X1 | 2018201X CHORMUSIK HEUTE CARUS CHORAL MUSIC TODAY MagazinMagazine

DISCOVERING BACH The “other” St. John Passion

ITALIAN MUSIC STARS MOZARTSacred UNVOLLEN works by- Rossini, DET Verdi, and Puccini Fragment c-Moll-Messe

GOUNOD GEISTLICHSWANSONGINTEGRATION MUSIKALISCH Chorwerke fürA diereconstruction Kirche Kinderlieder of für alle Heinrich Schütz’s last opus C C Carus Carus Charles Gounod 1818–1893 200th anniversary of birth

In 2018 we celebrate the 200th anniversary of Charles Gounod’s birth who is known above all for his operas. But throughout his life Gounod was also a very religious man and composed a varied range of church music.

Messe solennelle de sainte Cécile Charles  Carus 27.095 Gounod GOUNOD Messe solennelle de sainte Cécile The work, which was written in 1855 in honor of Messe solennelle de sainte Cécile „Leuchtende Strahlen entströmten der Messe de sainte Cécile. Zuerst war man geblendet, dann verzaubert, dann überwältigt.“ So beschreibt der Komponist Camille Saint-Saëns den Eindruck, den die wohl bekannteste Messvertonung the patron saint of churchCharles Gounods music, auf ihn gemacht hatte. Dassoon Werk, das im Jahr became1855 zu Ehren der Schutzpatronin der Kirchenmusik entstand, wurde schon bald weit über die Grenzen Frankreichs hinaus bekannt und erlangte eine Popularität wie kaum eine well-known beyond theandere geistlicheborders Komposition. Gounod verbindetof inFrance der Cäcilienmesse erhabene and Schlichtheit mit opernhaft-dramatischen Elementen und einer farbigen, effekt- acquired a popularity likevollen Instrumentation. almost no other sa- cred composition. In the Messe de sainte Cécile, Gounod combines sublime simplicity with operat- ic-dramatic elements and a colorful, effective or- chestration. Critical edition in proven Carus quality. Charles Gounod Urtext Requiem in C Requiem C C

 Carus 27.315 CV 27.095 Carus ISMN M-007- Carus 27.095

Gounod’s Requiem, unlike many contemporary settings of the Mass of the Dead, is not character- ized by darkness and terror, but rather an atmo- sphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates.

arr. for soloists, small orchestra, choir and organ Carus 27.315 Zsigmond Szathmáry  Carus 27.315/50 arr. for soloists, choir and organ Zsigmond Szathmáry  Carus 27.315/45

Chants sacrés  Carus 4.110 20 Latin Motets mainly from 60 chants sacrés (Paris [1878–79])

Carus offers further sacred vocal works by Gounod. Have a look at our website with perusal scores and further information.

www.carus-verlag.com/en/composers/gounod Dear friends of choral music!

Celebrate the successful conclusion of a truly mammoth project with us! From now on when you or other colleagues are performing a sacred vocal work by Johann Sebastian Bach, you will always be able to find it in a Carus edition. For with the conclusion of the ambitious Bach vocal editorial project,­ the complete cantatas, motets, oratorios, Passions, and masses are now available in critical editions – produced with the requirements of current performance practice in mind – to- gether with the complete orchestral material. Over 12,500 pages of score had to be edited for the 23-volume Complete Edition, some had to be checked again and – where necessary – brought up-to-date, corrected, or newly set; there were at least twice as many pages with the vocal scores, choral scores, and individual parts. An unparallelled challenge for our editors, publishers, and production department. This marks the com- pletion of a substantial section of our publishing program. ­Gioachino Rossini and Charles Gounod in particular. In our program you can find major works, and specifically some The Kantor of St. Thomas’s Leipzig once again takes a promi- interesting new editions by Gounod: his opus ultimum, the nent place at the center of our magazine. Bach expert Meinrad Requiem, and the recently-published popular Messe de Walter recommends the “other” St. John Passion in his article, sainte Cécile. We give you a short preview of some works for and encourages readers to consider alternative versions of this forthcoming 2019 anniversaries in this edition of the maga- magnificent work. Today we are able to perform Bach as he zine. And of course we are already working towards the major himself performed his work. ­Beethoven anniversary in 2020 – more on this in the next edition! Spring, the time when our CARUS Magazine lands on your doormat, is also always a time for planning. It is a time to We wish you a year full of musical successes, and look forward think about anniversaries, and to plan concert programs to continuing our excellent partnership in choral music with with these in mind. In the choral world, the 2018 focus is on you in 2018!

Iris Pfeiffer Head of Production and Communication

Find Video clips of Carus works at www.youtube.com/carusverlag

and the latest happenings at facebook. com/CarusVerlag

Read this magazine online: www.carus-verlag.com/en/focus/carus-magazine

3 SHORT NOTES

RESEARCH PROJECT ON ­CHORAL MUSIC GETS THE GREEN LIGHT

A three-year project has been approved by the German Research Foundation (Deutsche Forschungsgemeinschaft), ap- plied for by Carus and Prof. Dr. Meinard Müller from Audio­ Labs, an institute at the Friedrich­ Alexander University Erlan- gen and the Fraunhofer Institute for Integrated Circuits. The aim of this research project is to develop better methods and tools for the digital presentation of choral and vocal music. CENTENARY OF Carus was able to qualify as a partner because of its experi- ence in app development (carus music). We will report on the LILI BOULANGER’S DEATH findings of this project in future editions of the magazine. IN 2018

In her short life, Lili Boulanger (1893–1918) cre- LUDGER RÉMY ated an impressively multi-faceted musical output of songs, piano music, operatic scenes, and choral The death of the harpsichordist, organist, and conductor Ludger music, all works written with great inventiveness. She Rémy (1943–2017) has been deeply mourned in the music was one of the most important representatives of Im- world. For many artists of his generation he was a highly-re- pressionism, and died in the same year as Debussy. In garded colleague, and for younger ones a great model. One the centenary year of her death, Carus is publishing of his last recordings was the second part of Heinrich Schütz’s two of her choral works in June: the truly ecstat- Kleine geistliche Konzerte (Carus 83.271). The CD has now ic-celebratory Hymne au soleil (Hymn to the sun) for been released by Carus. Ludger Rémy played a major part in the mixed choir, alto solo, and piano (Carus 21.101), and Schütz Complete Recording with the Dresdner Kammerchor and an edition of Psaume 24 (Psalm 24) for mixed choir, Hans-Christoph Rademann. tenor solo, and piano or organ (Carus 21.102). She composed the Psaume 24 in 1916 in the knowledge of her impending death, and with deep religious con- IMPRINT viction. A CD by the Orpheus Vokalensemble (Carus 83.489), forthcoming in spring, will also provide an Editor Carus-Verlag GmbH & Co KG impression of her choral works. Sielminger Str. 51 70771 Lf.-Echterdingen Tel: +49 (0)711 797 330-0 Fax +49 (0)711 797 330-29 [email protected] MISSA LATINA Bobbi Fischer www.carus-verlag.com editorial staff: Iris Pfeiffer, Bobbi Fischer’s Missa latina Christina Rothkamm für Solo-Sopran, gemischten Chor & Magnifi cat (Carus 28.007) is a colorful and highly und Jazzcombo Translation: Elizabeth Robinson spirited work. It is now available in Layout: Sven Cichowicz, a recording with the festival choir Christina Rothkamm C.H.O.I.R. and Academy Collective Prices are subject to change. 21, an ensemble which includes the Errors excepted.

composer himself, conducted by Klaus Anabel Pérez Real · Raúl Jaurena Festivalchor C.H.O.I.R. ± The Academy Collective 21 Brecht (Carus 83.483). Elements of Leitung: Klaus Brecht Price valid from 20 copies, Argentinian tango stand alongside Ca- from 40 copies 10% discount ribbean rhythms and Latin jazz. There is from 60 copies 20% discount also space for instrumental improvisations Carus 99.009/09 press date: February 2018 which give the Latin mass text a playful feel. Cover photo: St. Thomas Choir, © Gert Mothes

4 UNKNOWN PIECES Let’s meet! BY PUCCINI 11–14 April 2018 International Music Fair Frankfurt It has only recently become known Germany that Giacomo Puccini composed a large number of organ works in his youth. If 2– 6 July 2018 these pieces were actually named, they American Guild of Organists, had titles such as “Waltz” or “March”. National Convention Current Puccini research focuses on this Kansas City, USA aspect of Puccini’s oeuvre that docu- ment his importance in the history of 27 July – 5 August 2018 liturgical music for organ and reflect his Europa Cantat XX instincts as a composer for the stage. Tallinn, Estonia All these pieces, unknown until recent- ly, will be published in Vol. II/2.1 of the Edizione Nazionale delle 29 October – 2 November 2018 Opere di Giacomo Puccini (see p. 14). A selection of twelve pieces 6. Stuttgarter Choratelier from this repertoire will be published soon in the edition Selected Carus-Verlag, Leinfelden-Echterdingen, Organ Works (Carus 18.190) and presented in a workshop on Germany July 4, 2018 at the National Convention of the American Guild of Organists.

GOTTHOLD SCHWARZ NEW YORK TIMES:

TELEMANN PRIZE BEST ­CLASSICAL LUTHER CCarus Collage The singer and MUSIC RE­­COR­ conductor Gott­ hold Schwarz, DINGS 2017 currently Kantor of ­­St. Thomas’s We are happy that the CD LUTHER Leipzig, has been Collage by the Calmus Ensemble awarded the Georg (Carus 83.478) has been listed by Calmus Ensemble Philipp Telemann the New York Times as one of “The Prize 2018 by the 25 Best Classical Music Recordings

city of Magdeburg Kuehne Photo: Viktoria of 2017”. Calmus has assembled collages from a selection of the for his contribution diverse Luther hymns. These chorale motets span the period from to the composer’s work. Schwarz is a specialist for the Middle Ages via the Renaissance and the Romantic period to Early music and an proven expert of Telemann. Carus the Modern age and illuminate the hymns from the most diverse was also awarded this prize in 2009. viewpoints.

KAMMERCHOR STUTTGART’S 50TH ANNIVERSARY

Frieder Bernius’s Kammerchor Stuttgart celebrates its 50th anniversary in 2018 with numerous anniversary concerts and recordings. You can read more about this in the next issue of the magazine! The first CD release is a recording of the Stabat Mater by Joseph Haydn (Carus 83.281); the work is performed using the newly-published Carus edition (Carus 51.991). Photo: Gudrun Bublitz

5 Photos: Gert Mothes

Presenting a substantial editing project: Dr. Johannes Graulich (CEO, Carus-Verlag), Dr. Ulrich Leisinger (editor, Stiftung Mozarteum Salzburg), Dr. Uwe Wolf (editor, Carus-Verlag), Günter and Waltraud Graulich (publisher, Carus-Verlag) BACH CELEBRATION

Bach’s sacred vocal music edition completed by Carus

uring the Reformation Jubilee Year, Carus-Verlag scholars Dr. Christine Blanken, Dr. Ulrich Leisinger, Prof. Stuttgart in co-operation with the worldwide re- Dr. Peter Wollny and Dr. Uwe Wolf discussed the subject Dnowned Bach-Archiv Leipzig completed their am- “Bach editions in the year 2017” with the conductor and bitious editorial project “Bach vocal”. The Stuttgart Bach Bach prizewinner Prof. Frieder Bernius. A worthy conclu- Edition now contains Johann Sebastian Bach’s complete sion to a substantial editing project! sacred vocal music. Now the choral and orchestral ma- terial of all motets, masses, passions, oratorios and well over 200 cantatas by the famous kantor of St. Thomas’s Church is available from Carus – all according to the cur- rent state of research and all including a singable English A film on YouTube gives an insight into this text. Here Carus has set new standards within the realm major project. Scholars Prof. Dr. Christoph of sacred vocal music because many works were last Wolff and Dr. Uwe Wolf and conductors edited 50 or more years ago, and a majority of them did Prof. Frieder Bernius and Prof. Hans-Chris- not include performance material. Conductors, singers toph Rademann describe the extensive and instrumentalists were obliged to fall back on material editorial work undertaken as well as the from the 19th century which does not do justice to pres- interaction with practical performing ent-day standards with respect to historically informed musicians. performance practice. On 9 December 2017 the com- plete edition of all the scores in a high-quality slipcase www.carus-verlag.com/31500 was presented during a musicological symposium at the Bach-Archiv Leipzig, Carus’s musicological co-operation partner of many years’ standing. The renowned Bach

6 It is of course far more ­exciting »when one prepares such an edition in collaboration with performers, ­remaining in contact and also getting feedback.« Dr. Uwe Wolf, Head of Programme Carus-Verlag Stuttgart The challenges of Bach editions were discussed in a round table with interpreter and scholars (Prof. Frieder Bernius, Dr. Ulrich Leisinger, Prof. Dr. Peter Wollny, Dr. Christine Blanken, Dr. Uwe Wolf).

The St. Thomas Choir of Leipzig singing the Magnificat from the Carus edition.

One becomes ambitious: How far can I get? What more can I discover? »Which paths might there be? Which riddles can be solved? Simply because­ there are still so many large blank patches. We have enjoyed many years of close collaboration with the Carus-­Verlag. I am very glad that we have colleagues there who take up and editorially implement all the aspects which interest us. Photo: © animaflora – fotolia.com « The Bach statue at the St. Thomas Prof. Dr. Peter Wollny Director Bach-Archiv Leipzig Church in Leipzig

Many of those involved in the Bach vocal Complete Edition were present at the launch in the Bach-Archiv Leipzig.

7 A small plea for a great Passion music

End of the first part of the Passion with the tenor aria “Ach, mein Sinn” and the ­chorale “Petrus, der nicht denkt zurück” in the copied violin I part. ­Staatsbibliothek Berlin – Preußischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv, Mus. ms. Bach St 111

BACH’S “OTHER” ST. JOHN PASSION OF 1725

8 The St. John Passion was performed under Bach’s direction in Leipzig at least ST. JOHN PASSION four times, but each time in a different form. And not all versions survive complete, so decisions need to be made for each performance nowadays. Increasingly the Version 1749 (Version IV) and the 1725 version with the opening chorus “O Mensch, bewein dein Sünde groß” is ­traditional mixed version 1739/1749 performed. The omission of “Herr, unser Herrscher” in this performance version Herr, unser Herrscher (dt/en) is coupled with new discoveries. We hear the part of the evangelist as it was sung Soli T (Evangelist), B (Jesus), SATB, Coro back then in Leipzig. In addition, highly dramatic arias such as “Himmel reiße, SATB, 2 Fl, 2 Ob/2 Obda, Obca, 2 Vl, Va, Welt erbebe” are heard to their best advantage. Vg, Bc / 120 min / ed. P. Wollny  Carus 31.245, full score 76.00 €, study score 15.50 €, vocal score 12.00 €, vocal score of the traditional version he St. John Passion preoc- (1739). Only the first 20 pages of this 11.00 €, vocal score XL of the traditional cupied Bach for many years: St. John Passion score – up to shortly version 16.50 €, choral score ± 9.80 €, from his first Leipzig Good before the chorale “Wer hat dich so ­choral score of the traditional ­version Friday in 1724 to his sec- geschlagen” – were written by Bach and ± 8.90 €, complete orchestral ond-last or even his last year document a revision of the work. Then, parts 209.00 € Tof work and life. This has led to a virtual however, the handwriting changes, for a / Carus Choir Coach multiplicity of surviving copies of the copyist engaged by Bach later added the work. What we are presented with is not other movements based on the original a single Bach score with the individual score of 1724 which was then still to instrumental parts. On the contrary, over hand but has since been lost. Version 1725 (Version II) 700 pages of music have survived dating O Mensch, bewein dein Sünde groß from the period between 1724 and How is this to be explained? Bach (dt/en) 1749. Alongside the composer, a further probably planned a performance of his scoring like version 1749 (IV), 20 copyists were involved in this project! St. John Passion around 1739 which slightly different (2 Ob/2 Obca, Obda) And some of the pages of music used may not have come to fruition. At any 120 min / ed. P. Wollny in Bach’s performances in Leipzig have rate there is a note about a ban on  Carus 31.245/50, full score 80.00 €, long been lost. Passion performances that year. All this could explain the fact that Bach broke study score 19.90 €, vocal score 12.50 €, ± Let us first look at the textual form of off the revision after 20 pages of score. choral score 8.90 €, complete orchestral the work. The impression of a colorful In addition, he never transferred the parts 259.50 € mixture is thrust upon us, for the Pas- numerous alterations already made in sion narrative from the Lutheran Bible the first movements into his set of parts. together with the chorale verses are Consequently, numerous details we hear Version 1724 (Version I) interspersed with aria texts of very var- in modern performances of the St John incomplete version; variant scoring ied origins. An unknown editor compiled Passion, for example in the first half for movements 19 and 20 these in 1724 from several sources of hour, were never heard in performances of the version 1749 poetry. He took verses from the famous conducted by Bach! These include the Passion story by Barthold Hinrich Brock- passing notes in the middle parts of the  Carus 31.245/81 (2 Vada) 4.25 € es, the Hamburg city councillor, and oth- first two chorale verses and above all  Carus 31.245/82 (lute) 3.35 € er sources. A few of the aria texts, such the distinctive major third at the end as “Ich folge dir gleichfalls mit freudigen of the first chorale “O große Lieb” on Schritten” were probably written by this the word “leiden” (suffer). With all editor who was particularly inspired by of Bach’s performances, this chorale the basic ideas of the fourth Gospel. ended rather restrainedly in the minor All-in-all, the varied pasticcio character key. Only in the 1739 score not used by of the libretto distinguishes the St. John Bach in his own performances, do we Passion from its companion work the St. find a B natural rather than a B flat Matthew Passion with its text by a sin- in the tenor part. gle author Picander whom Bach named

3124593�U�qxp 05�03�2015 11�20 Seite 1 on the title page of his fair copy. But why did Bach perform� the St.

Carus Choir Coach – SOPRANO – Übe-CD für Chorsänger Carus 31.232/91 Johann Sebastian Johann Sebastian Bach (1685–1750) · Messe in h-Moll BWV 232 Johann Sebastian Dauer Seite* Dauer Seite* Carus Choir Coach Duration Page* Duration Page* ah Messe in h-Moll Bach CD 1 4 Et incarnatus est • ...... 03:25 104 John Passion two years in suc- 1 Kyrie I • ...... 10:00 1 5 Coach Soprano 1 ...... 03:25 2 Coach Soprano 1 (mm. 1–4, 37–126) ...... 07:35 6 Coach Soprano 2 ...... 03:25

ahJohannespassion Bach 3 Coach Soprano 2 (mm. 1–4, 37–126) ...... 07:35 7 Crucifi xus • ...... 03:05 108 BACH SOPRANO 4 Kyrie II ...... 02:36 19 8 Coach ...... 03:05 5 Coach ...... 02:36 9 Et resurrexit ...... 03:40 111 6 Coach in Slow Mode ...... 03:38 10 Coach Soprano 1 ...... 03:40 Carus Choir Coach 7 Gloria in excelsis Deo ...... 01:36 24 11 Coach in Slow Mode Soprano 1 ...... 05:07 Johannes-Passion BACH 8 Coach Soprano 1 (from m. 25) ...... 01:14 12 Coach Soprano 2 ...... 03:40 9 Coach in Slow Mode Soprano 1 (from m. 25) . . 01:44 13 Coach in Slow Mode Soprano 2 ...... 05:07 10 Coach Soprano 2 (from m. 25) ...... 01:14 14 Confi teor ...... 02:43 127 Traditionelle Fassung (1739/1749) 11 Coach in Slow Mode Soprano 2 (from m. 25) . . 01:44 15 Coach Soprano 1 ...... 02:43 SOPRANO 12 Et in terra pax ...... 04:36 30 16 Coach in Slow Mode Soprano 1 ...... 03:48 BWV 245 Carus 31.245/85 If we continue the comparison of the cession? This question can only 13 Coach Soprano 1 ...... 04:36 17 Coach Soprano 2 ...... 02:43 Carus Choir Coach DDD | GEMA Johannespassion 14 18 Coach in Slow Mode Soprano 1 ...... 06:24 Coach in Slow Mode Soprano 2 ...... 03:46 Stuttgarter Bach-Ausgaben CD 2 CD 4 1 Coach Soprano 2 ...... 04:36 1 Et expecto ...... 03:16 132 CD 1 Passio secundum Joannem 2 Coach in Slow Mode Soprano 2 ...... 06:26 2 Coach Soprano 1 ...... 03:16 Urtext im Dienste historisch informierter Aufführungspraxis Carus Choir Coach SOPRANO 3 Gratias agimus tibi ...... 02:13 45 3 Coach in Slow Mode Soprano 1 ...... 04:33 SOPRANO Traditionelle Fassung (1739/1749) 4 Coach ...... 02:13 4 Coach Soprano 2 ...... 03:16 Carus Choir Coach  wissenschaftlich zuverlässige Notentexte für die Praxis unter 5 Coach in Slow Mode ...... 03:05 5 Coach in Slow Mode Soprano 2 ...... 04:33 Johann Sebastian Bach (1685–1750)Carus 31.245/85 6 Qui tollis ...... 03:17 57 6 Sanctus ...... 02:16 143 Carus Choir Coach DDD | GEMA Berücksichtigung des aktuellen Standes der Bach-Forschung BWV 245 7 Coach ...... 03:17 7 Coach Soprano 1 ...... 02:16 Übe-CD für Chorsänger Johannes-Passion 8 Coach in Slow Mode ...... 04:36 8 Coach in Slow Mode Soprano 1 ...... 03:10 Traditionelle Fassung (1739/1749) BWVCD 245 1  informative Vorworte zu Entstehungsgeschichte, Rezeption 9 Cum Sancto Spiritu ...... 03:43 72 9 Coach Soprano 2 ...... 02:16 two works, further striking differences be answered with hypotheses. 10 Coach Soprano 1 ...... 03:43 10 Coach in Slow Mode Soprano 2 ...... 03:10 Collegium Vocale, Gent und aufführungspraktischen Fragen sowie Kritische Berichte 11 Coach in Slow Mode Soprano 1 ...... 05:11 11 Pleni sunt coeli ...... 01:56 151 OrchestreSOPRANO de la Chapelle Royale, Paris 12 Coach Soprano 2 ...... 03:43 12 Coach Soprano 1 ...... 01:56 Carus 31.245/85 13 Coach in Slow Mode Soprano 2 ...... 05:11 13 Coach in Slow Mode Soprano 1 ...... 02:42 Johann SebastianPhilippe Herreweghe Bach (1685–1750)  vollständiges Aufführungsmaterial: Partitur, Taschenpartitur, DDD | GEMA 14 Credo in unum Deum ...... 01:41 87 14 Coach Soprano 2 ...... 01:56 SOPRANO Klavierauszug, Chorpartitur und Orchesterstimmen 15 Coach Soprano 1 ...... 01:41 15 Coach in Slow Mode Soprano 2 ...... 02:42 Johannes-Passion 16 Coach in Slow Mode Soprano 1 ...... 02:21 16 Osanna in excelsis ...... 02:29 160 Traditionelle Fassung (1739/1749) BWVCD 245 1 17 Coach Soprano 2 ...... 01:41 17 Coach Soprano 1 ...... 01:55 18 Coach in Slow Mode Soprano 2 ...... 02:19 18 Coach in Slow Mode Soprano 1 ...... 02:36 Collegium Vocale, Gent 19 iPhone loading Screen Stuttgart Bach Editions CD 3 Coach Soprano 2 ...... 01:55 Orchestre de la Chapelle Royale, Paris 1 Patrem omnipotentem ...... 01:55 92 20 Coach in Slow Mode Soprano 2 ...... 02:36 Johann Sebastian Bach (1685–1750)Carus 31.245/85 21 Barbara Schlick, Soprano · Catherine Patriasz, Alto Philippe Herreweghe are apparent. Firstly, the St. John Passion Perhaps he had initially planned 2 Coach ...... 01:55 Dona nobis pacem ...... 02:56 176 DDD | GEMA Urtext for historically informed performance 3 Coach in Slow Mode ...... 02:40 22 Coach ...... 02:56 Johannes-Passion 23 Coach in Slow Mode ...... 04:02 Howard Crook, Tenore · William Kendall, Tenore Traditionelle Fassung (1739/1749) BWVCD 245 1  musicologically reliable editions for the practical pursuit of music, *Seitenzahl in der Klavierauszug-Ausgabe bei Carus (31.232/03) / Page number refers to the vocal score by Carus (31.232/03) Peter Lika, Basso · Peter Kooy, Basso Carus Choir Coach bietet Chorsängern die Möglich- The Carus Choir Coach offers choir singers the opportunity to Collegium Vocale, Gent taking into account the most current state of Bach research keit, ihre Chorstimme im Gesamt klang von Chor und study and learn their own, individual choral parts within the Collegium Vocale, Gent Instrumenten einzustudieren. Für jede Stimmlage ist context of the sound of the entire choir and orchestra. For every Orchestre de la Chapelle Royale, Paris eine separate CD mit allen Chorwerkteilen erhältlich. vocal range a separate CD containing each choir part is available. Johann Sebastian Bach (1685–1750)  informative forewords on the work’s history, reception Orchestre de la Chapelle Royale, Paris Philippe Herreweghe Der CD liegen Einspielungen renommierter Interpreten The CD is based on recorded interpretations by renowned artists. Johannes-Passion and performance practice and Critical Reports zugrunde. Jeder Chorwerkteil liegt in drei Varianten vor: Each choir part is presented in three different versions: Philippe Herreweghe – Originaleinspielung (Carus-CD 83.314) – Original recording (Carus-CD 83.314) Traditionelle Fassung (1739/1749) BWV 245 – Coach: jeweilige Stimme wird auf dem Klavier mit- – Coach: each part is accompanied by the piano, with the  gespielt, Originaleinspielung im Hintergrund lacks a final version. It was performed a completely new setting ofcomplete the performance material available: full score, study score, original recording sounding in the background Carus 31.232/91 Collegium Vocale, Gent vocal score, choral score, and orchestral parts – Coach in Slow Mode: durch Tempo reduzierung kön- – Coach in Slow Mode: through a slow down of the tempo diffi cult nen komplizierte Partien effektiv geübt werden passages can be learned more effectively (• = parts are not avail- Orchestre de la Chapelle Royale, Paris (• = Werkteile sind aufgrund des niedrigen Grund- able in slow mode, due to the Philippe Herreweghe tempos nicht als Coach in Slow Mode enthalten) slow tempo of the original version) 4 CDs www.carus-verlag.com/bach.html ℗© 2015 by Carus-Verlag, Stuttgart / Recorded at the C_ Liederhalle Stuttgart, 28 January, 31 January–3 February 2015 4 CDs Carus 31.245/85 under Bach’s direction at least four times Passion in 1725 as an integral Stuttgarter Bach-Ausgaben Urtext Kantaten · Messen · Oratorien · Passionen · Motetten in Leipzig, each time on Good Friday part of his cycle of chorale cantaCantatas · Masses- · Oratorios · Passions · Motets

72 %

CV 31.245/93 Carus Carus 31.245/93 in 1724, 1725, 1732 (?), and 1749 tas. It is well known that this cycleISMN M-007-13718-2 9 999999 999999 (and possibly also 1750). But each time terminated prematurely around the work was performed in a different Easter 1725, so Bach might have form. A “final version authorised by the changed his original plan for a Pas- composer”, such as we know with the sion setting or even had to abandon For top choral works Carus offers extra St. Matthew Passion, does not seem to it completely. Was the sudden death material: innovative practice aids for exist. And this again becomes particu- of his chosen librettist possibly respon- choir singers, available as app or CD, larly clear with the fair copy of the score sible for this, the fact that a planned and Vocal scores XL in large print.

9 CV 40.398/30 KCMY

Bach vocal

libretto no longer came to fruition? And In point of fact, the 1739 score (move- are not included in St John’s Gospel – are did the young theology student and Bach ments 1–10) has been mixed with accompanied by the strings. pupil Christoph Birkmann (1703–1771), Versions I and IV (the other movements). whom Christine Blanken has identified The reasoning behind this, at least ac- The second version of the St. John Pas- as the librettist of many Bach cantatas cording to Mendel, is the understandable sion was also not the final one. Every- (Bach-Jahrbuch 2015), perhaps assist the desire that each movement of the work thing in fact points to the fact that Bach Kantor of St. Thomas’s in spring 1725 should be heard in its most fully-devel- never arrived at a definitive form for in arranging this Passion libretto, which oped version. But this has its price and this work. So his experimenting is all the he later published in Nuremberg under overall results in a form of the work more revealing, as can be seen on a page the title “Das schmählich- und schmert- which Bach never performed. from the first violin part (see illustration zliche / Leiden / Unsers Herrn und Hei­ p. 8). landes / Jesu Christi / in einem / But why do we not perform one of the Actu Oratorio / besungen”? authentic Bach versions of the St. John Passion? The difficulty is that none of The result, however, is two Passion the four versions survives in a sufficient- In this Passion setting settings by Bach from 1724 and 1725, ly complete state. The first and third which differ from each other consider- versions can only be reconstructed with Bach devoted himself ably. Characteristic of the 1725 Passion is difficulty because of lost original music the framing of the work with two great material. Version II (1725) and version IV especially to the two chorale settings: “O Mensch, bewein (1749) are, however, performable. And dein Sünde groß” as the Exordium and the second version is probably the least opposite poles of de- “Christe, du Lamm Gottes” as Conclusio. well-known major vocal-instrumental Additionally, Bach newly incorporated work of Bach to this day! votion and opera. several arias into the work. It is unclear at present whether these originated from In this Passion setting, Bach devoted an older setting of the Passion by him – himself especially to the two opposite This page was played from in all four of possibly composed in 1717 for a perfor- poles of devotion and opera, combining Bach’s performances between 1724 and mance at Schloss Friedenstein near Gotha them in a unity laden with tension. A 1749, but each time somewhat different- – or whether Bach newly composed them total of 18 verses of chorales represent ly! On the first eight staves is the conclu- in 1725 to texts by Christoph Birkmann. the liturgical aspect, whereas the new- sion of the tenor aria “Ach, mein Sinn”, With regard to church music and concert ly-incorporated arias focus on a highly as found in Version I (1724). When Ver- practice after Bach’s death, it is certain dramatic and therefore operatic style. sion II was performed the following year, that the entire performance tradition With the chorale verses, what is most this aria was omitted; therefore it is in of the St. John Passion – from the 19th striking is the variety of styles of com- parentheses and furthermore, there is a century to Arthur Mendel’s edition as position, ranging from typical four-part reference for Bach’s musicians to the in- part of the Neue Bach-Ausgabe (1973) – “Bach” writing to arias with underwoven serted sheet with the aria “Zerschmettert does not correspond with any of the four chorale verses. And finally, Bach would mich” which was now to be played. versions by Bach. not be Bach if he only treated contrasting The following chorale “Petrus, der nicht themes one after another rather than in- denkt zurück”, which ends the first part tegrating them simultaneously by means of the Passion in all four versions, is in

Carus Choir Coach – SOPRANO – Übe-CD für Chorsänger Carus 31.232/91 Johann Sebastian Johann Sebastian Bach (1685–1750) · Messe in h-Moll BWV 232 Dauer Seite* Dauer Seite* Carus Choir Coach of musical and theologically rich, indeed A major in Versions I and II. For Ver- Duration Page* Duration Page* ah Messe in h-Moll Bach CD 1 4 Et incarnatus est • ...... 03:25 104 1 Kyrie I • ...... 10:00 1 5 Coach Soprano 1 ...... 03:25 2 Coach Soprano 1 (mm. 1–4, 37–126) ...... 07:35 6 Coach Soprano 2 ...... 03:25 3 Coach Soprano 2 (mm. 1–4, 37–126) ...... 07:35 7 Crucifi xus • ...... 03:05 108 BACH SOPRANO 4 Kyrie II ...... 02:36 19 8 Coach ...... 03:05 5 Coach ...... 02:36 9 Et resurrexit ...... 03:40 111 Carus Choir Coach 6 Coach in Slow Mode ...... 03:38 10 Coach Soprano 1 ...... 03:40 almost “intricate”, overlayering. sion III (1732) Bach altered the key by 7 Gloria in excelsis Deo ...... 01:36 24 11 Coach in Slow Mode Soprano 1 ...... 05:07 Johannes-Passion 8 Coach Soprano 1 (from m. 25) ...... 01:14 12 Coach Soprano 2 ...... 03:40 9 Coach in Slow Mode Soprano 1 (from m. 25) . . 01:44 13 Coach in Slow Mode Soprano 2 ...... 05:07 10 Coach Soprano 2 (from m. 25) ...... 01:14 14 Confi teor ...... 02:43 127 Traditionelle Fassung (1739/1749) 11 Coach in Slow Mode Soprano 2 (from m. 25) . . 01:44 15 Coach Soprano 1 ...... 02:43 SOPRANO 12 Et in terra pax ...... 04:36 30 16 Coach in Slow Mode Soprano 1 ...... 03:48 BWV 245 Carus 31.245/85 13 Coach Soprano 1 ...... 04:36 17 Coach Soprano 2 ...... 02:43 Carus Choir Coach DDD | GEMA 14 Coach in Slow Mode Soprano 1 ...... 06:24 18 Coach in Slow Mode Soprano 2 ...... 03:46 erasing two accidentals and overwriting CD 2 CD 4 1 Coach Soprano 2 ...... 04:36 1 Et expecto ...... 03:16 132 CD 1 2 Coach in Slow Mode Soprano 2 ...... 06:26 2 Coach Soprano 1 ...... 03:16 Carus Choir Coach SOPRANO 3 Gratias agimus tibi ...... 02:13 45 3 Coach in Slow Mode Soprano 1 ...... 04:33 SOPRANO 4 Carus Choir Coach Coach ...... 02:13 4 Coach Soprano 2 ...... 03:16 5 Coach in Slow Mode ...... 03:05 5 Coach in Slow Mode Soprano 2 ...... 04:33 Johann Sebastian Bach (1685–1750)Carus 31.245/85 6 Qui tollis ...... 03:17 57 6 Sanctus ...... 02:16 143 Carus Choir Coach DDD | GEMA 7 7 Übe-CD für Chorsänger Johannes-Passion As regards the part of the Evangelist and the notes in G major. However, when Coach ...... 03:17 Coach Soprano 1 ...... 02:16 8 Coach in Slow Mode ...... 04:36 8 Coach in Slow Mode Soprano 1 ...... 03:10 Traditionelle Fassung (1739/1749) BWV 245 9 Cum Sancto Spiritu ...... 03:43 72 9 Coach Soprano 2 ...... 02:16 CD 1 10 Coach Soprano 1 ...... 03:43 10 Coach in Slow Mode Soprano 2 ...... 03:10 Collegium Vocale, Gent 11 Coach in Slow Mode Soprano 1 ...... 05:11 11 Pleni sunt coeli ...... 01:56 151 OrchestreSOPRANO de la Chapelle Royale, Paris 12 Coach Soprano 2 ...... 03:43 12 Coach Soprano 1 ...... 01:56 Carus 31.245/85 13 Coach in Slow Mode Soprano 2 ...... 05:11 13 Coach in Slow Mode Soprano 1 ...... 02:42 Johann SebastianPhilippe Herreweghe Bach (1685–1750) DDD | GEMA 14 Credo in unum Deum ...... 01:41 87 14 Coach Soprano 2 ...... 01:56 SOPRANO 15 Johannes-Passion the words of Christ, the second (and he reversed this alteration for the fourth Coach Soprano 1 ...... 01:41 15 Coach in Slow Mode Soprano 2 ...... 02:42 16 Coach in Slow Mode Soprano 1 ...... 02:21 16 Osanna in excelsis ...... 02:29 160 Traditionelle Fassung (1739/1749) BWVCD 245 1 17 Coach Soprano 2 ...... 01:41 17 Coach Soprano 1 ...... 01:55 18 Coach in Slow Mode Soprano 2 ...... 02:19 18 Coach in Slow Mode Soprano 1 ...... 02:36 Collegium Vocale, Gent CD 3 19 Coach Soprano 2 ...... 01:55 Orchestre de la Chapelle Royale, Paris 1 Patrem omnipotentem ...... 01:55 92 20 Coach in Slow Mode Soprano 2 ...... 02:36 Johann Sebastian Bach (1685–1750)Carus 31.245/85 2 Coach ...... 01:55 21 Dona nobis pacem ...... 02:56 176 Barbara Schlick, Soprano · Catherine Patriasz, Alto Philippe Herreweghe DDD | GEMA 3 Coach in Slow Mode ...... 02:40 22 Coach ...... 02:56 Johannes-Passion first) version of the work is simpler in version (1749), the renewed overwriting 23 Coach in Slow Mode ...... 04:02 Howard Crook, Tenore · William Kendall, Tenore Traditionelle Fassung (1739/1749) BWVCD 245 1 *Seitenzahl in der Klavierauszug-Ausgabe bei Carus (31.232/03) / Page number refers to the vocal score by Carus (31.232/03) Peter Lika, Basso · Peter Kooy, Basso Carus Choir Coach bietet Chorsängern die Möglich- The Carus Choir Coach offers choir singers the opportunity to Collegium Vocale, Gent keit, ihre Chorstimme im Gesamt klang von Chor und study and learn their own, individual choral parts within the Collegium Vocale, Gent Instrumenten einzustudieren. Für jede Stimmlage ist context of the sound of the entire choir and orchestra. For every Orchestre de la Chapelle Royale,(1685–1750) Paris eine separate CD mit allen Chorwerkteilen erhältlich. vocal range a separate CD containing each choir part is available. Orchestre de la Chapelle Royale, Paris Johann SebastianPhilippe Herreweghe Bach Der CD liegen Einspielungen renommierter Interpreten The CD is based on recorded interpretations by renowned artists. Johannes-Passion zugrunde. Jeder Chorwerkteil liegt in drei Varianten vor: Each choir part is presented in three different versions: Philippe Herreweghe the opening “scenes” than the revised made the legibility even less clear. He – Originaleinspielung (Carus-CD 83.314) – Original recording (Carus-CD 83.314) Traditionelle Fassung (1739/1749) BWV 245 – Coach: jeweilige Stimme wird auf dem Klavier mit- – Coach: each part is accompanied by the piano, with the gespielt, Originaleinspielung im Hintergrund original recording sounding in the background Carus 31.232/91 Collegium Vocale, Gent – Coach in Slow Mode: durch Tempo reduzierung kön- – Coach in Slow Mode: through a slow down of the tempo diffi cult nen komplizierte Partien effektiv geübt werden passages can be learned more effectively (• = parts are not avail- Orchestre de la Chapelle Royale, Paris (• = Werkteile sind aufgrund des niedrigen Grund- able in slow mode, due to the Philippe Herreweghe tempos nicht als Coach in Slow Mode enthalten) slow tempo of the original version) 4 CDs version of 1739. In the early versions therefore crossed out the chorale with ℗© 2015 by Carus-Verlag, Stuttgart / Recorded at the C_ Liederhalle Stuttgart, 28 January, 31 January–3 February 2015 4 CDs Carus 31.245/85 the two high notes on top A at the word thick diagonal pen strokes and notated “Hohenpriester” are missing. And with it below – and here we see the clumsy J. S. Bach: St. John Passion the Vox Christi, Bach only wrote the ari- manuscript writing of Bach’s old age – (traditional version) oso-like accompaniment of the continuo once more in the original key. Perhaps NEW: Carus Choir Coach, to the intensively repeated words “den in order to prevent misunderstandings, practice CDs for choir singers Kelch, den mir mein Vater gegeben hat” Bach again entered the marking “Finis I in 1739. Perhaps this is even a brief rem- Partis”. Despite these repeated alter- Special price iniscence of the companion setting of the ations, the performers at least needed to valid through March 31, 2018: already existing St. Matthew Passion, in know that the sermon definitely followed 12.00 € instead of 20.00 € which the recitatives of the Vox Christi – here. and also the words of Communion which

10 J. S. Bach Johann Sebastian Bach’s complete sacred vocal works are now available in modern Urtext editions geared The Sacred Vocal Music Complete Edition in 23 volumes towards historically-informed performance practice, together with performance material and singable­ Edited by Ulrich Leisinger and Uwe Wolf in English texts. collaboration with the Bach-Archiv Leipzig

• 12,500 pages – 23 volumes – 3 slip cases • For study and performance: the au- thoritative Urtext of the Stuttgart Bach Version I – 1724 Version II – 1725 Edition reflecting the latest state of Bach research mvt. 1: “Herr, unser Herrscher” mvt. 1II: “O Mensch, bewein dein • Individual volumes edited by interna- Sünde groß!” tionally-recognized Bach experts and interpreters, including Christine Blan- – mvt. 11II: “Himmel reiße, Welt erbebe” ken, Pieter Dirksen, Wolfram Enßlin, (after: “Wer hat dich so geschlagen?”) Andreas Glöckner, Klaus Hofmann, Ulrich Leisinger, Masaaki Suzuki, Uwe II mvt. 13: “Ach, mein Sinn” mvt. 13 : “Zerschmettert mich” Wolf and Peter Wollny II mvt. 19: “Betrachte, meine Seel” mvt. 19 : “Ach, windet euch nicht so” • Each volume contains a preface reflect- and mvt. 20: “Erwäge” ing the latest state of Bach research mvt. 33I: three bar short version mvt. 33: “Und der Vorhang im Tempel” • Systematic revision of older editions – (lost, after St. Mark 15,38) (seven bars, after St. Matthew 27,51f.) both music and text sections – in which mvt. 40: “Ach Herr, lass dein lieb mvt. 40II: “Christe, du Lamm Gottes” there have been new discoveries about Engelein” the sources or from historically-in- formed performance practice • User-friendly order following the Bach Works Catalog • Rapid location of desired work: each A brief overview (see box) clarifies the of 1724, from which he had distanced cantata volume contains an overview “structure” for the second version of the himself furthest with Version II. of the cantatas in the church year St. John Passion. In five places, a move- ment has been eliminated from Version I Bach research has taken a long time to • Reader-friendly format, also suitable and a new one inserted in its place. allow the St. John Passion to be regard- for conducting (19 x 27 cm, like a With “Himmel reiße, Welt erbebe” an ed as a work in four different complete vocal score) additional aria is inserted into the work, versions, yet at the same time as an • Complete performance material for all independently of any deletion. incomplete work. About fifty years ago, works available for sale: full score, scholars succeeded in arriving at an study score, vocal score, choral score, It is very unlikely that Bach was dissat- unambiguous order for the 700 pages of and the complete orchestral parts isfied with either his old or new settings music mentioned at the beginning into of the St. John Passion on Good Friday four performances given by Bach. But 1725. Perhaps he found their reception only in 2004 did Peter Wollny’s edition aspect interesting; whether and when his for Carus-Verlag enable the second ver- listeners would notice that – despite the sion of this Passion music setting to be new chorale framework and substituted performed as it was heard on the after- arias – much music from the previous noon of 30 March, Good Friday 1725, in year was being played. The further St Thomas’s Church. This “other” setting Leipzig history of the St. John Passion of the St. John Passion by Bach is still is highly unusual. Although the work very worthwhile hearing for connoisseurs already existed in two versions in 1725, and music lovers today. it became almost a work for experimen- Meinrad Walter tation in Bach’s Passion music as none Introductory price of the movements newly introduced in 629 €*€ 1725 remained in the work for long. But we are aware of the peaceful coexis- Full scores in 3 slip cases tence of versions with Bach from other  Carus 31.500 work groups. The image of the St. John * valid through June 30, 2018 Passion remains a colorful and shifting Prof. Dr. Meinrad Walter gained his doctorate (from July 1, 2018: 769.00 €) one, because Bach “only ever gave it on Johann Sebastian Bach’s sacred vocal a current form, and never a final one” music, then worked in research, journalism, consisting of: (Hans-Joachim Schulze). Even Version IV music management, and publishing. He be- Cantatas and Motets (2 slip cases) once again demonstrates how much the came church music advisor to the Archdiocese  Carus 31.501 composer was open to innovations, for of Freiburg in 2002, and in 2008 lecturer in theology and liturgy at the Freiburg Musik- example with regard to the basso con- introductory price: 549.00 € hochschule. He is co-editor of the periodicals (from July 1, 2018: 649.00 €) tinuo and the orchestration, and how, on Musik und Kirche and Musica sacra, publishes the other hand, ironically with the last in specialist periodicals, and is well-known Masses, Passions and Oratorios version he clearly strove to return to the to a wide public through radio broadcasts, (1 slip case);  Carus 31.502 direction of the first form of the work lectures, and workshops. introductory price: 139.00 € (from July 1, 2018: 199.00 €)

11 THE SACRED IN AN OPERATIC GUISE

0265200�U�qxp 02�10�2012 11�11 Seite 1 Sacred works by Rossini, Verdi, and Puccini Giuseppe Verdi · Große Opernchöre Große Opernchöre

Große Opernchöre: Giuseppe Verdi

In den Opern Giuseppe Verdis spielt der Chor eine wesentliche Rolle. So finden sich in beinahe jedem der etwa 30 musikdramatischen Werke des Komponisten beeindruckende Chöre oder Chorszenen. Der vorliegende Band aus der Reihe „Große Opernchöre“ bietet Konzertchören einen repräsentativen Querschnitt aus Opern aller Schaffensperioden Verdis für die konzertante Aufführung mit Klavier- begleitung. Allen 12 Chören ist ein singbarer deutscher Zweittext unterlegt. Selbstverständlich sind im Band die bekannten und belieb- ten Repertoirestücke aus Nabucco, Trovatore oder Otello enthalten, erstmals aber auch wunderschöne Chormusiken aus Werken, die von den internationalen Opernbühnen weitgehend verschwunden sind und das Publikum überraschen werden.

Giuseppe Verdi

CV 2.652 Carus he three were theISMN M-007-13548-5 really great music Tell. During the following period, Rossini harmonium which seems strange to us Tstars in Italy, only9 790007 possible 135485 within heldChor undpositions Klavier including theCarus directorship 2.652 nowadays, Rossini was responding to the the operatic world at the time; all other of a college in Bologna, but initially com- spatial conditions where the first perfor- genres of music paled into insignificance posed no more music. The first work he mance took place – a small private chapel against its dominance. Gioachino Rossini, wrote after his “return” was the Stabat – but also followed the usual practice in Giuseppe Verdi, and Giacomo Puccini Mater composed in 1841 in its complete France and Italy of accompanying masses are still amongst the most frequent- version; twelve years earlier he had been only with keyboard instruments. Three ly-performed composers in opera houses unable to complete this commission years after composing the work, he nev- throughout the world. Their outputs because of illness and had asked his ertheless worked on an orchestral version stretched over a period of a good 100 pupil Giovanni Tadolini to finish it. In its – rather reluctantly, concerned that the years, from the first operas by the complete version, Rossini composed new mass might be distorted after his death 20-year-old Rossini in 1812 to Puccini’s movements for the sections which Tadoli- by an arrangement made by another death in 1924. But all three also wrote ni had contributed earlier. Although the composer. Rossini preferred the original sacred works – essentially fewer in quan- style of the individual movements is full version and decreed that the orchestral tity, but of no less significance. of contrast, fluctuating between oper- version should only be performed after atic belcanto and strict fugue, he always his death. It was performed for the first Gioachino Rossini, who many times succeeds in creating a cyclical coherence time in Paris in 1869 and quickly became took a quite different path to the one the through thematic links. popular, but since then the preference Italian public expected, is a special case. has long since changed in favor of the After a few minor successes in Bologna, In 1855 Rossini moved back to Paris. He original version. “This is no church music Naples, and Rome, his career really first stuck to his decision never to write an- for you Germans, my most sacred music took off abroad; he unleashed a proper other opera, but here he composed nu- is still only semi seria.” Rossini laconically frenzy in Vienna in 1822, then settled merous short piano pieces and the Petite countered the oft-heard reproach from in Paris in 1824, as director of Théâtre Messe solennelle in 1863, his last major German critics that his sacred music Italien. After several successful years, work. The “Petite” in the title must defi- was too operatic, too sensuous, indeed he lost his positions following the July nitely be understood as ironic; the mass playful, and therefore not appropriate for revolution in 1830 and declared that he is around 90 minutes in length. With the sacred seriousness of the mass (only had written his last opera with Guillaume the scoring for voices, two pianos and “semi seria”, half serious). Happily , it is

12 now accepted that there does not have to be a contradiction between a church 150th anniversary service and melodic elegance. of death 2018 Giuseppe Gioachino Rossini Verdi Messa da Requiem VERDI ROSSINI

The undisputed opera titan in 19th Petite Messe solennelle

Messa da Requiem Die Petite Messe solennelle von 1863 ist neben dem Stabat Mater Rossinis zweite Petite Messe solennelle umfangreiche sakrale Komposition. Das Werk ist eigentlich ein Gelegenheitswerk, century Italy was Giuseppe Verdi; his geschrieben für die Einweihung der Privatkapelle eines wohlhabenden Pariser Zweifelsohne nimmt die Messa da Requiem im kompositorischen Schaffen Verdis eine Adligen. Dies erklärt die reduzierte instrumentale Begleitung von zwei Klavieren besondere Stellung ein. Das gern verwendete Bonmot vom Requiem als seiner „größ- und Harmonium. Freilich erzeugt gerade diese, dezent an gehobene Salonmusik ten Oper“ beruht wohl nicht zuletzt auf den zahlreichen Extremen, die in dieser Musik erinnernde instrumentale Einkleidung ein unverwechselbares Timbre, das durch die aufeinandertreffen. Doch es verkennt, dass Verdi die musikalischen Mittel in der Messa typisch Rossini’sche Rhythmik noch ein zusätzliches Flair erhält. name is still almost synonymousda Requiem ganz in den Dienst einer dramatisiertenwith Liturgie stellt.

Die vorliegende Edition beruht auf der autographen Partitur, als der für dieses Werk am Next to the Stabat Mater, the Petite Messe solennelle of 1863 is Rossini’s second CHOIR E AP höchsten autorisierten Quelle. Erstmals liegt hiermit käufliches Aufführungsmaterial zu CHOIR TH P E AP extensive sacred composition. Ostensibly, the work was an occasional piece, writ- TH P Italian opera for many. Probablyeiner kritischen Edition vor. Beim Notenstich his wurde größte most Sorgfalt auf eine übersicht- ten for the dedication of a private chapel for the once well-to-do Parisian nobility. liche Einteilung der Partiturseiten sowie gute Lesbarkeit des Stimmenmaterials gelegt. This explains the reduced instrumental accompaniment for two pianos and har- monium. Of course this instrumental garb, reminiscent of decent, elevated salon music, produces an unmistakable timbre which through its typical Rossini rhythm Without a doubt the Messa da Requiem occupies a special place in Verdi’s compositio- Requi- obtains an additional flair. important non-stage worknal output. Theis often usedthe bon mot which regards the Requiem as his “greatest opera” rests, not least, on the numerous extremes which come together in this music. But this overlooks the fact that in the Messa da Requiem Verdi places musical means entirely at em of 1874. The story ofthe service its of a dramatized composition liturgy. The present edition is based on the autograph score, which is the most authoritative source for this work. For the first time in a critical edition the orchestral material is available for sale. In the music engraving special care has been taken to achieve a clear is really unusual and goesdisposition back in the pages of the full scoreto as well hisas optimal legibility in the orchestral material.

Zu diesem Werk ist {carus music} , die Chor-App, erhältlich, die neben den Noten und einer Einspielung 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. highly-esteemed colleagueeinen Coach zum ErlernenRossini: der Chorstimme enthält. Mehr Informationen after unter www.carus-music.com. For this work , the choir app, is available. In addition to the vocal score and a recording, the 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. app offers a coach which helps to learn the choral parts. Please find more information at www.carus-music.com. the latter’s death in 1868, Verdi planned

a Requiem to which the 13 most im- C CV 27.303/03 Carus Carus 27.303/03 CV 40.650/03 Carus Carus 40.650/03 portant composers of the day inISMN M-007-09775-2Italy ISMN M-007-07572-9 9 790007 097752 9 790007 075729 (he counted himself amongst these in all modesty) were to contribute. The project failed because of lack of involvement, Giuseppe Verdi (1813–1901) Gioachino Rossini (1792–1868) and so Verdi initially laid aside his al- Messa da Requiem (lat) Petite Messe solennelle (lat) ready-complete contribution, the Libera Solo SMsTB, Coro SATB, Picc, 2 Fl, me. He could ultimately earn consider- 2 Ob, 2 Clt, 4 Fg, 4 Cor, 4 Tr, 4 Soli SATB, Coro SATB, 2 Pfte, Armo ably more money with attractive opera Ferntrompeten, 3 Trb, Oficleide, Timp, 90 min / ed. Klaus Döge commissions. Only a further death, that Perc, 2 Vl, Va, Vc, Cb / 90 min  Carus 40.650, full score 43.00 €, of the famous writer Alessandro Man- ed. Norbert Bolin study score 22.00 €, vocal score and zoni, gave the impetus for the composi-  Carus 27.303, full score 89.00 €, part for the Pfte conc 14.80 €, vocal tion of his own complete Requiem with study score 49.00 €, vocal score score XL 21.00 €, choral score ±8.00 €, the Latin text of the requiem mass. 15.90 €, choral score ± 9.80 €, Pfte di rip + Arm 23.50 €, Set: ­complete orchestral parts 399.00 €, 2 x Pfte di rip + Arm + 1 x vocal score Verdi included the Libera me mentioned Carus Choir Coach, 53.00 € above unaltered as the final movement; it also gives the work its basic character: Version for chamber ensemble like Rossini, Verdi was criticized for mak- arr. by Michael Betzner-Brandt Stabat Mater (lat) ing his Requiem an “opera in the guise  Carus 27.303/50, full score 79.00 €, of a sacred work”, although in formal vocal score 18.50 €, choral Soli SSTB, Coro SSTB (SATB), terms it belongs to the genre of the score ± 11.00 €, complete orchestral 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, cantata mass in which solo, chorus, and parts 79.00 € 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb ensemble sections stand in a balanced 66 min / ed. Klaus Döge relationship to each other. The criticism Quattro pezzi sacri (lat)  Carus 70.089, full score 99.00 € was probably aimed at the tremendous (Ave Maria, Stabat Mater, Te Deum, study score 38.00 €, vocal score emotional force which the master of Laudi alla Vergine Maria) 13.60 €, choral score ±6.40 € music drama was able to create with the ed. Albrecht Gaub complete orchestral parts 327.00 € alternation between intimate (such as  Carus 27.500, full score 60.00 €, the Domine Jesu) and highly expressive study score 24.90 €, vocal ­score passages (such as the orchestral blows at 11.50 €, choral score ± 9.40 €, Version for chamber orchestra the beginning of the Dies irae). Notwith- ­complete orchestral parts 310.00 € arr. by Joachim Linckelmann standing the question of whether that is Soli SSTB, Coro SSTB (SATB), Fl, Ob, appropriate for a requiem mass, the Re- All four pieces are also separately avai- Clt, Cor, Fg, Timp, 2 Vl, Va, Vc, Cb quiem remains one of the most popular lable with performance material  Carus 70.089/50, full score 98.00 €, works in the repertoire to this day. vocal score and choral score see Verdi’s last compositions include the Te Deum and Stabat Mater are also above. Quattro pezzi sacri, which he wrote in available in versions for choir and the period between 1887 and 1897 – organ. Messa di Rimini (lat) completed at the proud age of 84. The Soli SATB, Coro SATB, 2 Ob, 2 Cor, first of these four pieces to be composed 2 Vl, 2 Va, Bc / 45 min was the Ave Maria, written in 1889, in ed. Guido Johannes Joerg  Carus 40.674, full score 47.00 €, vocal score 17.00 €, choral score ± Chorbuch Trauer 4.40 €, complete orchestral parts Große Opernchöre 229.00 €

Great Opera Choruses Giuseppe Verdi For top choral works Carus offers extra material: Giuseppe Verdi for choir and piano ­innovative practice aids for choir singers, available ed. Johannes Knecht as app or CD, and vocal scores XL in large print.

Chor und Klavier Carus 2.652  Carus 2.652, choral collection 35.80 €, choral score ±11.60 €

13 EDIZIONE NAZIONALE DELLE OPERE which Verdi used the ‘Scala enigmat- the final project in his studies in Lucca, DI GIACOMO PUCCINI ica’ which a Bolognese Conservatoire where it was successfully premiered in professor had invented, and producing 1880 – a local critic praised its “ex- The works of Giacomo Puccini will be a peculiar chromaticism. Alongside tremely distinguished ideas”. But in the presented in a scholarly critical edition. operatic passages in the following meantime, Puccini had more ambitious Upon petition to the Italian Ministry of three pieces, Verdi constantly draws on aims: he left Lucca shortly afterwards Culture by the “Centro Studi Giacomo strict counterpoint in the style of Bach and strove for higher things in Milan, Puccini,” the institute responsible for this or Palestrina; perhaps here he dis- the Messa a 4 voci con orchestra tem- tanced himself furthest from pleasing porarily fell into oblivion and was never edition, the project has been recognized singability. The cycle does not have performed again during his lifetime. as an “Edizione Nazionale” and receives an inner coherence – the scorings are Only in 1952 did an American priest a significant amount of its support from also different – but Verdi did stipulate research the original sources, enabling the Ministry. an order of performance. He himself a revival of the work in Chicago under regarded the concluding Te Deum as the new title “Messa di Gloria” which Already available: his best work. has now become the work’s established name. The version currently published Messa a 4 voci At the end of the 19th century, for chamber orchestra by Joachim („Messa di Gloria“) ­Giacomo Puccini succeeded Verdi as Linckelmann gives more choirs the op- Italy’s leading opera composer; but portunity of bringing Puccini’s youthful ed. Dieter Schickling things were not originally envisaged energy and originality to life.  Carus 56.001, see below thus. His family had intended him to Thomas Jakobi pursue a career as a church musician, Orchestral compositions following the tradition of his forefa- ed. Michele Girardi, thers for several generations in his Virgilio Bernardoni, Dieter Schickling native city of Lucca. The standing of  Carus 56.002, 188.00 € the Puccinis was so high that after the early death of Giacomo’s father, the In preparation: city fathers decreed that the six-year- old boy should assume the position of “Maestro di Cappella” at the main Compositions for organ church of San Marco as soon as his age ed. Virgilio Bernardoni and progress in studies would permit. Thomas Jakobi followed his diploma in sound  Carus 56.003 Puccini therefore became a choirboy, engineering from Detmold with a postgradu- Twelve pieces from this unknown learnt the organ, and trained for a ate course in music journalism. He works as a freelance author for WDR, NDR, and other ­repertoire will be published soon in career in the church. companies. He also lectures at the Univer- the edition Selected Organ Works sity of Hamburg, and is a text editor for the (Carus 18.190), see p. 5. So it seems probable that the young Coviello Classics label. Puccini, still many years away from major success, wrote a mass setting as

NEW NEW Giacomo Puccini (1858–1924) Messa a 4 voci con orchestra SC 6

Giacomo Messa a 4 voci con orchestra SC 6 ed. Dieter Schickling Puccini Messa a 4 voci (arr. Linckelmann) PUCCINI (lat) („Messa di Gloria“) Soli TBar, Coro SATB, Pic, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Oficleide, Nach seinem frühen Abschied von der Opernbühne im Jahre 1829 komponierte Gioachino Rossini Messa a 4 voci con orchestra Arrangement for chamber orchestra neben Kammermusik nur noch größer besetzte Kirchenmusik. Zu dieser gehört das Stabat Mater, das in zwei Arbeitsphasen zwischen 1831 und 1841 entstand und 1842 in Paris uraufgeführt worden SC 6 ist. Der Text fasst die Schmerzen Marias angesichts des Gekreuzigten in ein Gebet. In 10 Nummern Timp, 2 Vl, Va, Vc, Cb, [2 Cor, Arpa] vereinigt Rossini unterschiedliche Formen wie Arie, Duett, Quartett und Chor, opernhaft ariose arr. Joachim Linckelmann Schreibweise und strengen A-cappella-Stil zu einem der Höhepunkte dieser Gattung. Bearbeitung für Kammerorchester von Arrangement for chamber orchestra by Mit der vorliegenden Bearbeitung für Kammerorchester (Flöte, Oboe, Klarinette, Horn, Fagott, Pauke Joachim Linckelmann 43 min und Streicher) erhalten auch kleinere Chöre die Möglichkeit, dieses Werk aufzuführen, ohne dass der Soli TBar, Coro SATB, Fl, Ob, Clt, Chor durch ein groß besetztes Sinfonieorchester dominiert würde, wobei der sinfonische Charakter aber trotzdem erhalten bleibt. Diese Besetzung bietet eine optimale Balance von Durchsichtigkeit und orchestralem Klang. Sämtliche Vokalpartien (Soli und Chor) sind mit der Originalfassung identisch,  sodass von dieser Klavierauszug und Chorpartitur verwendet werden können. Cor, Fg, Timp, 2 Vl, Va, Vc, Cb Carus 56.001, Edizione Na­zionale:

Following his early departure from the opera stage in 1829, besides chamber music Gioachino Rossini clothbound 225.00 €, full score (paper- composed only larger scored works of church music. The Stabat Mater is among these. It was com- posed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary’s pain in the face of the crucified Christ. In 10 movements Rossini unites different forms such as aria, duet, quartet and chorus, an operatic aria-like  Carus 56.001/50, full score back) 118.00 €, study score 35.10 €, style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre.

With the present arrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani and strings), smaller choirs now have the possibility to perform this work without the choir being 48.00 €, vocal score 21.00 €, ­vocal score see besides, complete overshadowed by a large symphony orchestra, but nonetheless the symphonic character of the work is still maintained. This chamber scoring offers the optimal balance between transparency and orches- tral sound. All of the vocal parts (soli and choir) are identical to those contained in the original version, which means the vocal and choral scores for that larger version can be used for a performance of this vocal score XL 27.80 €, complete ­orchestral parts 270.00 € arrangement. www.carus-verlag.com orchestral parts 122.00 €

C C Material by Carus previously listed under CV 56.001/50 Carus ISMN M-007- Carus 56.001/50 Also available: the number 40.645 is now listed under original version Carus 56.001. The orchestral parts have been coordinated with the Urtext of the Edizione Nazionale, enabling some mis- takes to be corrected in the process.

14 “THY STATUTES HAVE BEEN MY SONGS”

Psalm 119 by Heinrich Schütz, his “Swansong”

Heinrich Schütz probably regarded his last opus as an artistic statement of particular importance: he called it his “Schwanen- gesang” or swansong. But the work then fell into oblivion for several centuries. Sections of the manuscript part books were not discovered until 1900 and were only used as the basis for a first reconstruction in the 1970s. The new edition in the Stuttgart Schütz Edition now offers a unique interpretation of the “Schwanengesang” based on the surviving sources.

he Old Testament Book of attractive for composers. Perhaps the underlying Psalm 119 and dictate its Psalms in the translation by stimulus to set Psalm 119 came from length. Psalm 119 is in fact formed of a Martin Luther was by far the one verse which Schütz felt particularly so-called acrostic, i. e. the initial letters most important source of texts attracted to. It is the 54th verse which of its verses are part of a pattern. In the for Heinrich Schütz. Schütz’s became the motto for his life as a com- original text all eight verses of the first Tearliest setting of a biblical text was poser of sacred music: “Deine Rechte strophe begin with “Aleph”, the eight Psalm 100 for three choirs (SWV 36a), sind mein Lied in meinem Hause.” (“Thy verses of the second with “Beth”, and which was then incorporated in a revised statutes have been my songs in the so on, until all 22 letters of the Hebrew version in the printed collection Psalmen house of my pilgrimage.”) The “stat- alphabet have been used eight times as Davids. At the end of his output stood utes” (or “laws”) of God are – and this initial letters. (The acrostic is naturally lost Psalm 119, known as his “Schwanenge- is the message – transformed by the in translation.) So the total number of sang” [Swansong], which Schütz com- composer into a “song” i. e. into music. verses is 176 (22 x 8). pleted in 1671, a year before his death. Schütz used this verse several times in Between these two works he composed entries in friendship albums, and a visitor In theological literature this form has well over a hundred psalm settings, some reported that in his later years in Weißen- been criticized many times as contrived, based on individual verses or groups fels, it was displayed on the wall of his as it appears to dominate the content. of verses, but also settings of complete composition study. In the fourth section Amongst 20th century theologians it was psalms. of Psalm 119, verse 54 stands out for its Dietrich Bonhoeffer who expressed a dif- particularly powerful setting. ferent opinion. He felt a particular affinity However, the composer’s love for the for Psalm 119 and called it his “favor- psalter does not explain his decision to Not only does this verse speak of “Ord- ite psalm”. In his Meditationen über turn to Psalm 119 at a great age; not nung” (statutes) or “Rechte” (laws), Psalm 119 which was never completed, only is it extremely long with its 176 but these concepts also permeate the Bonhoeffer gave the following advice to verses, but it also lacks the rich imagery entire psalm in many repetitions and those who had difficulties with the length of the poetry which made Psalms 23 and with various different shades of meaning. and many repetitions: “Here a quite 121 (Schütz set both of these twice) so They also determine the formal principle slow, still, patient progress from word to

15 NEW word, from sentence to sentence, helps It was reported from Schütz’s circle that us. Then we recognize that the apparent he himself described the opus as his repetitions are indeed new expressions of “Schwanengesang” (swansong), obvi- the one thing, the love of God’s word.” ously because he regarded it as his last and particularly important artistic state- How did Schütz the composer react to ment. However, in line with his custom, this not exactly the most music-friendly he formulated the printed title page in a of texts? First of all, he condensed the 22 matter-of-fact way, and only named the sections of the overall acrostic form into text sources used in his composition. eleven sections by combining two eight- verse text elements into single sections. This title page and table of contents Each section therefore had roughly the are the only parts of the work which usual length of a motet. This division were printed during Schütz’s lifetime. By is made even clearer by the fact that comparison, the musical text was only each section ends in the lesser doxology preserved in manuscript part books. Heinrich Schütz (1585–1672) (“Glory be to the Father and to the Son These were created, as is evident from Psalm 119 …”). Both the psalm text and doxology annotations in the composer’s hand, („Schwanengesang“) start afresh each time, beginning with a within Schütz’s circle and evidently Complete Edition vol. 18 unison intonation – a recourse to liturgical produced by a trained musician, quite ed. Werner Breig monody very seldom found in Schütz’s possibly Schütz’s pupil Constantin Chris-  Carus 20.918, 198.00 €, preceding works (for example, three tian Dedekind. performance material in preparation times in the Musikalische Exequien).

It is remarkable that Schütz largely avoid- ed strong showy contrasts or colorful- Of all the Schütz ness, as are familiar from the Psalmen Davids. The whole 13-part work has a sources this manu- Stuttgart Schütz Edition basic scoring of two four-part choirs and an organ accompaniment, mainly written script has suffered according to the principles of “basso In 1992 the Stuttgart Schütz Edition, seguente”, that is, it does not have the most chequered the edition of the complete works of an independent function. There is no Heinrich Schütz, was taken over by confrontation between a high and a low history. Carus-Verlag, which has continued choir, or between solo and choral parts, to publish it since then. It is a com- and there are no obbligato instruments. plete edition founded on a critical Schütz set the text for eight parts in two examination of the sources which choirs – Bonhoeffer can be quoted here – Of all the Schütz sources this manuscript presents today’s users an unproble- in patient “progress from word to word, has suffered the most chequered history from sentence to sentence” – of course and it is only thanks to some fortunate matic, legible rendering of the music. with the highly expressive setting of the circumstances that it still exists (or, In contrast to other Schütz editions text as is typical of Schütz. more precisely, a substantial part). After the works are presented in their However, he imagined the performance Schütz’s death in 1672 the material was original keys and ranges, i.e., they as more colorful than is expressed in the probably preserved in the Royal Palace are edited untransposed. All editorial musical text. We know this as he asked in Dresden. There, it would probably additions or suggestions are indica- his pupil Constantin Christian Dedekind have been destroyed when Prussian ted diacritically. The volumes include to add instruments ad libitum to the vo- troops bombarded the Palace in 1760 all essential information concerning cal parts. He apparently had something if it had not been moved to Guben in the history of the works, their trans- in mind like the additional choirs (“Ca- Lower Silesia, a town under the control pellae”) in his first psalm opus, the Psal- of Duke Christian of Saxony-Merseburg mission, performance practice and men Davids of 1619. Schütz’s wish was (1615–1691) who was interested in mu- liturgical function. The Stuttgart not fulfilled by Dedekind, as he was “not sic, and whom Schütz knew personally. Schütz Edition is being published bold enough to presume to do this”; but (The historic part of the old town is now in cooperation with the renowned today’s performers are encouraged by Gubin in Poland.) There it was stored in Heinrich-Schütz-Archiv of the Hoch- this to color the vocal lines with instru- the library of the Haupt- und Stadtkirche schule für Musik Dresden. The works mental doublings in certain passages. where it lay forgotten for a long time. are also available at Carus in separate editions. As well as the 11-part Psalm 119, When Philipp Spitta published his Schütz Schütz’s last opus contains two works Complete Edition (1885–1894), although www.carus-verlag.com/en/ composed earlier: a setting of Psalm 100 he knew from Martin Geier’s obituary composers/schuetz and a Deutsches Magnificat. Schütz of Schütz that Schütz had composed evidently wanted to include them in his Psalm 119 in his last years, he could only complete works and if possible, secure state that he did not know anything them from the haphazardness of manu- about this work. Further details only script transmission through printing. emerged in 1900 when the Strasbourg

16 theologian Friedrich Spitta, the younger Volume to the Complete Edition in 1927, The edition of the work as part of the brother of Philipp Spitta, was able to he planned to continue his work with a Stuttgart Schütz Edition published by announce in the Monatschrift für Gottes- further supplement which was to include Carus-Verlag also required a further dienst und kirchliche Kunst that six part Psalm 119. This plan did not come to study addressing the problems of recon- books of a monumental double-choir fruition, probably because a quarter of struction. As there is no clear-cut solution work by Heinrich Schütz had been found, the vocal parts were ­missing. to this task, only different approaches, comprising an eleven-part setting of it was inevitable that the “Stuttgart” Psalm 119 and a two-part appendix If the part books had remained in Gu- version offers other solutions in a number (Psalm 100, Deutsches Magnificat). ben, they would no longer exist today of places. The new version was recorded Of the eight voice parts in the work, because the town was largely destroyed by Hans-Christoph Rademann with the two were no longer present and never towards the end of the Second World Dresdner Kammerchor. subsequently came to light. The organ War. The parts were brought to Berlin in Werner Breig part book was also missing; however, this the 1930s, where they were photocopied later ended up through the autograph for the “Staatliches Institut für deutsche manuscript trade in the collection of Musikforschung” and probably also Stefan Zweig, and is now preserved in remained there for a period, but after the his collection of manuscripts in the British end of the war went missing for several Library in London. Friedrich Spitta stated decades only resurfacing in the 1970s that the surviving material allowed “the as part of the holdings of the Sächsische extent of the loss to be estimated”, but Landesbibliothek Dresden. That enabled in view of the fragmentary condition the Dresden Schütz scholar Wolfram of the source, he evidently could not Steude to create the first edition of the Prof. Dr. Werner Breig was Professor of Musi- cology at the Staatliche Hochschule für Musik imagine that the work could ever be work, during which he reconstructed Karlsruhe, then at the Bergische Universität performed. the two missing parts. In this form the ­Wuppertal until 1988, and subsequently at work was readily accepted by practicing the Ruhr-Universität Bochum until 1997. The When Heinrich Spitta, the nephew musicians and, it would appear also by main emphasis of his research is the music of of Philipp and son of Friedrich Spitta, audiences, and has since become an es- ­Heinrich Schütz, Johann Sebastian Bach and published a second Supplementary tablished part of our reception of Schütz. Richard Wagner.

NEW

Schwanengesang Carus 83.275 Complete recording, Vol. 16 Heinrich Schütz  Carus 83.275 Schwanengesang UVP 19.90 €

Kleine geistliche Konzerte II Complete recording, Vol. 17  Carus 83.271 (2 CDs)

Mields · Sämann · Erler · Kunath Poplutz · Mäthger · Schicketanz · Schwandtke Photo: Holger Schneider Dresdner Kammerchor Complete recording Hans-Christoph Rademann with the Dresdner Kammerchor Hans-Christoph Rademann, and Hans-Christoph Rademann artistic director of the Dresdner

Carus 83.271 Kammer­chor which he founded, and Under the direction of Hans-Christoph director of the International Bach Heinrich Schütz Rademann, together with Carus-Verlag ­Academy Stuttgart, is one of the Kleine geistliche Konzerte II Stuttgart, the Dresdner Kammerchor most sought after choral conductors will produce the first complete record- and widely-acknowledged specialists ing of the works of Heinrich Schütz. of choral sound in the world. The recording of the St. John Passion SWV 481 (Carus 83.270) has been awarded the most important indepen- Gerlinde Sämann · Isabel Schicketanz · Maria Stosiek David Erler · Georg Poplutz · Tobias Mäthger 2 CDs Tobias Berndt · Felix Schwandtke dent German Critics Award “Jahres­ Stefan Maass · Matthias Müller · Ludger Rémy preis der deutschen Schallplattenkritik 2016.” The jury expressly singled out the first Heinrich Schütz Complete Recording as an ­“edition which sets standards”!

17 Photo: © JFBRUNEAU – fotolia.com

The Church Saint-Merri at Paris where Saint-Saëns composed his Messe à quatre voix op. 4

MULTIFACETED OEUVRE

The Sacred Works of Camille Saint-Saëns

Only a few works from Camille Saint-Saëns’s extensive output are prominent in the repertoire, such as Carnival of the Animals, the opera Samson et Dalila, the 1st Cello Concerto, and the Oratorio de Noël. But the less well-known works are of no lesser ­quality than the more famous ones. Saint-Saëns’s sacred compositions, such as the Messe à quatre voix op. 4 from his early ­period, or the Messe de Requiem from later in his output, demonstrate the composer’s versatility.

lready at the age of three years the Église de la Madeleine from 1858 to Nationale de Musique, which also sought Camille Saint-Saëns composed 1877. In addition, he taught piano at the to promote contemporary French (and Ahis first piano piece. Fortunately prestigious École Niedermeyer starting in particularly symphonic) music at an insti- he grew up in a family that fostered the 1861. Many works date from this period, tutional level. The passionate and vocal boy’s talents, which were not limited to including the first two symphonies, espousal of these views clashed notably music; he was no less interested in an- several concertos for solo instrument and with France’s conservative musical circles. cient languages and the natural sciences. orchestra, a number of chamber music Saint-Saëns’s compositional phase lasting While still young, he enjoyed success works, a wealth of solo songs – some until just after the turn of the century, in Parisian society with his remarkable with orchestra and some with piano with many concert tours and convales- virtuosity at the piano and early attempts accompaniment – and further sacred and cent trips, was characterized by a focus at composition. In 1848 he began lessons secular vocal compositions. on opera. His successes abroad also led with the leading teachers at the Paris to greater recognition at home: by 1900 Conservatoire. Camille Stamaty (piano), A military event would have far-reaching he was universally considered one of the François Benoist (organ), and Jacques consequences on Saint-Saëns’s oeuvre: most important French composers of Fromental Halévy (composition) took the France’s defeat in the war with Germany his generation, a fact confirmed by the young talent under their tutelage. At the in 1870/71 did not lead to national res- many national and international awards age of only eighteen, Saint-Saëns was ignation among the population as might and honors he received. appointed to the post of organist at the have been expected, but further fueled Église Saint-Merri, where his composi- an exuberant patriotism. Saint-Saëns The final period of his life, during which tions included the Messe à quatre voix became the champion of an Ars gallica he was limited by illness, was overshad- op. 4, and he held the same position at and one of the founders of the Société owed by a growing disregard in France

18 Camille Saint-Sa ë ns SAINT-SAËNS Messe à quatre voix

Unter den geistlichen Werken von Camille Saint-Saëns (1835–1921) finden sich nur zwei Messe à quatre voix Ordinariumsvertonungen: die Messe de Requiem op. 54 aus seiner mittleren Schaffensperiode (1878) und die 1856 entstandene Messe op. 4. Der Carus-Verlag legt nun dieses Jugendwerk in op. 4 einer quellenkritischen Neuausgabe vor. Saint-Saëns war überzeugter Anhänger des Historismus im Zuge der französischen kirchenmusikalischen Reformbewegung. Wie nirgends sonst wird dies in der Messe à quatre voix deutlich. Sie ist ein Beispiel für die gelungene Verbindung von roman- for his musical activities. As he continued work of liturgical music; this istischem Stilempfindenfirstly mit tradierten Elementen kirchenmusikalischen due Komponierens. Solisten, Chor und Orchester decken das gewohnte Klangspektrum ab; hinzu tritt wie bei anderen Zeitgenossen die auf der Empore stehende Grand Orgue als dritter gleichberechtigter Partner.

Amongst the sacred works by Camille Saint-Saëns (1835–1921) there are just two settings of the to enjoy unwavering success abroad, to the fact that the majority ofmass: the Messehis de Requiem op. 54sacred from his middle period (1878), and the Mass op. 4 dating from 1856. Carus-Verlag is now publishing this early work in a critical new edition. Saint-Saëns NEW was a devoted follower of historicism as part of the reform movement in French church music. This is more evident in the Messe à quatre voix than anywhere else. Saint-Saëns combined tradi- tional elements of church music composition in a convincing manner with contemporary elements of Romantic composition. The soloists, chorus, and orchestra provide for the usual sound spec- trum; as in other works of the time, they are joined by a grand orgue in the gallery which serves particularly in England as well as in the compositions are obligatory oras a third andoccasional equal partner.

Les œuvres sacrées de Camille Saint-Saëns (1835–1921) ne contiennent que deux compositions de L’Ordinaire de la messe : la Messe de Requiem op. 54 datant de sa période créatrice de la maturité (1878) et la Messe op. 4 écrite en 1856. Les éditions Carus présentent désormais cette œuvre de jeunesse dans une nouvelle édition critique des sources. Saint-Saëns était un disciple United States and even Asia, he was works, and secondly to his embracingconvaincu de l’historisme dans le sillon du mouvement réformiste français de la musique d’église. La Messe à quatre voix en est l’illustration parfaite, faisant le lien réussi entre sensibilité stylistique romantique et éléments traditionnels de la composition de musique sacrée. Solistes, chœur et orchestre couvrent la palette sonore habituelle ; à cela vient s’ajouter, à l’instar d’autres contem- increasingly viewed as a reactionary in of historicism which he saw asporains, le grandone orgue situé à la tribune of comme troisième partenaire à part entière. www.carus-verlag.com his homeland, largely owing to the emer- the postulates of the reform movement

C C

CV 27.060 Carus gence of a new musical avant-garde. He centered round French sacred music.ISMN M-007-18169-7 The Carus 27.060 died on December 16, 1921 in Algiers. musicologist Ursula Mikliss remarked9 790007 181697 that “Saint-Saëns’ motets demonstrate that Throughout his life, Saint-Saëns was a the composer fully agreed that liturgi- Messe à quatre voix op. 4 (lat) composer who, like many representa- cal music should be tied to its function, ed. Dieter Zeh tives of this era of upheaval, was open thus approving of the status of music as Soli SATB, Coro SATB, 2 Fl, 2 Eh, 2 Tr, to the most diverse musical tendencies, servant of the liturgy.” 3 Trb, 2 Vl, Va, Vc, Cb, Arpa, Org, Org whether old or new, French or foreign. We thus cannot identify a single stylistic This is also demonstrated by the ripieno / 45 min thread that runs throughout his oeuvre. Messe à quatre voix, op. 4, written by  Carus 27.060, full score 79.00 €, ± This, along with the fact that during the Saint-Saëns in 1856 at the age of only vocal score 26.00 €, choral score 9.50 €, different phases of his life, his contribu- twenty-one. In contrast to his oratorios, complete orchestral parts 159.00 € tions to French music met with a varied this early work offers an example of the reception, had the result that only a few symbiotic relationship between Romantic works from his extensive output occupy stylistic sensibilities and traditional church a lasting place in the repertoire. music elements. Historicism as a constit- uent element of his musical language In the 19th century we note a persistent emerges clearly as he harks back to Gre- development embracing experimentation gorian chant. In the Kyrie and Credo, he of standards inherited from the Classical makes thematic references to the famous period in instrumental music, whereas Messe royale 1er ton by Henri DuMont the church music of the time can only be (1610–1683). characterized as backward-looking with a restorational tendency. The corset of The situation is completely different in the liturgy as the predominant functional many parts of the Messe de Requiem Oratorio de Noël op. 12 (lat) element, combined with an idealized, op. 54 written twenty-two years later in ed. Thomas Kohlhase purportedly timeless conception of what 1878. In this work Saint-Saëns casts off Soli SMsATB, Coro SATB, 2 Vl, Va, Vc, kind of music was “proper” for worship the usual rigid constraints, prompting the (classical vocal polyphony in the style musicologist Michael Stegemann to draw Cb, Org, Arpa / 40 min of Palestrina and the Cecilian move- attention to its “seriousness and [...]  Carus 40.455, full score 27.50 €, study ment), left little leeway for innovation. depth of expression.” With his individual score 12.30 €, vocal score 11.50 €, vocal Saint-Saëns’s sacred music must also be musical language, Saint-Saëns gives ex- score XL 17.00 €, choral score ±3.20 €, viewed against this background, and the pression to the liturgical text in his own complete orchestral parts 75.00 €, composer’s openness to varied influenc- way, without appealing to historicism as Carus Choir Coach, es, mentioned above is therefore only in the Messe à quatre voix op. 4. The CD Carus 83.352 discernible here to a limited extent. The French music journalist Jacques Bon- Oratorio de Noël, composed in 1858, naure judged the work as follows: “This Arrangement for soloists, choir & organ is his only work of sacred music that is unjustly neglected Requiem is perhaps included in modern concert programs to the most sensitive, imaginative, and  Carus 40.455/45, full score 13.00 €, any noteworthy degree. The work, sung perfect work by the composer, who finds vocal score and choral score see above in Latin, is based on texts from the Old here, more than ever before, a classical

Camille and New Testaments, the Psalms and balance between form and expression, Saint-Sa ë Gospels alongside the Catholic Christmas innovation and tradition, sophisticat- ns Messe de Requiem SAINT-SAËNS Messe de Requiem liturgy. A distinctive chamber music-like ed compositional style and immediatewww.carus-verlag.com op. 54 instrumentation, with lyrical soloistic effect.” parts and a modest choral part combine Dieter Zeh to create an underlying pastoral mood. (translation: Aaron Epstein)

Urtext In addition to the Oratorio, he composed

C C a few church compositions in French, as CV 27.317 Carus ISMN M-007- Carus 27.317 well as over 35 works with Latin texts. These are mostly psalm and hymn set- tings – i. e. music to be used in connec- Messe de Requiem op. 54 (lat) tion with the liturgy. An initial, relatively ed. Fritz Näf extensive series of works were composed Soli SATB, Coro SATB, 4 Fl, 2 Ob, 2 Eh, Dieter Zeh has worked as a music teacher in close succession between 1856 and 4 Fg, 4 Cor, 4 Trb, 4 Arpa, Grand Orgue, 1860. In the following years, longer in schools and as a church musician. In his Orgue d’accompagnement, 2 Vl, Va, Vc, Cb intervals would pass between each com- musicological research work and editing, he has focused on “forgotten” Romantic works, position. Finally in 1914 and 1916, when reduced version: 2 Fl, 2 Ob, 2 Eh, 2 Fg, in particular vocal compositions. He has edited 2 Cor, Trb, 2 Arpa, Org, 2 Vl, Va, Vc, Cb Saint-Saëns was in his eighties, he turned pieces for Carus including the Messe à quatre 35 min once again to motet-like sacred com- voix op. 4 by Camille Saint-Saëns and the positions (op. 145–149). These works oratorio Die letzten Dinge by Louis Spohr.  Carus 27.317, full score 78.00 €, vocal generally fall within the codified frame- score 29.00 €, choral score ±6.80 €, ­harmony parts 99.80 €, complete ­orchestral parts 275.00 € 19 ANNIVERSARIES 2019

300th anniversary of birth no and low alto in the Laudamus te and Quoniam tu solus. A fugal Cum sancto Leopold Mozart (1719 –1787) spiritu for tutti forces concludes the Gloria. Highly virtuosic violin passages ornament the syllabic-choral declamation he children of famous parents of the Credo, and a virtuoso coloratu- always have a difficult task forging ra-injected tenor aria for the Et in unum Ttheir own path. But so do the Dominum follows. The Et incarnatus is parents of famous children, who at best harmonically very charming, and the Cru- we concede have passed on their brilliant cifixuswhich follows is constructed based genes. At any rate this is how musicol- on a funeral march in C minor. In the Et ogists and interpreters have always re- resurrexit the trumpets dominate again in garded Leopold Mozart who is nowadays C major and the “Et vitam” which ends primarily known for his Petersburg Sleigh the Credo follows with a conventional Ride. At best he is remembered as the fugue. With the Benedictus the use of a author of a famous violin method. Rein­ flute introduces a new color, putting the hard Göbel has rightly pleaded for the solo soprano in the shade. Sighing motifs “Leopold bashing” to stop. In support determine the character of the following of this argument, I would like to propose Agnus Dei, also in C minor, before the one of his works: Leopold Mozart’s Missa Dona nobis pacem in 3/4 time in C major solemnis in C. This was earlier attributed concludes the ordinary of the mass. All by musicologists to his son, and given the introduction to the Kyrie accompanied by in all therefore a work which would em- number KV 115, probably with the inten- continuo alone, the orchestra of strings bellish any high mass in 2019, the 300th tion of saving it from obscurity. Leopold’s and brass enters with a longer prelude in anniversary of the composer’s birth. Missa is stylistically more heterogenous, the sensitive style, providing the four-part but nevertheless just as interesting as well choir and four soloists the basis for their Frieder Bernius as more unusual in terms of orchestra- syllabic writing. In the Gloria, strings and tion than the early masses of Wolfgang winds again interact in an extended pre- Amadeus – as might well be found in a lude, which then displays rapid changes Leopold Mozart (1719–1787) contemporary of Philipp Emanuel Bach, of tempo and meter on emotive words Missa solemnis in C major Gottfried August Homilius or Niccolò such as “miserere” and “suscipe”. It is Soli SATB, Coro SATB, Fl, 2 Cor, 2 Tr, Jommelli. And that is exactly what is a cantata mass, i.e. choral sections are Timp, 2 Vl, Va, Bc / 50 min exciting about it. After a slow, fugal vocal followed by virtuoso solo arias for sopra-  Carus 27.008, full score 78.00 €, vocal score 17.50 €, choral score ± 9.40 €, complete orchestral parts 131.00 € also available from Carus:

Choral collection Mozart/Haydn Missa in A major works by Leopold and W. A. Mozart, Soli SATB, Coro SATB, 2 Vl, Joseph and Johann Michael Haydn Bc, [3 Trb] / 15 min Bd. I (sacred works SSA / TTB)  Carus 27.051  Carus 2.111 Beata es, Virgo Maria Bd. II (sacred works SAB) Solo S, Coro SATB, 2 Ctr, Timp,  Carus 2.112 2 Vl, Bc / 7 min  Carus 27.289 Bd. III (sacred works SATB)  Carus 2.113 Litaniae Lauretanae Soli SATB, Coro SATB, 2 Ob, 2 Cor, 3 Trb, 2 Vl, 2 Va, Bc  Carus 40.031

20 200th anniversary of birth 150th anniversary of death

Franz von Suppè (1819–1895) Hector Berlioz (1803–1869)

ranz von Suppè, the “creator of German operetta” as ith Berlioz the contemporary public was divid- a requiem composer? A greater contrast can hardly ed: often the French composer received more Fbe imagined. But even Johannes Brahms gave his Wcriticism and hostility than praise and recog- opinion on the composer: “His unbelievable skilfulness in nition. The oratorio L’Enfance du Christ was, however, secular things was actually thanks to his sacred compo- instantly Berlioz’s greatest success with Parisian audiences. sitions.” And Suppè’s own last wish was to be acknowl- But the composer did not want the work to be regarded edged as a composer of sacred music, as the “creator of as an exception amongst his output, and reacted ungrate- serious works”. He composed the Missa pro defunctis in fully to praise. To speak of a special case in his output D minor in 1855 in memory of his patron and supporter, would seem an insult, as the composer wrote in a letter to the director of the Theater an der Wien, Franz Pokorny. Heinrich Heine, with whom he was in personal contact. Sacred, secular, German, Italian, Austrian ...? Suppè’s Re- The history of the work’s composition is also curious: the quiem does not readily fit into any existing category. But nucleus of the oratorio, individual numbers, which he then the fact that Suppè did not shy away from using musical passed off as the work of a Baroque composer he had dis- means which actually belong to opera or dance music of covered, only resulted from a whim on a sociable evening the time contributed considerably to giving his Requiem in 1850 with his friend Joseph-Louis Duc. a richness of form and character and a great wealth of expressive means.

L’Enfance du Christ (dt/fr) Hector elo L’Enfance du Christ Berlioz BERLIOZ Trilogie sacrée op. 25

Carus-Studienpartituren · Study Scores by Carus L’Enfance du Christ Mehr als 250 Oratorien, Messen, Requiem-Vertonungen, Vespern, Trilogie sacrée Missa pro defunctis (lat) Magnificat, Kantaten, Psalmen, Historien von op. 25 (H 130) Soli STBarB, Coro SATB, 2 Fl, 2 Eh, Franz Over 250 Oratorios, Masses, Requiem settings, Vespers, Magnificats, Cantatas, Psalm settings from up Missa pro defunctis Suppè

Carl Philipp Emanuel Bach Joseph Haydn VON SUPPÈ Soli SATB, Coro SATB, 2 Fl, Johann Sebastian Bach Heinrich von Herzogenberg 2 Clt, 2 Fg, 2 Cor, 4 Tr, 3 Trb, Timp, Ludwig van Beethoven Rudolf Mauersberger Hector Berlioz Felix Mendelssohn Bartholdy Carus-Studienpartituren Missa pro defunctis Johannes Brahms Wolfgang Amadeus Mozart Dieterich Buxtehude Giovanni Battista Pergolesi Mehr als 250 Oratorien, Messen, Requiem-Vertonungen, Vespern, Requiem André Campra Giacomo Puccini Magnificat, Kantaten, Psalmen, Historien von 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr,Pablo Casals3 Trb,Josef Gabriel Rheinberger Arpa, 2 Vl, Va, Vc, Cb, Org Luigi Cherubini Gioachino Rossini Carl Philipp Emanuel Bach Joseph Haydn Antonín Dvořák Jakub Jan Ryba Johann Sebastian Bach Heinrich von Herzogenberg Gabriel Fauré Camille Saint-Saëns Ludwig van Beethoven Rudolf Mauersberger César Franck Sven David Sandström Hector Berlioz Felix Mendelssohn Bartholdy Gonzalo Grau Franz Schubert Johannes Brahms Wolfgang Amadeus Mozart Carl Heinrich Graun Heinrich Schütz Dieterich Buxtehude Giovanni Battista Pergolesi Timp, Tamtam, 2 Vl, Va, Vc, GeorgCb Friedrich Händel Franz von Suppè 95 min André Campra Giacomo Puccini Johann Michael Haydn Georg Philipp Telemann Pablo Casals Josef Gabriel Rheinberger Luigi Cherubini Gioachino Rossini Antonín Dvořák Jakub Jan Ryba Gabriel Fauré Camille Saint-Saëns César Franck Sven David Sandström 70 min http://www.carus-verlag.com/studyscores.html ed. Paul Prévost Gonzalo Grau Franz Schubert Carl Heinrich Graun Heinrich Schütz Georg Friedrich Händel Franz von Suppè Johann Michael Haydn Georg Philipp Telemann

Schuber ed. Gabriele Timm, Rainer Bohm  Carus 70.038, full score CV 70.038/07 Carus Haydn: Sämtliche Lateinische Messen ISMN M-007-14159-2 Carus 70.038/07 Mozart: Sämtliche Messen und Vespern Mozart: Sämtliche kleinere Kirchenwerke Mendelssohn: Sämtliche geistliche Chorwerke mit Orchester Schubert: Sämtliche Lateinische Messen  Carus 40.085, full score 89.00 €, 110.00 €, study score 48.00 €, Das Programm wird ständig erweitert. study score 23.80 €, vocal score vocal score 16.50 €, ­choral CV 40.085/07 Carus ISMN M-007-07362-6 Carus 40.085/07 � ������ ������ 18.50 €, ­complete orchestral parts score ± 7.30 €, complete 332.00 € orchestral parts 311.00 €

also available from Carus: Carus 83.455 Franz von Suppè Missa Dalmatica Messe für Männerchor und Orgel Missa Dalmatica (lat) Lords of the Chords Jens Wollenschläger Soli TTB, Coro TTB, Org / 45 min ed. Rainer Boss  Carus 40.832, sheet music  Carus 83.455, CD

21 175th anniversary of birth

Charles-Marie Widor (1844–1937)

Charles-Marie WIDOR

Widors frühe vier Orgelsymphonien op. 13 erhalten durch ihre suitenähnliche Anlage Symphonie II eine besondere Prägung. So kombiniert auch die sechssätzige II. Symphonie in aparter Weise verschiedene Satztypen miteinander, darunter ein Praeludium Circulare, das kreis- op. 13,2 förmig alle zwölf Tonarten durchmisst, ein Salve Regina, beruhend auf der gleichnamigen gregorianischen Antiphon, und eine große Toccata als Finale, ein interessanter Vorläufer der berühmten Toccata aus der V. Symphonie. Die Carus-Edition basiert auf der letzten zu Lebzeiten Widors veröffentlichten Ausgabe, Paris 1928/29. Darüber hinaus wurden die Korrekturen berücksichtigt, die der Komponist nach Veröffentlichung dieser Ausgabe noch angebracht hatte. Zudem werden zur Klärung einzelner Lesarten frühere Auflagen vergleichend hinzugezogen. Vorschläge des Herausgebers zur Ausführung einzelner Stellen runden die vorliegende Neuedition ab.

Widor’s four early organ symphonies op. 13 have a quite special character because of their suite-like structure. Thus, the six-movement Symphony II combines different types of movement in an unusual way; it includes a Praeludium Circulare, which explores all the twelve keys, a Salve Regina based on the Gregorian antiphon of the same name, and a grand Toccata as the Finale, an interesting precursor of the famous Toccata from the 5th Symphony. The Carus edition is based on the Paris edition of 1928/29, the last one to be published during Widor’s lifetime. The corrections which the composer made after the publication of this edition have also been taken into consideration. As well as this, earlier Charles-Marie editions have been consulted for comparison to clarify individual variant readings. Editorial suggestions on the performance of individual passages complete the new edition.

Charles-Marie Widor Die großen Orgelwerke / The Great Organ Works Reihe A / Series A: WIDOR Symphonie II op. 13 no. 2 Symphonie IV op. 13 no. 4 Symphonie V op. 42 no. 1 In seiner VI. Orgelsymphonie zeigt sich Charles-Marie WidorSymphonie auf dem VI op.Höhepunkt 42 no. 2 seiner SymphonieAusgewählte IV Orgelwerke · Selected Organ Works kompositorischen Meisterschaft. In den dicht gearbeiteten,Symphonie monumentalen Romane Ecksätzen, op. 73 den Charles-Marie expressiven langsamen Sätzen und einem effektvoll-brillanten Intermezzo schöpft Widor die op. 13,4 Urtext Möglichkeiten des Instruments voll aus. Die neue Carus-Edition basiert auf der letzten zu Lebzeiten des Komponisten veröffentlichten Ausgabe, Pariswww.carus-verlag.com 1929. Darüber hinaus fanden die- jenigen Korrekturen Berücksichtigung, die der Komponist nach Veröffentlichung der Ausgabe von 1929 noch angebracht hatte. Zudem wurden zur Klärung von Unstimmigkeiten bei WIDOR Registrierangaben frühere Auflagen vergleichend hinzugezogen. Vorschläge des Herausgebers zur Ausführung einzelner Stellen runden die vorliegende Neuedition ab. C In his VIth Organ Symphony, Charles-Marie Widor showed himself to be at the height of his Die Kirchenmusik bildet den Mittelpunkt des kompositorischen Gesamtwerkes Symphonie VI compositional mastery. In the densely-worked monumental outer movements, the expressiveCV 18.178 Carus von Joseph Leopold Eybler, der 30 Jahre lang als Chordirektor im Schotten- ISMN M-007- Carus 18.178 op. 42,2 slow movements and a dramatic, brilliant Intermezzo, Widor exploits the possibilities of the kloster in Wien tätig war, bevor er 1824 zum Wiener Hofkapellmeister ernannt instrument to the full. The new Carus edition is based on the last edition published during the wurde. Seinen großbesetzten Mess-Vertonungen steht die Missa Sancti Alberti composer’s lifetime, issued Paris 1929. Corrections made by the composer after the edition of mit ihrem lyrisch-pastoralen Grundton gegenüber; sie erinnert in Anlage, Um- 1929 was published have been taken into consideration. In addition, for purposes of clarifica- fang und Instrumentation an Franz Schuberts bekannte Messe in G-Dur. Bis auf tion concerning inconsistencies in the registration, earlier print runs were consulted. Editorial zwei Soloquartette (auch aus dem Chor besetzbar) ist der Chor Hauptträger suggestions on the performance of individual passages complete the new edition. des musikalischen Geschehens; die konzentrierte Vertonung des Messtextes ist überwiegend homophon gestaltet. Ausgehend vom Streicherklang kann das Orchester ad libitum mit zwei Oboen, zwei Fagotten, zwei Trompeten und Charles-Marie Widor Pauken angereichert werden, wodurch sich das Werk in seiner meisterlichen Orchestrierung präsentieren kann. Die großen Orgelwerke / The Great Organ Works Reihe A / Series A: Symphonie II op. 13 no. 2 Church music was the focal point of the compositional output of Joseph Leo- Symphonie IV op. 13 no. 4 pold Eybler, who for thirty years was the choral conductor at the Schottenklos- Symphonie V op. 42 no. 1 ter in Vienna, before being appointed Kapellmeister at the Court of Vienna. Symphonie VI op. 42 no. 2 The Missa Sancti Alberti, with its fundamentally lyrical-pastoral character, Symphonie Romane op. 73 stands in stark contrast to his large-scale settings of the Mass. In its design, scope and instrumentation it is reminiscent of Franz Schubert's well-known Mass in G major. WithAusgewählte the exception of two Orgelwerke solo quartets (which · Selected can also be Organ Works www.carus-verlag.com performed by members of the choir), the choir plays theUrtext primary role in the performance of this work. Stylistically, the concentrated setting of the Mass 150th anniversary of death text is predominantly homophonic. The setting of the Mass, starting with strings, can also be augmented, ad libitum, by adding Eybler's additional instru- mental parts, consisting of two oboes, two bassoons, two trumpets and timpa- ni to showcase his masterly orchestration.

C Ausgewählte Orgelwerke · Selected Organ Works

CV 18.177 Carus Urtext ISMN M-007- Carus 18.177 Carl Loewe (1796 –1869)

C

CV 18.176 Carus ISMN M-007- Carus 18.176 arl Loewe, who today is known only for his Ballades, left behind an extensive musi- Great organ works Ccal opus especially created to meet the Series A rapidly growing needs of the emerging middle class during the Biedermeier period (including Symphonie II op. 13 no. 2 15 oratorios). In the oratorio Das Sühnopfer des  Carus 18.178, 39.00 € neuen Bundes (The Expiatory Sacrifice of the New Symphonie IV op. 13 no. 4 Covenant), composed during the middle of the  Carus 18.177, 38.50 € 19th century based on the story of the Passion as a compilation by Wilhelm Telschow of texts drawn Symphonie V op. 42 no. 1 from the four Gospels, Loewe merged the stylistic  Carus 18.179, in preparation tendencies of this era into a simple, charming Symphonie VI op. 42 no. 2 whole. In accordance with the demands of the  Carus 18.176, 45.00 € time, the vocal parts can be accompanied solely by a keyboard instrument, by strings with or Symphonie Romane op. 73 without a keyboard instrument, or by a symphon-  Carus 18.180, in preparation ic orchestra.

The series A makes a representative selection of the great symphonic organ works of Widor available for the first Das Sühnopfer des Carl Loewe · Das Sühnopfer des neuen Bundes time in modern Urtext editions. The primary source in Carl Loewe neuen Bundes (dt) Das Sühnopfer

Passion Werke für Soli, Chor und Orchester des neuen Bundes Works for soli, choir and orchestra / OEuvres pour soli, choeur et orchestre each case is the last edition published during Widor’s Passions-Oratorium Passion oratorio Anonymus: Lukaspassion BWV 246 Bach, J.C.F.: Die Pilgrime auf Golgatha Bach, J. S.: Himmelskönig, sei willkommen BWV 182 (Palmarum) – Johannespassion, Fassung II 1725 – Johannespassion, Fassung IV 1749 lifetime, together with any corrections made by the – Markuspassion (Rekonstruktion Hellmann/Glöckner) Soli SATTBB, Coro – Matthäus-Passion Barbe: Golgatha Brahms: Begräbnisgesang Buxtehude: Fürwahr, er trug unsere Krankheit – Membra Jesu nostri composer after publication. Earlier editions have also been Caldara: Missa dolorosa SSAATTBB, 2 Vl, Va, Chorbuch Ostern (von Karsamstag bis Pfingstsonntag) Franck, César: Die Sieben Worte – Psalm 150 Graun: Der Tod Jesu Händel: Brockes-Passion consulted for the clarification of any variant readings. – Funeral Anthem Vc, Cb [2 Fl, Ob, 2 Clt, Homilius: Johannespassion – Passionskantate „Ein Lämmlein geht und trägt die Schuld“ Herzogenberg: Die Passion Keiser: Markuspassion (arr. J. S. Bach) Liszt: Via crucis Loewe: Das Sühnopfer des neuen Bundes All decisions have been listed according to present-day Mendelssohn: Christe, du Lamm Gottes Fg, 2 Cor, 2 Tr, Trb, – Das Leiden Christi (aus: Christus) – O Haupt voll Blut und Wunden Miserere (J.C.F. Bach, Gervais, Hasse, Schubert) Mozart: Davide penitente – Grabmusik editorial and scholarly methods, misprints and doubtful Pergolesi: Tilge, Höchster, meine Sünden (arr. Bach) Org] / 105 min Reger: O Haupt voll Blut und Wunden Ruppel: Crucifixion Salieri: La Passione di nostro Signore Gesù Cristo Scarlatti, A.: Johannespassion Schütz: Matthäuspassion, Lukaspassion, Johannespassion passages in the sources have been remedied and, where – Die Sieben Worte  Carus 23.002, Telemann: Lukaspassion Weyrauch: Johannespassion

= auf Carus-CD eingespielt / available on Carus-CD CV 23.002 Carus applicable, alternatives indicated in order to present a ISMN M-007-03754-3 full score 39.00 €, � ������ ������ Carus 23.002 musical text of the greatest possible authenticity. Tips by vocal score 16.50 €, the editor Georg Koch on the performance of particular choral score ± 8.50 €, passages also provide valuable stimuli for interpretations. complete orchestral parts 148.00 €

Subscription offer for Series A: 20% discount off the retail price

22 NEW EDITIONS: VOCAL MUSIC

200th anniversary 2018

Charles Charles Otto Nicolai Gounod GOUNOD GOUNOD Zwei deutsche Liturgien Messe solennelle de sainte Cécile „Leuchtende Strahlen entströmten der Messe de sainte Cécile. Zuerst war man Messe solennelle de sainte Cécile Messe à la mémoire de Jeanne d’Arc für gemischtengeblendet, dann verzaubert,Chor dann überwältigt.“ So beschreibt der Komponist Camille Saint-Saëns den Eindruck, den die wohl bekannteste Messvertonung a cappellCharlesa Gounods auf ihn gemacht hatte. Das Werk, das im Jahr 1855 zu Ehren der Schutzpatronin der Kirchenmusik entstand, wurde schon bald weit über die Grenzen Frankreichs hinaus bekannt und erlangte eine Popularität wie kaum eine andere geistliche Komposition. Gounod verbindet in der Cäcilienmesse erhabene Schlichtheit mit opernhaft-dramatischen Elementen und einer farbigen, effekt- vollen Instrumentation.

Urtext Urtext

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C CV 27.095 Carus ISMN M-007- Carus 27.095 Carus 23.346 Carus 27.096

Otto Nicolai (1810–1849) Charles Gounod (1818–1893) Charles Gounod (1818–1893) Zwei deutsche Liturgien Messe solennelle de sainte Cécile (lat) Messe à la mémoire de ed. Klaus Rettinghaus Soli STB, Coro SATB, Picc, 2 Fl, 2 Ob, Jeanne d’Arc (lat) 2 Clt, 4 Fg, 4 Cor, 2 Pist, 2 Tr, 3 Trb, Soli SATB, Coro SATB, 4 Tr, 3 Trb (Pfte Perc, Arpa, 2 Vl, Va, Vc, Cb, Org Otto Nicolai, primarily known as an op- [Org]), Vl solo, Arpa, Org (instead of 45 min / ed. Frank Höndgen era composer, succeeded Mendelssohn brass alternative: Pfte, Org) / 12 min in 1847 as court Kapellmeister at Berlin ed. Barbara Großmann Cathedral during the reign of King Frie- “Shining rays stream from the ‘Messe drich Wilhelm IV. The King’s father had de sainte Cécile‘. At first people were Gounod’s Messe à la mémoire de introduced a new Agende, or order of ­dazzled, then bewitched, then over- Jeanne d’Arc was composed in 1887 for worship, for the Protestant church in the come.” This is how the composer a festive mass in Reims to commemorate whole of Prussia in 1829, with a music Camille Saint-Saëns described his the arrival of the national heroine in the appendix for the chorally-sung sections impression of what was probably Charles city on the occasion of the coronation of of the liturgy. Friedrich Wilhelm IV com- Gounod’s best-known setting of the Charles VII in 1429. Performed a cappel- missioned not only Mendelssohn, but mass. The work written in 1855 in honor la or only accompanied by an organ, vast in 1846 also Otto Nicolai to compose a of the patron saint of church music, soon stretches of the work are in an archaic new setting of these liturgical motets. became well-known beyond the borders style in the tradition of Palestrina. The Today, these settings are still eminently of France and acquired a degree of pop- royal procession into the cathedral is suitable for use in worship, and some can ularity like almost no other sacred com- conveyed in the splendid Prélude at the also be performed separately in concerts. position. In the Messe de sainte Cécile, beginning, which was performed at the The soloists can be drawn from members Gounod combines sublime simplicity premiere by eight trumpets, three trom- of the choir. with operatic-dramatic elements and a bones, and organ. In the performance colorful, effective orchestration. Critical material, the present edition also offers a  Carus 23.346, full score 19.40 € edition in proven Carus quality. version of the movement for piano and organ. For the Offertoire, Gounod com-  Carus 27.095, full score 79.00 €, ­vocal posed a cantilena for violin and organ score 15.00 €, choral score ± 8.50 €, (or piano), which is also included in the complete orchestral parts 238.00 € edition, as a “Vision” of Jeanne d’Arc.

 Carus 27.096, full score 39.00 €, vocal score 32.00 €, choral score and set Clytus Gottwald (*1925) Charles Gounod (1818–1893) of parts in preparation Harmonie du soir Messe no 1 aux orphéonistes from: Cinq Poèmes de Soli TTB, coro TTB, [Soli SS, Coro SS], Charles Baudelaire (fr) Org / 19 min / ed. Paul Prévost Coro SSATBB / 4 min  Carus 27.021, full score 29.00 €,  Carus 9.169, ± 6.20 € choral score ± 9.80 €

23 NEW EDITIONS PREVIEW

In the first half of 2018, Carus is publishing somenotable ­

Antonín

Dvo řá k choral works: first and foremost of these is Handel’s

DVOŘÁK

Te Deum ­oratorio Judas Maccabaeus, probably one of his most 1892 erhielt Dvořák den ehrenvollen Auftrag aus New York, für die 400-Jahrfeier der Entdeckung Te Deum Amerikas durch Christoph Kolumbus eine festliche Kantate zu schreiben. Daraufhin komponierte Dvořák binnen kurzer Zeit ein imponierendes Werk – sein Te Deum, das in vier effektvoll kontrastierenden op. 103 Teilen dem alten Lobgesang feierlichen Ausdruck verleiht. Die Carus-Edition zieht in sorgfältiger Abwägung der Lesarten Partiturautograph und Erstdruck als Quellen heran und macht so das Werk in popular vocal works. Then comes a new edition of einer modernen wissenschaftlichen Ausgabe neu zugänglich. Das komplette Aufführungsmaterial ist käuflich zu erwerben.

In 1892 Dvořák received a prestigious commission from New York to write a festive cantata to commemorate the 400th anniversary of Christopher Columbus’s discovery of America. In response he wrote an impressive work in a very short space of time – his Te Deum, which expresses in celebratory ­Charpentier’s Te Deum which shot to fame through its style the old hymn of praise in four effective, contrasting sections. In preparing the Carus edition, a careful assessment has been made of the variant readings of the autograph score and first printed edition, drawing on these as sources. The result is that the work is newly available in a modern, scholarly edition. The complete performance material is available on sale. use as the “Eurovision Hymn”. www.carus-verlag.com

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C C

CV 27.189 Carus ISMN M-007- Carus 27.189

Antonín Dvořák (1841–1904) Te Deum op. 103 (lat) Soli SB, Coro SATB, 2 Fl, 2 Ob (auch Eh), 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Tuba, Timp, Perc, 2 Vl, Va, Vc, Cb / 20 min George Frideric Handel (1685–1759) ed. Lucie Harasim Berná Judas Maccabaeus (en) Soli SMsATB, Coro SATB, 2 Fl, In 1892 Dvořák received a prestigious 2 Ob, 2 Fg, 2 Cor, 3 Tr, Timp, commission from New York to write a 2 Vl, Va, Bc / 160 min festive cantata to commemorate the ed. Felix Loy 400th anniversary of Christopher Colum-  Carus 55.063 (March 2018) bus’s discovery of America. In response he wrote an impressive work in a very This is the first critical edition of the the oratorio Judas short space of time – his Te Deum, which Maccabaeus which is one of George Frideric Handel’s most expresses the old hymn of praise in four popular choral works. It was performed over fifty times effective, contrasting sections in cele- during the composer’s lifetime and was one of his first works bratory style. During preparation of the to be performed in Germany (1772). The frequent perfor- Carus edition, a careful assessment has mances given by Handel himself resulted in a particularly been made of the variant readings of the large number of reworkings, reflecting local conditions. This autograph score and first printed edition, new edition therefore offers the work in two performable drawing on these as sources. The work versions: firstly, the version of the first performance in 1747, has now been published in a modern, and the version given during the last oratorio season of Han- scholarly edition. The complete perfor- del’s lifetime (1758/59). This makes available all choruses mance material is available on sale. and arias which Handel ever wrote for Judas Maccabaeus. Reflecting the latest Handel research, the edition is based  Carus 27.189, full score 34.90 €, € for the first time throughout on Handel’s conductor’s score, ­vocal score 9.50 €, choral score ± 5.50 €, thereby eradicating not only long-perpetuated mistakes, complete orchestral parts 219.00 € but also providing clarity about which pieces were actually performed by Handel.

Heinrich Schütz (1585–1672) Deutsches Magnificat „Meine Psalm 100 Seele erhebt den Herrn“ „Jauchzet dem Herren, alle Welt“ SWV 494 (dt/en) SWV 493 (dt) Coro SATB/SATB / 7 min Coro SATB, SATB, Bc / 6 min  Carus 20.494/50 (April 2018)  Carus 20.493 (April 2018) Deutsches Magnificat „Meine Seele erhebt den Herrn“ (early version) SWV 494a (dt) Coro SATB, SATB, Bc / 7 min  Carus 20.494/80 (April 2018)

24 SPRING PROGRAM 2018 (SELECTION)

Marc-Antoine

Charpentier Franz Schubert (1797–1828) INSTRUMENTAL MUSIC

Messe de Minuit pour No ë l pour Minuit de Messe CHARPENTIER Stabat Mater Marc-Antoine Charpentiers Weihnachtsmesse, die Messe de Minuit, steht ganz in der Te Deum H 146 französischen Tradition, die frohe Botschaft der Geburt Christi mit ausgelassener Fröhlich- keit zu feiern. Zehn alte französische Weihnachtslieder werden in der um 1694 entstande- nen Mitternachtsmesse verarbeitet und verleihen ihr neben tänzerischem Schwung auch reizvolle tonale Färbungen. Das mit zwei Flöten, Streichern und Orgel eher klein besetzte Jesus Christus schwebt am Kreuze Johann Sebastian Bach (1685–1750) Instrumentalensemble hat in selbstständigen Sätzen einen wesentlichen Anteil am musika- lischen Geschehen und wechselt mit unterschiedlichen Gruppierungen der Vokalstimmen ab. Solostimmen werden nur in kleinen Ensembles eingesetzt, deren Grenzen, gemäß der damaligen Praxis, zum Chor hin fließend sind, sodass diese durchaus auch mit Chorsängern besetzt werden können. D 383 (dt) Recorder parts in the vocal works Inscrite dans la tradition française, la Messe de Minuit de Marc-Antoine Charpentier célèbre dans l’allégresse la Bonne Nouvelle de la naissance du Christ. Dix chants de Noël français ancestraux sont arrangés dans cette messe composée vers 1694 et lui confèrent, en dehors de sa grâce dansante et enlevée, de délicieuses nuances tonales. L’ensemble instrumental plutôt restreint qui rassemble deux flûtes, cordes et orgue apporte dans des mouvements autonomes une contribution essentielle à l’action musicale et alterne Soli STB, Coro SATB, 2 Fl, 2 Ob, 2 Fg, ed. Klaus Hofmann, Peter Thalheimer avec différents groupes des parties vocales. Les voix solistes n’interviennent que dans de petits ensembles dont les limites au chœur sont fluides, selon l’usage de l’époque, si bien qu’elles peuvent être interprétées aussi par des choristes.

Marc-Antoine Charpentier’s Christmas mass, the Messe de Minuit, is thoroughly in the Cfg, 2 Cor, 3 Trb, 2 Vl, Va, Vc, Cb  Carus 31.308 (March 2018) French tradition, celebrating the joyful news of the Birth of Christ with cheerful happi- ness. In this midnight mass, composed in 1694, ten traditional French Christmas hymns have been rearranged, lending the work dance-like energy, as well as charming tonal color. In independent movements the rather small instrumental ensemble consisting of two flutes, strings and organ plays a significant role in the musical events of this mass, alternating with various combinations of the voices. Solo voices are only used together in small ensembles and, in accordance with the practices of the period, the boundaries 37 min / ed. Stefan Schuck between solo ensemble and choir are fluid; thus these solo passages can also be sung by Urtext members of the choir. www.carus-verlag.com  Carus 70.065 (April 2018) Josef Gabriel Rheinberger (1839–1901)

C C Orgelsonate Nr. 2 in A flat major CV 21.029 Carus ISMN M-007-16566-6 Carus 21.032 9 790007 165666 „Fantasie-Sonate“ op. 65 CONTEMPORARY MUSIC 19 min / ed. Martin Weyer  Carus 50.065 (May 2018) Marc-Antoine Charpentier (1643–1704) John Høybye (*1939) Te Deum H 146 (lat) Psalm 151 (en) Orgelsonate Nr. 6 in E flat minor Soli e Coro SST(A)TB, 2 Fl, 2 Ob, Vl solo, Coro SSAATTBB / 15 min op. 119 / 26 min / ed. Martin Weyer 2 Tr, Timp, 2 Vl, 2 Va (Va, Vl), Bc  Carus 10.113 (April 2018)  Carus 50.119 (May 2018) 25 min / ed. Hans Ryschawy  Carus 21.032 (April 2018) Jacek Sykulski (*1964) Orgelsonate Nr. 19 in G minor op. 193 Pater noster (lat) 35 min / ed. Martin Weyer Dieterich Buxtehude (1637–1707) Coro SSAATTBB / 8 min  Carus 50.193 (May 2018) Nun lasst uns Gott, den Herren ed. Stefan Schuck BuxWV 81 (dt)  Carus 9.674 (March 2018) Edward Elgar (1857–1934) Coro SATB, 2 Vl, Bc / 6 min Enigma Variations op. 36 ed. Johannes Bernet The peace meditation ­selection, arranged for organ  Carus 36.081 (March 2018) Solo S, Coro SATB / 4 min by Eberhard Hofmann ed. Stefan Schuck  Carus 18.011 (June 2018) Jan Dismas Zelenka (1679–1745)  Carus 9.675 (June 2018) Missa Sancti Josephi (lat)

Soli SATB, Coro SATB, 2 Fl, 2 Ob, 2 Cor, Giacomo 2 Tr, Timp, 2 Vl, Va, Bc / 38 min COMPLETE EDITION PUCCINI Sonate, Versetti, Marce ed. Wolfgang Horn Selezione dall’opera per organo Ausgewählte Orgelwerke  Carus 27.082 (April 2018) Stuttgart Schütz Edition Selected Organ Works Geistliche Chor-Music 1648 (Complete Edition, vol. 12). Paperback edition

Edizione Nazionale Joseph Haydn Die Schöpfung · The Creation Joseph ed. Michael Heinemann delle Opere di Giacomo Puccini HAYDN  Carus 20.912/10 Joseph Haydns Oratorium Die Schöpfung, eines der ganz großen Werke der Chorliteratur, war Die Schöpfung auch für den Komponisten selbst von besonderer Wichtigkeit. So war es sein erstes und einziges C Werk, das er im Eigenverlag erscheinen ließ, um eine optimal eingerichtete Ausgabe „letzter The Creation Hand“ anzubieten. Dieser Originaldruck, sorgfältig durchgesehen und mit weiteren relevanten Hob. XXI:2 Quellen verglichen, bildet die Grundlage der vorliegenden Urtextausgabe. Carus präsentiert Carus 18.190 damit einen Notentext auf dem neuesten wissenschaftlichen Stand. Über alle wichtigen Daten (April 2018) zur Edition informiert der Kritische Bericht in praxistauglicher, kompakter Form. Ein ausführliches Fassung mit reduzierter Bläserbesetzung Vorwort vermittelt Einsicht in Werkentstehung, -aufbau und -rezeption und beleuchtet kom- Version with a reduced wind set positorische und theologische Aspekte. Zur zweisprachigen Partitur (deutscher und englischer Originaltext von G. van Swieten) werden Klavierauszug und Chorpartitur im Interesse einer guten Lesbarkeit jeweils in zwei getrennten Ausgaben (deutsch oder englisch) angeboten.

Joseph Haydn’s oratorio The Creation, one of the greatest works of choral literature, was also of special importance for the composer. Thus it was his first and only work that he published himself, in order to offer an edition optimally organized from “final, authoritative hand.” This original edition, carefully examined and compared with further relevant sources, forms the basis of the present Urtext edition. With it, Carus presents the music based on the latest state of musi- cological research. The Critical Report provides all of the important data concerning the edition in a compact form suitable for practical use. A detailed foreword offers insight into the genesis of with a reduced number the work, its construction and reception and illuminates compositional and theological aspects. In addition to the score, with singing texts in two languages (G. van Swieten’s original German and English text), in the interest of legibility, vocal and choral scores will be offered in two separate editions (German or English). Heinrich of wind instruments E

Zu diesem Werk ist , die Chor-App, erhältlich, die neben den Noten und einer Einspielung Joseph Haydn · Oratorien / Oratorios einen Coach zum Erlernen der Chorstimme enthält. Mehr Informationen unter www.carus-music.com. SCHUTZ 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. Geistliche Chor-Music 1648 Giacomo Puccini (1858–1924) SWV 369–397

C_Carus C C Sonate, Versetti, Marce

CV 51.990 Carus ISMN M-007-09607-6 Carus 51.990/50 9 790007 096076 Selected organ works ed. Virgilio Bernardoni  Carus 18.190 (April 2018)

Stuttgarter Schütz-Ausgabe Joseph Haydn (1732–1809) Urtext

C The Creation (dt/en) Carus 20.912/10 BOOKS Version with a reduced number of wind instruments by Joe Hickman Klaus Rettinghaus Soli STB, Coro SATB, 2 Fl, Ob, Clt, Fg, Bach-Repertorium 6: Johann Ernst Bach 2 Cor, Tr, Timp, 2 Vl, Va, Vc, Cb Max Reger Complete Edition, vol. II/8:  Carus 24.206 (April 2018) 105 min / ed. Joe Hickman Mixed choruses a cappella I  Carus 51.990/50 (April 2018) ed. Alexander Becker, Christopher Hasse-Studien 8 (dt/it) Grafschmidt, Stefan König, Stefanie Franz Sales Kandler: Cenni storico-critici Johann Michael Haydn (1737–1806) Steiner-Grage intorno alla vita ed alle opere del celebre Missa Sancti Raphaelis MH 87 (lat)  Carus 52.815 (May 2018) compositore Giovanni Adolfo Hasse Coro SATB, [2 Ob], 2 Ctr, 2 Tr, Timp, detto il Sassone. Edited with a German 2 Vl, Org e Bassi / 17 min translation ed. Armin Kircher ed. Wolfgang Hochstein,  Carus 54.087 (April 2018) Reinhard Wiesend  Carus 90.020 (February 2018)

25 carus music Carus Choir Coach Vocal scores XL

Practice aids for choir singers

The innovative practice aids from Carus, available as CD (Carus Choir Coach) or app (carus music), offer ideal support and make it easier for choral singers to learn new repertoire. They contain first class recordings with the individual voice part amplified, making learning by listening much easier. In addition, pieces can be prac- ticed at a slower tempo, permitting effective work on complicated passages. carus music, the choir app, also offers a well laid-out music text from Carus vocal scores with a marker feature in the software, enabling users to follow the music. All works available or in preparation in carus music, the choir app, are listed besides. Carus Choir Coach

Carus Choir Coach – SOPRANO – Übe-CD für Chorsänger Carus 51.651/91 NEW Gioachino Wolfgang Amadeus Mozart (1756–1791) Missa in c KV 427 · ergänzt von Frieder Bernius & Uwe Wolf Petite Messe solennelle Rossini Carus Choir Coach Dauer Seite* Dauer Seite* Duration Page* Duration Page* ROSSINI CD 1 CD 3 1 Kyrie ...... 06:54 1 1 Credo ...... 03:34 59 SOPRANO 2 Coach ...... 06:54 2 Coach Soprano 1 ...... 03:34 3 Coach in Slow Mode ...... 09:38 3 Coach in Slow Mode Soprano 1 05:00 Petite Messe solennelle 4 Carus Choir Coach 4 Gloria ...... 02:23 9 Coach Soprano 2 ...... 03:34 5 5 Coach ...... 02:23 Coach in Slow Mode Soprano 2 05:00 6 Coach in Slow Mode ...... 03:20 6 Sanctus ...... 03:31 74 7 7 Gratias ...... 01:04 22 Coach Soprano 1 ...... 03:31 8 Coach in Slow Mode Soprano 1 04:55 8 Coach Soprano 1 ...... 01:04 SOPRANO 9 9 Coach in Slow Mode Soprano 1 01:29 Coach Soprano 2 ...... 03:31 Carus 40.650/91 10 Coach in Slow Mode Soprano 2 04:55 10 Coach Soprano 2 ...... 01:04 Carus Choir Coach DDD | GEMA 11 Coach in Slow Mode Soprano 2 01:29 11 Hosanna ...... 00:48 95

12 Coach Soprano 1 ...... 00:48 Carus Choir Coach SOPRANO CD 1 CD 2 13 Coach in Slow Mode Soprano 1 01:07 14 Coach Soprano 2 ...... 00:48 1 Qui tollis ...... 04:37 29 Carus Choir Coach 15 Coach in Slow Mode Soprano 2 01:07 2 Coach Soprano 1 ...... 04:37 SOPRANOCarus 40.650/91 3 Coach in Slow Mode Soprano 1 06:27 Gioachino Rossini (1792–1868) 4 Coach Soprano 2 ...... 04:37 Übe-CD für Chorsänger DDD | GEMA 5 Coach in Slow Mode Soprano 2 06:27 Petite Messe solennelleCD 1 6 Jesu Christe ...... 04:33 47 * Seitenzahl in der Klavierauszug-Ausgabe 7 Coach ...... 04:33 bei Carus (51.651/03) / Page number refers Kirchheimer Vokal-Consort 8 Coach in Slow Mode ...... 06:20 to the vocal score by Carus (51.651/03) Tõnu Kaljuste SOPRANO Gioachino Rossini (1792–1868)Carus 40.650/91 DDD | GEMA Carus Choir Coach bietet Chorsängern die Möglich- The Carus Choir Coach offers choir singers the Petite Messe solennelle keit, ihre Chorstimme im Gesamtklang von Chor und opportunity to study and learn their own, individual CD 1 Instrumenten einzustudieren. Für jede Stimmlage ist choral parts within the context of the sound of the Kirchheimer Vokal-Consort eine separate CD mit allen Chorwerkteilen erhältlich. entire choir and orchestra. For every vocal range a Tõnu Kaljuste Der CD liegen Einspielungen renommierter Interpre- separate CD containing each choir part is available. ten zugrunde. The CD is based on recorded interpretations by Andrea Lauren Brown, Sarah Wegener, Soprano Jeder Chorwerkteil liegt in drei Varianten vor: renowned artists. Ulrike Andersen, Ulrike Bartsch, Alto Gioachino Rossini (1792–1868) – Originaleinspielung (Carus-CD 83.284) Each choir part is presented in three different versions: – Coach: jeweilige Chorstimme ist akustisch hervor- Michael Feyfar, Georg Poplutz, Tenore Petite Messe solennelle – Original recording (Carus-CD 83.284) gehoben Kirchheimer Vokal-Consort – Coach in Slow Mode: durch Tempo reduzierung – Coach: each choral part is acoustically Jonathan de la Paz Zaens, Dominik Wörner, Basso können komplizierte Partien effektiv geübt werden strengthened Tõnu Kaljuste – Coach in Slow Mode: through a slow down of Kirchheimer Vokal-Consort the tempo diffi cult passages can be learned more Simon Bucher, Klavier · Andreas Gräsle, Harmonium

effectively Carus 40.650/91 Tõnu Kaljuste

℗© 2016 by Carus-Verlag, Stuttgart Recorded at the Evangelische Kirche Gönningen, 20–22 July 2016 3 CDs C_Carus 40.650/91

On the occasion of the 150th anniversary of the death of Giachino Rossini the Petite Messe solen- nelle has also been published in the series Carus Choir Coach. For every vocal range a separate CD containing each choir part is available. What is more, the Mass in C major by Beethoven and the German Requiem by Johannes Brahms are both in preparation.

26 carus music, the choir app

Over 70 of the major works from the international standard repertoire for choirs are already available in carus music, the choir app

Carl Philipp Emanuel Bach: Charles Gounod: Hear my Prayer Gioachino Rossini: Magnificat Messe brève no. 7 in C ¤ Magnificat in D major Petite Messe solennelle + ¤ Johann Sebastian Bach: George Frideric Handel: O Haupt voll Blut und Stabat Mater Mass in B minor ¤ Messiah + ¤ Wunden Camille Saint-Saëns: Christmas Oratorio + ¤ Brockes-Passion Vom Himmel hoch + Oratorio de Noël + ¤ Ascension Oratorio Alexander’s Feast Wer nur den lieben Gott lässt walten Domenico Scarlatti: St. John Passion + ¤ Israel in Egypt Stabat Mater* St. Matthew Passion ¤ Dettingen Te Deum Claudio Monteverdi: Magnificat in D major Dixit Dominus Vespers 1610 / Vespro della Franz Schubert: Missa in G minor BWV 235* Nisi Dominus Beata Vergine ¤ Mass in G major D 167 + Ein feste Burg BWV 80* Mass in C major D 452 Joseph Haydn: Wolfgang Amadeus Mozart: Gott der Herr ist Sonn und Mass in A flat major D 678* The Creation Requiem, version Süßmayr + ¤ Schild BWV 79 Mass in E flat major D 950¤ Missa brevis in F major Missa brevis in G major K. 140 Complete Motets Magnificat Great Mariazell Mass Missa brevis in D major K. 194 Ludwig van Beethoven: Missa Sancti Nicolai Missa in C major K. 220 Heinrich Schütz: Mass in C major + Little Organ Solo Mass Missa brevis in B flat major KV 275 Musikalische Exequien Missa solemnis Mass in Time of War Missa in C major K. 317 + Weihnachts-Historie Symphonie No. 9, Finale + ¤ Lord Nelson Mass Missa in C minor K. 427 + ¤ Georg Philipp Telemann: Johannes Brahms: Theresien Mass Vesperae solennes de Machet die Tore weit Confessore German Requiem + Gottfried August Homilius: Giuseppe Verdi: Liebeslieder-Walzer* St. John Passion Giacomo Puccini: Messa da Requiem + ¤ Anton Bruckner: Christmas Oratorio Messa a 4 voci con Antonio Vivaldi: Te Deum + Ergreifet die Psalter orchestra + Gloria + ¤ Luigi Cherubini: Felix Mendelssohn Bartholdy: Josef Gabriel Rheinberger: Magnificat Requiem in C minor Elijah ¤ Evening song Credo St. Paul ¤ Masse in E flat major / Cantus Antonín Dvořák: Christus Teil II* Missae Mass in D major. organ version* Psalm 42. Like as the hart + ¤ The Star of Bethlehem * carus music, the choir app, in preparation Gabriel Fauré: Lauda Sion* ¤ Carus Choir Coach available Requiem + Lobgesang + Vocal score XL available

Vocal scores XL

With Vocal scores XL, we are offering major choral works in reader-friendly large print. Choral singers can now enjoy the clear-to-read musical text and high quality presentation of Carus vocal scores in large print.

Johann Sebastian Mozart

BACH

in preparation: Missa in c · KV 427 (Berniu s Stuttgarter Mozart-Ausgaben Matthäus-Passion Urtext im Dienste historisch informierter Aufführungspraxis St. Matthew Passion l wissenschaftlich zuverlässige Notentexte für die Praxis unter Berücksichtigung des aktuellen Standes der Mozart-Forschung BWV 244 Johann Sebastian Bach Ludwig vanl informative Beethoven Vorworte zu Entstehungsgeschichte, Rezeption und aufführungspraktischen Fragen sowie Kritische Berichte

l vollständiges Aufführungsmaterial: Partitur, Taschenpartitur, / Mass in B minor Missa solemnisKlavierauszug, Chorpartitur und Orchesterstimmen Wolf) l Zu diesem Werk sind innovative Übehilfen für Chor- Carus 31.232/04 Carus 40.689/04sänger/innen sowie Noten im Großdruck (XL) erhältlich. Stuttgart Mozart Editions Urtext for historically informed performance

l musicologically reliable editions for the practical pursuit of music, CHOIR A HE P taking into account the most current state of Mozart research T P St. Matthew Passion Felix Mendelssohnl informative forewords on the work’s Bartholdy history, reception and performance practice and Critical Reports

l complete performance material available: full score, study score, Carus 31.244/02 St. Paul vocal score, choral score, and orchestral parts l Innovative practice aids are available for this work, Carus 40.129/02as well as sheet music in large print (XL). www.carus-verlag.com/mozart.html Christmas Oratorio. Cantatas I–VI Stuttgarter Bach-Ausgaben Urtext Messen & Requiem · Litaneien & Vespern · Kirchenwerke Carus 31.248/54 Elijah Mozart Masses & Requiem · Litanies & Vespers · church works vocal Klavierauszug · XL · Vocal score Carus 40.130/02

C C

CV 51.651/04 Carus Carus 31.244/02 ISMN M-007-17180-3

9 790007 171803

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

27 The Sacred Vocal Music Bach Complete Edition in 23 volumes Stuttgart Bach Editions vocal Urtext for historically informed performance

Introductory price 629 €

Edited by Ulrich Leisinger and Uwe Wolf J. S. Bach: The Sacred Vocal Music in collaboration with the Bach-Archiv Leipzig Complete Edition in 23 volumes Carus 31.500  Full scores for study and performance: the authoritative Urtext of the Stuttgart Bach Editions Cantatas and Motets (2 slip cases)  Reader-friendly format, also suitable for conducting Masses, Passions and Oratorios (1 slip case) (19 x 27 cm, like a vocal score)  Complete performance material for all works available for sale: full score, study score, vocal score, choral score, Introductory price final price and the complete orchestral parts valid through June 30, 2018 from July 1, 2018 629 € 769 €

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