit of music, l Meisterwerke für Chor in Urtextausgaben musicologically reliable editions for the practical pursuit of music, taking into account the most currentBeethoven state of Beethoven research taking into account the most current state of Beethoven research Masterpieces for choir in Urtext editions l informative forewords on the work’s history, reception l voc informative forewords on the work’s history, reception and performance practice and Critical Reports al and performance practice and Critical Reports l complete performance material available: full score, study score, l complete performance material available: full score, study score, vocal score, choral score, and orchestral parts vocal score, choral score, and orchestral parts l Innovative practice aids are available, C as well as sheet music in large print (XL). www.carus-verlag.com/beethoven.html CV 28.009 Carus www.carus-verlag.com/beethoven ISMN M-007-24003-5 Carus 28.009

9 790007 240035 Beethoven vocal Beethoven vocal Beethoven Meisterwerke für Chor in Urtextausgaben Urtext vocal Masterpieces for choir in Urtext editions Urtext Beethoven Meisterwerke für Chor in Urtextausgaben vocal Master pieces for choir in Urtext editions

C_Carus C

CV 10.394 Carus C C ISMN M-007-18767-5 Carus 10.394 CV 10.396 Carus Carus 10.401 9 790007 187675 ISMN M-007- Carus 10.396

9 790007 187842

Ludwig van Beethoven (1770 –1827) Ludwig van Beethoven (1770 –1827) Damijan Močnik (*1967) Choral Fantasy (German/English) Elegiac Song (German) An die Freude Soli SSATB, Coro SATB, Pfte, 2 Fl, 2 Ob, Coro SATB, 2 Vl, Va, Vc / 3 min (Ode to Joy) (German) 2 Clt, 2 Fg, 2 Cor, 2 Tr, Timp, 2 Vl, Va, ed. Uwe Wolf Hommage à Beethoven / 13 min Vc/Cb / 20 min Text: Friedrich Schiller ed. Ulrich Leisinger The short choral piece with a discreet Dedicated to the International Festival string accompaniment is alternating be- Choir C.H.O.I.R. 2019 In a mixture of cantata and concert tween quiet pain and drama. A perfor- Coro SATB, piano duet [2 Pfte], Perc piece, Beethoven set a hymn to art in his mance with just chorus and piano is also (5 Players) Choral Fantasy. The work, about possible. 20 minutes in length, is often seen In his Hommage à Beethoven, Damijan as a precursor to the Ode to Joy in the  Carus 10.396, full score 11.95 €, Močnik has set Schiller’s well-known 9th Symphony. After a piano introducti- vocal score 6.95 €, choral score ± 2.40 €, text, which Beethoven used in his on, a dialog between piano and orche- study score 10.95 €, set of parts 10.00 € brilliant final chorus 200 years ago, a stra develops in the space of just 400 work which still represents shared joy measures, before the soloists and chorus Kyrie based on the Adagio of the so- and thanks, as well as protest. But there enter for the last 200 measures. called “Moonlight Sonata” (Latin) are only very few isolated sequences of Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, notes in the piano or choir in this monu- In the main section, headed “Finale”, 2 Cor, 2 Vl, Va, Vc, Cb / 5 min mental work which blaze forth through the theme from Beethoven’s early song ed. Sabine Bock the thrilling percussion use. This game Gegenliebe (WoO 118, also used in the of association with Beethoven makes Ode to Joy) is presented, varied and The composer and music director this musical homage especially exciting. finally used in the “March” in F major. Gottlob Benedict Bierey (1772–1840) Through the varied use of percussion ­orchestrated the first movement of the and the supporting piano accompani- The main source of the Choral Fantasy famous “Moonlight Sonata” by Beetho- ment, this Hommage à Beethoven is for the edition is the first edition of the ven and added a four-part choral move- particularly suitable for youth choirs who parts, published in 1811 and corrected ment to it, which he underlaid with the want to sing an effective work dealing by Beethoven; alongside this an Eng- text of the Kyrie from the Latin mass. with ideas of freedom in the world, with- lish edition of the parts published by The result is as astounding as it is harmo- out the need for too much rehearsal. Clementi (1810) has been consulted nious! Versions for choir and organ, and for comparison. The edition contains choir and piano are also available.  Carus 10.401, full score 39.00 €, an English singing version from the choral score ± 7.95 €, 19th century in a translation by Natalia  Carus 28.009, full score 15.95 €, complete ­orchestral parts in prep. Macfarren. choral score ± 2.50 €, study score 6.95 €,  Carus 10.394, full score 39.95 €, complete orchestral parts 60.00 € vocal score 9.95 €, choir and piano choral score ± 6.95 €,  Carus 28.009/03, vocal score 7.95 € complete orchestral parts 114.00 € choir and organ  Carus 28.009/45, full score 10.95 €, choral score ± 2.50 €

25 NEW EDITIONS CHORAL MUSIC

Damijan Močnik Wolfram Buchenberg Johann Hugo von Missa Sancti Francisci Assisiensis Missa ad maiorem Mixed choir, string orchestra and optional drum set Dei gloriam WILDERER

Stuttgarter Bach-Ausgaben Missa in g Damijan Močnik ist einer der am häufigsten aufgeführten zeitgenössischen Urtext im Dienste historisch informierter Aufführungspraxis slowenischen Komponisten. Seine Musik wird weltweit aufgeführt. Das geistliche l wissenschaftlich zuverlässige Notentexte für die Praxis unter aus der Notenbibliothek Johann Sebastian Bachs Chorwerk Močniks zeichnet sich vor allem durch fließende musikalische Berücksichtigung des aktuellen Standes der Bach-Forschung from Johann Sebastian Bach’s music library Strukturen aus. Die Kompositionen haben zahlreiche dramatische Wendungen l informative Vorworte zu Entstehungsgeschichte, Rezeption mit reichen, außergewöhnlichen und bisweilen mysteriösen Klängen. und aufführungspraktischen Fragen sowie Kritische Berichte

l vollständiges Aufführungsmaterial: Partitur, Taschenpartitur, Damijan Močnik is among the most performed contemporary Slovenian Klavierauszug, Chorpartitur und Orchesterstimmen composers abroad. His music is performed worldwide. Močnik’s sacred choral works are characterized in particular by flowing musical structures. Each work has Stuttgart Bach Editions numerous dramatic turns with rich, unusual, and sometimes mysterious sounds. Urtext for historically informed performance

l musicologically reliable editions for the practical pursuit of music, taking into account the most current state of Bach research

l informative forewords on the work’s history, reception and performance practice and Critical Reports

l complete performance material available: full score, study score, vocal score, choral score, and orchestral parts

www.carus-verlag.com/bach

Stuttgarter Bach-Ausgaben Kantaten · Messen · Oratorien · Passionen · Motetten Cantatas · Masses · Oratorios · Passions · Motets

CV 28.008 Carus ISMN M-007-18663-0 C C_Carus C C_Carus 9 790007 186630 Carus 28.008 C_Carus 28.010 CV 35.009 Carus www.carus-verlag.com ISMN M-007-24548-1 Carus 35.009

9 790007 245481

Damijan Močnik (*1967) Wolfram Buchenberg (*1962) Johann Hugo von Wilderer Missa Sancti Francisci Assisiensis (Latin) Missa ad maiorem Dei gloriam (Latin) (1670/71–1724) Coro SATB, 2 Vl, Va, Vc, Cb, Drumset Solo Bar, Coro SATB (divisi), Big Band Missa in G minor (Latin) 27 min (S-/A-Sax, A-Sax, 2 T-Sax, Bar-Sax, BClt, from Johann Sebastian Bach‘s 5 Tr, 4 Trb, Pfte, Git, Cb, Perc, [2 Fl, music library Francis of Assisi, the famous merchant’s 2 Clt]) / 32 min Coro SATB, 2 Vl, 2 Va, Bc / 12 min son and later founder of a religious or- ed. Frieder Rempp der, has served as a source of inspiration In his Missa ad maiorem Dei gloriam for from the most varied perspectives, and Big Band, chorus and baritone Wol- This Missa in G minor is the only survi- Damijan Močnik has added to this tradi- fram Buchenberg deals with people’s ving work in this genre by Johann Hugo tion. The Slovenian composer and choral deep-seated fear which is overcome by von Wilderer; his output as Kapellmeis- director composed a cantata in 2013 on faith. The Gloria and Sanctus/Benedic­ ter at the Electoral Palatinate court, the 25th anniversary of the Diocesan tus express overwhelming joy, and the which resided in Mannheim from 1720 Grammar School in Ljubljana based on “Dona nobis” in the Agnus Dei dies onwards, was mainly devoted to opera. the text of the famous Canticle of the away in a mood of weightless floating. The three-part Kyrie, the through-com- Sun, and later (2014–16) – using the This absolutely thrilling setting of the posed Gloria, and the partly obbligato cantata’s themes – a complete setting of mass, influenced by Latin jazz, is suitable instrumental writing show the influence the ordinary of the mass as well. equally for concert or for liturgical of the early Neapolitan mass style. The performance. music-historical significance of the Missa The instrumental parts match both is firstly that it is an important example the version for four-part mixed chorus  Carus 28.010, choral score ± 10.95 €, of the church music performed around (Carus 28.008/00) and the version for full score and orchestral parts on loan 1700 at the Electoral Palatinate court, upper voices (Carus 28.008/50). but above all that Bach evidently used it as a source of inspiration for the Kyrie  Carus 28.008, full score 28.00 €, Ko Matsushita (*1962) of the Mass in B minor, as shown, for choral score ± 7.50 €, Bonum est confiteri Domino(Latin) example, in the form of the Adagio in- orchestral parts on loan Coro SATB / 4 min troduction of the Kyrie I in both works.  Carus 9.682, full score ± 4.40 € Version for upper voices:  Carus 35.009, full score 22.50 €, Coro SMsA, 2 Vl, Va, Vc, Cb, Drumset Kay Johannsen (*1961) vocal score 7.95 €, complete orchestral  Carus 28.008/50, full score 28.00 €, ... so weit die Wolken gehen (German) parts 51.00 € choral score ± 5.50 €, Solo A, Coro SATB, Fl, Org / 8 min orchestral parts on loan  Carus 7.428, full score ± 19.95 €

Alleluja (Hebrew) Coro SSAATTBB / 4 min  Carus 7.429, full score ±3.60 €

26 COMPLETE EDITION INSTRUMENTAL MUSIC

first edition W

Amilcare . Wilhelm Friedemann Max F

. Max Reger – Orgelwerke der RWA in Einzelausgaben Ponchielli Bach Max Reger – Organ works of the RWA in separate editions

Vorliegende Einzelausgabe basiert auf dem Notentext der neuen Reger-Werkausgabe (RWA). Diese PONCHIELLI wissenschaftlich-kritische Ausgabe erscheint als „Hybrid-Edition“, herausgegeben vom Max-Reger- REGER Institut (MRI), und verbindet gedruckten Notentext mit digitalen Bestandteilen, u.a. werden alle Messa op. 20 relevanten Quellen gegenübergestellt und mit dem Notenstich der Werkausgabe verknüpft. Charles Gounod (1818–1893) komponierte das Requiem in C unter dem Eindruck Messa Drei Stücke op. 7 des Todes seines vierjährigen Enkels Maurice. Sein eigener Tod ereilte ihn bei der letz- The present separate edition is based on the musical text of the new Reger Werkausgabe (RWA). BachThis scholarly-critical edition is published as a “hybrid-edition,” edited by the Max-Reger-Institut ten Detailarbeit an diesem Werk in der Fassung für Soli, Chor und großes Orchester, op. 20 (MRI) and combines the printed music with a digital counterpart. For example, all relevant sources der einzigen vollständig aus der Feder des Komponisten stammenden Version. Die are compared with each other and are linked to the engraving of the Werkausgabe. Neuausgabe präsentiert Gounods letztes Werk erstmals in einer kritischen Edition. Dazu ist praxisorientiertes, modernes Orchestermaterial käuflich erhältlich. Carus bietet darü- ber hinaus Bearbeitungen für Soli, Chor und Orgel sowie für Soli, Chor und wenige Instrumente an. Abteilung I: Orgelwerke / Section I: Organ works Bd. 1 Choralphantasien / Chorale fantasias Carus 52.801 • op. 27, 30, 40, 52 Charles Gounod (1818–1893) a composé le Requiem en Ut sous le coup du décès de son petit-fils de quatre ans Maurice. Quant à lui, la mort l’a arraché à son travail Bd. 2 Phantasien und Fugen, Variationen, Sonaten, Suiten I Carus 52.802 Fantasias and fugues, variations, sonatas, suites I de dernière main sur la partition de cette œuvre dans la version à grand orchestre, la

Orchestermusik III • op. 16, 29, 33, 46, 57, WoO IV/6, 7 seule à être entièrement de la plume du compositeur. La nouvelle édition présente ainsi pour la première fois l’ultime grande œuvre de Gounod dans une édition cri- Bd. 3 Phantasien und Fugen, Variationen, Sonaten, Suiten II Carus 52.803 Fantasias and fugues, variations, sonatas, suites II tique. En plus du matériau d’orchestre complet, des arrangements pour soli, chœur • op. 60, 73, 92, 127, 135b et orgue ainsi que pour chœur et peu d’instruments sont disponibles à la vente. Bd. 4 Choralvorspiele / Chorale preludes Carus 52.804 Separate editions of • op. 67, 79b, 135a, WoO IV/2, 3, 9, 13, 14, 16 Charles Gounod (1818–1893) composed this Requiem in C major under the impact Bd. 5 Orgelstücke I / Organ pieces I Carus 52.805 of the death of his four-year-old grandson, Maurice. His own death overtook him • op. 7, 47, 59, 63, WoO IV/8, WoO VIII/6 while he was finishing the final details on this work in the version for large orchestra, Bd. 6 Orgelstücke II / Organ pieces II Carus 52.806 Reger’s complete organ the only complete version from the pen of the composer. Hence, the new edition • op. 56, 65, 69, WoO IV/10, 12 of Gounod’s last major work is presented for the first time in a critical edition. The Bd. 7 Orgelstücke III / Organ pieces III Carus 52.807 complete performance material is available for sale. In addition, Carus offers arrange- • op. 80, 82, 85, 129, 145, WoO IV/11, 15, 17 ments for soli, choir and organ as well as for soli, choir and few instruments. works available www.carus-verlag.com Weitere Informationen unter: / For further information see: Urtext www.carus-verlag.com/Reger-werkausgabe.html

CV 52.878 Carus C C 6 ISMN M-007-18314-1

CV 27.315 Carus 9 790007 183141 C_Carus 52.878 ISMN M-007-09560-4 Carus 27.077 Carus www.carus-verlag.com

9 790007 095604

Max Reger (1873–1916) Amilcare Ponchielli (1834–1886) Wilhelm Friedemann Bach (1710–1784) Separate editions from the Messa op. 20 (Latin) Orchestral music I: Reger Edition of Works (known as “Messa per la notte Concertos for harpsichord Series I (Organ works) di natale”) Complete Edition, Vol. 4 Soli TBarB, Coro SATT(Bar)B, 2 Fl, 2 Ob, ed. Peter Wollny (Bach-Archiv, Leipzig) Three Pieces op. 7 2 Clt, 2 Fg, 2 Cor, 2 Tr, 2 Trb, Timp, 2 Vl,  Carus 52.878 21.95 € Six Trios op. 47 Va, Vc, Cb, Org / 70 min Volume 4 of the eleven-volume Urtext  Carus 52.879 17.50 € ed. Pietro Zappalà edition of the collected works of Bach’s Prelude C minor WoO VIII/6 oldest son presents the six concerti for solo Fugue C minor WoO IV/8 Amilcare Ponchielli is known nowadays harpsichord and string accompaniment. Prelude and Fugue D minor WoO IV/10 mainly as an opera composer and the These works enjoyed great popularity Postlude D minor op. WoO IV/12 composition teacher of Giacomo Puccini during Bach’s lifetime. Despite all their  Carus 52.880 12.95 € and Pietro Mascagni. He scored his brilliance and virtuosity, the harpsichord Monologe op. 63. vol. 1 greatest success in 1876 at La Scala concerti display a sophisticated composi-  Carus 52.881 17.95 € Milan with the opera La Gioconda, a tional structure. Monologe op. 63. vol. 2  Carus 52.882 18.95 € work which is still in the repertoire of Monologe op. 63. vol. 3 the major opera houses. Ponchielli’s The Symphony in B flat major for 2 violins,  Carus 52.883 18.95 € sacred works were composed in his later viola and violone is included at the end Twelve pieces op. 65. vol. 1 years, when he was maestro di cappella of the volume; because of its scoring it  Carus 52.884 24.95 € at the Basilica di Santa Maria Maggiore ought to be part of Volume 6 (Orchest- Twelve pieces op. 40. vol. 2 in Bergamo. There his Mass in A major ral music III: Sinfonias), but the work was  Carus 52.885 24.95 € op. 20 (also known as “Messa per la only discovered after the publication of Twelve pieces op. 69. vol. 1 notte di natale”) was premiered on that volume.  Carus 52.886 17.95 € Christmas Day 1882. The Mass is cap- Ten Pieces op. 69. vol. 2  Carus 52.887 17.95 € tivating because of its flowing, singable High-quality new engraving, facsimile Five Easy Preludes and Fugues op. 56 melodies, rich harmonies, and warm illustrations, and a detailed foreword in  Carus 52.888 24.95 € tonal colors. The important role given to German and English with Critical Report Twelve pieces op. 80. vol. 1 the chorus, with which the three male are hallmarks of this lavishly-produced  Carus 52.889 18.95 € soloists interact closely, is striking. The volume. Twelve pieces op. 80. vol. 2 first music edition of the Messa is a real  Carus 52.890 17.95 € discovery for choirs with good male  Carus 32.004, 129.00 € Four Preludes and Fugues op. 85 voices; the second tenor part can largely  Carus 52.891 19.95 € be sung by the baritones. Nine Pieces op. 129  Carus 52.892 18.95 € Subscription offer complete edition: For remembrance of the killed soldiers  Carus 27.077, full score 99.90 €, 20% discount on the current retail price in the war 1914/15 vocal score 23.50 €, Organ pieces op. 145 complete orchestral parts on loan  Carus 52.893 24.95 € Prelude and Fugue G sharp minor WoO IV/15 Romance A minor version for organ WoO IV/11  Carus 52.894 14.95 € 27 SONG ARRANGEMENTS

With these new publications, almost all the songs from the German-French CD ­Kennst du das Land ... (Carus 83.495 with the figure humaine kammerchor, conduc- tor Denis Rouger) are now available as sheet music. The art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has Debussy, Wolf, Fauré u. a. KENNST DU DAS LAND … carefully adapted them to suit the requirements and expressive possibilities offered by Lieder bearbeitet für Chor & Klavier · Mélodies adaptées pour chœur & piano a larger ensemble, without losing any of the qualities of the original in the process. Julia Kammerlander & Katharina Schlenker, Klavier fi gure humaine kammerchor · Denis Rouger

Peter Cornelius (1824–1874) Gabriel Fauré (1845–1924) Charles Gounod (1818–1893) Sei mein! (German) / 2 min Lydia / 3 min L’absent (French) / 4 min  Carus 9.244, ±3.20 €  Carus 9.242, ±3.20 €  Carus 9.241, ±5.20 € Les berceaux (fr) / 3 min Claude Debussy (1862–1918)  Carus 9.243, ±4.95 € Fanny Hensel (1805–1847) Romance (French) / 2 min Le papillon et la fleur(fr) / 3 min Neue Liebe, neues Leben (German)  Carus 9.240, ±2.50 €  Carus 9.248, ±4.50 € 3 min Après un rêve (fr) / 3 min  Carus 9.259, ±2.95 € Henri Duparc (1848–1933)  Carus 9.249, ±4.50 € La vie antérieure (French) / 5 min Dans les ruines d’une abbaye (French) Clara Schumann (Wieck) (1819–1896)  Carus 9.250, ±3.20 € 2 min Warum willst du and’re fragen Chanson triste (French) / 3 min  Carus 9.252, ±2.95 € (German) / 3 min  Carus 9.251, ±4.95 € Prison (French) / 2 min  Carus 9.257, ±1.95 €  Carus 9.253, ±2.70 € Hugo Wolf (1860–1903) Verborgenheit (German) / 3 min All choral pieces for SSATB, mostly with piano accompaniment.  Carus 9.245, ±4.95 €

Discover the new editions of song Have a look at our arrangements from the CD Folk Songs (Carus 83.034). The arrangements have website where you will been composed for the internationally renowned Calmus ensemble, but can find audio ­samples as also be realized by good amateur choirs. well as ­perusal scores!

Ludwig Böhme (*1979) Juan M. V. Garcia (*1977) Ich hab die Nacht geträumet (German) Swa I Yan (Taiwanese) Coro SATBarB / 3 min Coro SATBarB / 4 min www.carus-verlag.com  Carus 9.234, ±2.95 €  Carus 9.215, ±3.95 €

Korobeiniki (Russian) Tico-Tico no fubá Coro SATBarB / 4 min Coro SATBarB / 4 min  Carus 9.233, ±3.95 €  Carus 9.216, ±4.95 €

± price valid from 20 copies, from 40 copies 10% discount, from 60 copies 20% discount

28 PREVIEW

Program Spring 2020 Niccolò JOMMELLI

In seiner Zeit als Kapellmeister am Hofe des württembergischen Herzogs Carl Eugen Missa pro defunctis This spring Carus is enriching its program with Urtext editions of greatschrieb der gefeierte Opernkomponistchoral Niccolò Jommelli 1756 eine Missa pro de- functis zum Tode der Herzoginmutter Maria Augusta. Dieses Requiem erlebte in der Folge eine weite Verbreitung und zahlreiche Wiederaufführungen, bis es durch Mozarts Requiem in den Hintergrund gedrängt wurde. Jommelli komponierte im neapolitanischen Stil mit einer Besetzung nur mit Streichern und Basso continuo. Die works, e. g. by Handel and Haydn. Choirs can look forward to theschlichten first aber wirkungsvollen critical Chorsätze sind teils polyphon im Stile antico, teils mit Solo/Tutti-Wechseln und zahlreichen Vorhaltsdissonanzen gestaltet, die solistischen Partien lassen den Opernkomponisten erkennen. Diese klangschöne Missa pro de- edition of Niccolò Jommelli’s Requiem. And there are many more functisgreat liegt nun erstmals disvollständig in- einer kritischen Edition vor. www.carus-verlag.com coveries to be made. To be informed about current new publications you can subcribe for free to our newsletter: www.carus-verlag.com/en/focus/newsletter

Urtext

C_Carus C CV 27.321 Carus Carus 27.321 Selection ISMN M-007-24051-6 9 790007 240516

Johannes Brahms (1833–1897) Johann Adolf Hasse (1699–1783) Four Quartets op. 92 (German) Requiem in C major (Latin) Niccolò Jommelli (1714–1774) SATB, Pfte Soli SAATB, Coro SATB, 2 Fl, 2 Ob, 2 Fg, Missa pro defunctis (Requiem) (Latin)  Carus 9.401 (April 2020) 2 Cor,2 Tr, Timp, 2 Vl, Va, Bc / 48 min Soli SATB, Coro SATB, 2 Vl, 2 Va, Bc  CD Carus 83.349 48 min Dieterich Buxtehude (1637–1707)  Carus 50.751 (June 2020)  Carus 27.321 (March 2020) Welt, packe dich BuxWV 106 (German) Solo SSB, 2 Vl, Vne, Bc / 8 min Requiem in B flat major(Latin) The best-known setting of the Requiem  Carus 36.106 (April 2020) Soli SAATTB, Coro SATB, 2 Fl, 2 Ob, Mass before Mozart’s unfinished work 2 Cor, 2 Vl, Va, Bc / 20 min is by the celebrated opera composer Anton Diabelli (1781–1858)  Carus 50.752 (June 2020) Niccolò Jommelli. This beautiful Missa Pastoral Mass in F major op. 147 (Latin) pro defunctis is now published for the Soli SSATB, Coro SATB, Fl, 2 Clt (2 Ob), Requiem in C und B major (Latin) first time in a critical edition. 2 Fg, 2 Tr, [2 Cor, Trb basso], Timp, 2 Vl, Hasse Edition of Works IV/4 Va, Vc, Cb, Org / 30 min First edition Antonio Vivaldi (1678–1741)  Carus 27.086 (March 2020)  Carus 50.708 (June 2020) Gloria in D major RV 589 (Latin) Revised Urtext edition Soli SSA, Coro SATB, Ob, Tr, 2 Vl, Va, Bc

George Frideric Joseph Haydn Joseph 30 min Handel Belshazzar

HANDEL Die Jahreszeiten HAYDN  Carus 40.001/50 (June 2020)

Stuttgarter Händel-Ausgaben Belshazzar Die Idee, Haydns Schöpfung in einer Bearbeitung mit nur 8 Bläsern, anstelle der originalen 17 Die Jahreszeiten Urtext im Dienste historisch informierter Aufführungspraxis Instrumente anzubieten, entstand aus dem Wunsch, das Werk mit einem Chor von 50 Stimmen HWV 61 sowie in räumlich kleineren Verhältnissen aufzuführen. Charakteristisch für Haydns Orchestersatz The Seasons l wissenschaftlich zuverlässige Notentexte für die Praxis unter ist die Klangmalerei in leuchtenden Farben. Die vorliegende Bearbeitung bemüht sich, die rich- Hob. XXI:3 Berücksichtigung des aktuellen Standes der Beethoven-Forschung tigen Farben sowohl für die obligaten Melodiestimmen als auch für die instrumentalen Colla- l informative Vorworte zu Entstehungsgeschichte, Rezeption parte-Passagen zu treffen. Sie lehnt sich eng an den Notentext der kritischen Carus-Ausgabe und aufführungspraktischen Fragen sowie Kritische Berichte von Haydns Originalversion an (Carus 51.990), sodass die bereits vorhandenen Chorpartituren, Klavierauszüge und Streicherstimmen weiterverwendet werden können. Moderne Aufführungen l vollständiges Aufführungsmaterial: Partitur, Studienpartitur, Carl Maria von Weber (1786–1826) Klavierauszug, Chorpartitur und Orchesterstimmen der Schöpfung erfolgen häufig mit bis zu 50 oder 60 Instrumentalisten. Diese Ausgabe möchte das schöne Werk auch für kleinere Gruppen, für beengtere Aufführungsorte und für geringeres l Innovative Übehilfen für Chorsänger/innen Budget zugänglich machen. sowie Noten im Großdruck (XL) erhältlich. Missa sancta No. 1 E flat major Stuttgar Handel Editions The idea to present Haydn’s Creation in a version with a wind set of eight instruments instead of the original seventeen wind players grew out of a desire to present the work with a choir Urtext for historically informed performance of 50 voices and in a performance space of limited size. Haydn’s original orchestration is filled l musicologically reliable editions for the practical pursuit of music, with vivid tone painting and this reduced version represents Haydn’s score using accurate colors taking into account the most current state of Beethoven research for the obbligato melodies and appropriate instrumental voices for the colla parte passages. It Freischütz Mass WeV A.2 (Latin) follows the format and content of the critical edition and may be used together with the other l informative forewords on the work’s history, reception and performance practice and Critical Reports materials from Carus 51.990 (choral and vocal scores, string parts). Modern performances of Creation often use up to 50–60 players. It is hoped that the present reduction will make this l complete performance material available: full score, study score, beautiful work available to smaller groups, smaller performance venues, and groups with smaller vocal score, choral score, and orchestral parts budgets. l Soli SATB, Coro SATB, 2 Fl, 2 Ob, 2 Clt, Innovative practice aids are available, as well as sheet music in large print (XL). www.carus-verlag.com www.carus-verlag.com/handel Stuttgart Handel Editions Joseph Haydn · Oratorien 2 Fg, 2 Cor, 2 Tr, Timp, 2 Vl, Va, Vc, Cb Urtext Urtext Handel Meisterwerke für Chor in Urtextausgaben vocal Masterpieces for choir in Urtext editions 40 min C_Carus C C C_Carus C C  Carus 27.097 (June 2020) CV 55.061 Carus CV 51.980 Carus ISMN M-007-24300-5 Carus 55.061 ISMN M-007-25248-9 Carus 51.980

George Frideric Handel (1685–1759) Joseph Haydn (1732–1809) ORGAN MUSIC Belshazzar Die Jahreszeiten (The Seasons) HWV 61 (English/German) Hob. XXI:3 (German/English) Robert Schumann (1810–1856) Soli SMsATB, Coro S(S)AT(T)B, 2 Ob, Soli STB, Coro SATB, Pic, 2 Fl, 2 Ob, Works for organ or pedal piano 2 Tr, Timp, 2 (3) Vl, Va, Bc / 170 min 2 Clt, 2 Fg, Cfg, 2 Cor, 3 Tr, 3 Trb, Timp,  Carus 18.091 (June 2020)  Carus 55.061 (May 2020) Perc, Vl I, Vl II, Va, Vc, Cb, Cemb 130 min John Stanley (1712–1786) The Carus Urtext edition of the most  Carus 51.980 (February 2020) Ten voluntaries for the organ or dramatic of George Frideric Handel’s harpsichord oratorios includes for the first time all Haydn’s great late work in a modern  Carus 18.007 (June 2020) three performable versions of the work: Urtext edition. Flexible performance the one from the first performance of material for problem-free use in different 1745, as well as the reworkings of 1751 original scoring options for sale. and 1758.

29 Practice aids for carus music choir singers Carus Choir Coach Vocal scores XL

Over 100 of the major choral works! carus music, the choir app The innovative practice aids, available as CD NEW: (Carus Choir Coach) or app (carus music), offer ideal support: First class recordings Johann Sebastian Bach with the individual voice part amplified Mass in G major BWV 236 make it easier for choral singers to learn  Carus 73.236 new repertoire. In addition, pieces can be practiced at a slower tempo, per- George Frideric Handel mitting effective work on complicated Laudate pueri passages. carus­ music, the choir app,  Carus 73.388 also offers a well laid-out music text from Carus vocal scores with a Felix Mendelssohn Bartholdy marker feature, enabling users to Ach Gott, vom Himmel sieh darein follow the music. (O God, from heaven look on us ) MWV A 13  Carus 73.400

Accompanied by renowned interpreters Carus Choir Coach – Practice CDs

We offer a separate mp3 CD with all choral sections for each voice part. These sections are available in three versions catering for all rehearsal methods: wheth- er you would like to follow your part in the original recording, prefer to have the part supported by a ­piano or rather rehearse in slow mode with piano at a 30% lower NEW: ­tempo, the CD offers you all these Johann Sebastian Bach alternatives. Jesu, meine Freude (Jesu, my salvation) Motet BWV 227  Carus 31.227/91–94

Carus Carus Choir Coach – SOPRANO – Übe-CD für Chorsänger 31.227/91 each part 15 € Johann Sebastian Johann Sebastian Bach (1685 –1750) Jesu, meine Freude BWV 227

Dauer Seite* Dauer Seite* Bach Duration Page* Duration Page* 1 Jesu, meine Freude 01:09 2 27 Coach Soprano 2 02:20 2 Coach 01:09 28 Coach in Slow Mode Soprano 2 03:16 BACH 3 Coach in Slow Mode 01:37 29 Weg mit allen Schätzen 01:10 30 Jesu, meine Freude 4 Es ist nun nichts Verdammliches 02:45 4 30 Coach 01:10 5 Coach Soprano 1 02:45 31 Coach in Slow Mode 01:39 6 Coach in Slow Mode Soprano 1 03:51 Jesu, meine Freude 32 So aber Christus in euch ist 01:56 33 7 Coach Soprano 2 02:45 33 Coach 01:56 8 Coach in Slow Mode Soprano 2 03:51 34 Coach in Slow Mode 02:43 BWV 227 Carus Choir Coach 9 Unter deinem Schirmen 01:05 13 35 Gute Nacht, o Wesen 03:31 36 10 Coach Soprano 1 01:05 36 Coach Soprano 1 03:31 11 Coach in Slow Mode Soprano 1 01:31 37 Coach in Slow Mode Soprano 1 04:55 12 Coach Soprano 2 01:05 38 Coach Soprano 2 03:31 13 Coach in Slow Mode Soprano 2 01:31 39 Coach in Slow Mode Soprano 2 04:55 SOPRANO 14 Denn das Gesetz 00:54 15 40 So nun der Geist 01:18 42 15 Coach Soprano 1 00:54 Carus Choir Coach Carus Choir Coach 41 Coach Soprano 1 01:18 16 Coach in Slow Mode Soprano 1 01:16 42 Coach in Slow Mode Soprano 1 01:50 17 Coach Soprano 2 00:54 43 Coach Soprano 2 01:18 18 Übe-CD für Chorsänger Coach in Slow Mode Soprano 2 01:16 44 Coach in Slow Mode Soprano 2 01:50 19 Trotz dem alten Drachen 02:10 16 45 Weicht, ihr Trauergeister 01:09 46 20 Coach Soprano 1 02:10 46 Coach 01:09 21 Coach in Slow Mode Soprano 1 03:05 47 Coach in Slow Mode 01:36 Carus 31.227/91 22 Coach Soprano 2 02:10 23 Coach in Slow Mode Soprano 2 03:05 DDD | GEMA 24 Ihr aber seid nicht fl eischlich 02:20 22 * Seitenzahl in der Klavierauszug-Ausgabe bei SOPRANO Carus (31.227/03) / Page number refers to 25 Coach Soprano 1 02:20 the vocal score by Carus (31.227/03) 26 Coach in Slow Mode Soprano 1 03:16

Carus Choir Coach bietet Chorsängern die The Carus Choir Coach offers choir singers the Johann Sebastian Bach (1685–1750) Möglich keit, ihre Chorstimme im Gesamt klang opportunity to study and learn their own, individual Kammerchor Stuttgart von Chor und Instru menten einzustudieren. Für choral parts within the context of the sound of the Jesu, meine Freude BWV 227 jede Stimmlage ist eine separate CD mit allen entire choir and orchestra. For every vocal range a Frieder Bernius Chorwerkteilen erhältlich. separate CD containing each choir part is available. Kammerchor Stuttgart Der CD liegen Einspielungen renommierter The CD is based on recorded interpretations by Interpreten zugrunde. renowned artists. Frieder Bernius Jeder Chorwerkteil liegt in drei Varianten vor: Each choir part is presented in three different versions: – Originaleinspielung (Carus-CD 83.298) – Original recording (Carus-CD 83.298) – Coach: jeweilige Stimme wird auf dem Klavier – Coach: each part is accompanied by the piano, with mitgespielt, Originaleinspielung im Hintergrund the original recording sounding in the background – Coach in Slow Mode: durch Tempo reduzierung – Coach in Slow Mode: through a slow down of können komplizierte Partien effektiv geübt the tempo diffi cult passages can be learned more werden effectively Carus 1.1

.arusra.

℗© 2019 by Carus-Verlag, Stuttgart ℗© 2012 by Carus-Verlag, Stuttgart (Carus 83.298) C_ 4 009350 737099 CD Carus 31.227/91

30 On our website you can find a complete overview of all works for which practice aids are available as CD or in carus music, the choir app, or Vocal scores XL: 25 www.carus-verlag.com/en/focus/carus-plus

Und se het, ihr habt Je ru sa lem, Je ru sa lem er And lo! Ye have fill ed Je ru sa lem, Je ru sa lem with

SpecialUnd se het, ihr habtoffer:Je ru sa lem er füllt mit eu rer Leh re, und And lo! Ye have fill ed Je ru sa lem with those un law ful doc trines and

From 1 March to 15 April 2020 Beethoven’s Masses are available in carus music, the choir app, and 8 se het, ihr habt Je ru sa lem er füllt mit eu rer Leh re, ihr lo! yeinhave the fillseriesed CarusJe Choirru Coachsa atlem reduced prices:with those un law ful doc trines, Je

Ludwig van Beethoven: Und 25 Mass in C major Missa solemnis And Archi  Carus 40.688  Carus 40.689 Und se het, ihr habt Je ru sa lem, Je ru sa lem er And lo! Ye have fill ed Je ru sa lem, Je ru sa lem with Carus Choir Coach, Practice CDs Carus Choir Coach, Practice CDs

Each part Und15 se€ insteadhet, ihr ofhabt 20 Je€! ru sa lem Eacher füllt part mit15 €eu insteadrer ofLeh 20re, € und!  Carus 40.688/91–94And lo! Ye have fill ed Je ru sa lem with Carusthose 40.689/91–94un law ful doc trines and

8 se het, ihr habt Je ru sa lem er füllt mit eu rer Leh re, ihr 29 in caruslo! yemusic,have fill theed choirJe ru app, sa lem with those inun caruslaw music,ful doc the choirtrines, app,Je +Cb, Fag, Cor 7.99 €* instead of 9.99 €* 9.99 €* instead of 14.99 €* Und And füllt mitArchieu rer Leh re, und se het, ihr habt Je ru sa those * Price mayun lawvaryful fromdoc country totrines, country and lo! Ye have fill ed Je ru sa

se het, ihr habt Je ru sa lem er fül let, lo! Ye have fill ed Je ru sa lem, Je ru sa lem through out, 29 +Cb, Fag, Cor

8 habtRelaxedfüllt Jesingingmit euwithrerru Leh reader-friendlysa re,lem er fülltund selargemithet, euihr printhabt rerJe ruLeh sa re, er ru thosesa un law fullem doc throughtrines,out with thoseand lo! unYe havelaw fill ed fulJe rudoc sa trines, with

Vocal sescoreshet, ihr habt XLJe inru largesa lem er printfül let, se lo! het,Ye haveihrfill ed habtJe ru sa lem, JeJe ru rusa lem sa through out,lem er lo! Ye have fill ed Je ru sa lem with

Choral 8 singershabt can nowJe enjoy theru clear-to-sa lem er füllt NEW:mit eu rer Leh re, er ru sa lem through out with those un law +Ob ful doc trines, with read musical text and high quality presenta- Anton Bruckner Gustav Mahler

tion of Carusse vocal scoreshet, ihrin largehabt print. Our Je ru Masssa in E minorlem Symphonyer No. 2 lo! Ye have fill ed Je ru sa lem with music paper also contributes to their excel-  Carus 27.093/04 4th und 5th movement +Ob lent legibility. Vocal scores XL will contribute  Carus 23.902/04 to relaxed singing.

33

33 lem er füllt, und se het, ihr habt Je ru sa lem, Je ru sa lem throughlemout,er füllt, andund selo! het,Yeihr havehabt fill Je rued Jesa ru lem, sa Je rulem, sa Je ru sa lem through out, and lo! Ye have fill ed Je ru sa lem, Je ru sa

und undse se het,het,ihrihr habthabt Je Jeru rusa lem,sa lem,Je ru Jesa lemru er sa lem er and andlo! lo! YeYehavehave fillfill ed edJe Jeru rusa lem,sa Jelem, ru Jesa lemru with sa lem with

8 füllt mit eu rer Leh re, und se het, ihr habt Je ru sa lem er those un law ful doc trines, and lo! Ye have fill ed Je ru sa lem with 8 füllt mit eu rer Leh re, und se het, ihr habt Je ru sa lem er those un law ful doc trines, and lo! Ye have fill ed Je ru sa lem with füllt mit eu rer Leh those un law ful doc füllt mit eu rer Leh those un law ful doc

Tr

24 CV 40.129/03 Tr

24 CV 40.129/03

31 Beethoven’s works for choir and orchestra in a practical study set!

Vol. 1: Mass in C major op. 86 Vol. 2: Missa solemnis op. 123 Vol. 3: Christus am Ölberge (The Mount of Olives) op. 85 Vol. 4: Choral Fantasy op. 80 Meeres Stille und Glückliche Fahrt (Calm Sea and Prosperous Voyage) op. 112 Elegiac Song op. 118 Supplement: Kyrie based on the Adagio of the “Moonlight sonata” op. 27,2 (arr. Gottlob Benedict Bierey)

5 study scores DIN A5 (14,8 x 21 cm) Carus 23.901, 74.95 €

Complete performance material for the works available: full score, vocal score, choral score and orchestral parts.  : Innovative practice aids for choir singers (carus music, the choir app; practice CDs Carus Choir Coach) and Vocal scores XL in large print for the major works available.

available from www.carus-verlag.com/beethoven

Beethoven Meisterwerke für Chor in Urtextausgaben vocal Masterpieces for choir in Urtext editions 32