Schütz Edition Has Been Published Containing Choral Collection, Loreley, Which Is Published As Part of the Various Individual Works

X | 201X CHCHORCHORALCHORMUSIKOR MUMUSIK MUSICSIK HEUTE HEUTHEUTETODAYE 2 | 2017 CARUSCARUS MagazinMagazine

MOZART UNVOLLEN- DET Fragment c-Moll-Messe BACH COMPLETE EDITION GOUNOD GEISTLICH INTEGRATION MUSIKALISCH ChorwerkeThe Complete für die KircheSacred VocalKinderlieder Works für alle

MUSICAL CAPITAL PARIS CULTURAL TREASURE Following Rossini and Gounod German folk songs in new arrangements C Carus Gioachino Rossini 1792–1868 150th anniversary of death 2018

Although first and foremost considered an opera composer, the Italian Gioachino Rossini composed an extensive range of sacred and secular vocal music. Well-known are the Stabat Mater and the Petite Messe solennelle. It is also worth discovering his many smaller choral works.

Gioachino Rossini ROSSINI Petite Messe solennelle Stabat Mater Nach seinem frühen Abschied von der Opernbühne im Jahre 1829 Stabat Mater komponierte Gioachino Rossini neben Kammermusik nur noch  Carus 40.650 größer besetzte Kirchenmusik. Zu dieser gehört das Stabat Mater, das in zwei Arbeitsphasen zwischen 1831 und 1841 entstand und 1842 in Paris uraufgeführt worden ist. Der Text fasst die Schmerzen Marias angesichts des Gekreuzigten in ein Gebet. Immer wieder hat Rossini die bildreiche Sprache der vermutlich aus dem 13. Jahrhundert stam- menden latenischen Dichtung Komponisten zu Vertonungen inspi- riert, darunter große Namen wie Pergolesi, Joseph Haydn und Verdi. In 10 Nummern vereinigt Rossini unterschiedliche Formen wie Arie, CHOIR Chor- und E AP Duett, Quartett und Chor, opernhaft ariose Schreibweise und stren- TH P Stabat Mater gen A-cappella-Stil zu einem der Höhepunkte dieser Gattung. Ensemblemusik

Following his early departure from the opera stage in 1829, besides chamber music Gioachino Rossini composed only larger scored works  Carus 70.089 of church music. The Stabat Mater is among these. It was composed 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. Time and again the vivid language of this text, a Latin poem probably from the 13th century, has inspired settings by composers including illustrious names such as Pergolesi, Joseph Haydn and Verdi. In 10 movements version for chamber orchestra Rossini unites different forms such as aria, duet, quartet and chorus, an operatic aria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre. Gioachino  Carus 70.089/50 Rossini ROSSINI Petite Messe solennelle

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, geschrieben für die Einweihung der Privatkapelle eines wohlhabenden Pariser Adligen. Dies erklärt die reduzierte instrumentale Begleitung von zwei Klavieren Messa di Rimini C und Harmonium. Freilich erzeugt gerade diese, dezent an gehobene Salonmusik erinnernde instrumentale Einkleidung ein unverwechselbares Timbre, das durch die CV 70.089/03 typisch Carus Rossini’sche Rhythmik noch ein zusätzliches Flair erhält. Carus 70.089/03  Carus 40.674 ISMN M-007-08336-6

9 790007 083366Next to the Stabat Mater, the Petite Messe solennelle of 1863 is Rossini’s second CHOIR E AP extensive sacred composition. Ostensibly, the work was an occasional piece, writ- TH P

ten for the dedication of a private chapel for the once well-to-do Parisian nobility. This explains the reduced instrumental accompaniment for two pianos and har- Gioachino monium. Of course this instrumental garb, reminiscent of decent, elevated salon

music, produces an unmistakable timbre which through its typical Rossini rhythm Rossini C_Carus 70.090 Choral and ensemble music obtains an additional flair. ROSSINI

Messa di Rimini  Carus 70.090 Das Opernschaffen Gioachino Rossinis wird von Kirchenmusik umrahmt. In seiner Jugend Messa di Rimini wuchs er mit dieser auf und gewann hier seine kompositorischen Erfahrungen, auch im Umgang mit der Singstimme; im Alter zog er in Schlüsselwerken wie dem Stabat Mater und der Petite Messe solennelle eine musikalische Bilanz seiner Lebensweisheit. Die Missa di Rimini gehört in die erste Schaffensphase und entstand 1809 für die dortige Kathedrale.

Sie ist eine Kyrie-Gloria-Messe, wobei gemäß italienischer Tradition dem Gloria mit einer Unterteilung in 10 Nummern sehr viel Raum gegeben wird. Die Messe ist von großer Zu diesem Werk ist {carus music} , die Chor-App, erhältlich, die neben den Noten und einer Einspielung Musizierfreude geprägt und bietet Solisten und dem Chor dankbare, aber nicht zu schwere einen Coach zum Erlernen der Chorstimme enthält. Mehr Informationen unter www.carus-music.com. Aufgaben; der kompositorische Anspruch zeigt sich auch in der Einbeziehung ausgedehnter instrumentaler Passagen in das Werk. 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.

Gioachino Rossini’s operatic works are framed by the composition of church music. In his youth he grew up surrounded by sacred music and through this music gained his first experience as a composer, which included learning how to write for the voice. Musically, he took stock of the wisdom he gained in his later years by composing key works such as Stabat Mater and Petite Messe solennelle. The Missa di Rimini belongs to Rossini’s first creative period and was composed in 1809 for the local cathedral. It is a Kyrie – Gloria Mass in which the Gloria,C in accordance with the Italian tradition is extended and divided in ten numbers. The Mass is characterized by the joy of making music and offers both soloists and choir For major choral works Carus grateful, if not difficult musical tasks. The compositional demands of the Mass are demon- CV 40.650/03 Carus ISMN M-007-07572-9 strated also by the presence of extended instrumental passagesCarus in the 40.650/03work.

offers extra material: innovative 9 790007 075729 www.carus-verlag.com practice aids, available as app or CD, and vocal scores XL in large print.

CV 40.674 Carus ISMN M-007-07644-3 Carus 40.674

9 790007 076443

C Carus CDs

Petite Messe solennelle GIOACHINO ROSSINI · PETITE MESSE SOLENNELLE Kirchheimer Vokal-Consort · Tõnu Kaljuste Kirchheimer Vokal-Consort Tõnu Kaljuste  Carus 83.406

Il Carnevale Choral and ensemble music Südfunk-Chor Rupert Huber “Neither little nor solemn, the Mass’s lack of solemnity is  Carus 83.324 one its chief pleasures, and Tõnu Kaljuste and the eight voices of the Kirchheimer Consort find a happy balance between the serious text and the openly operatic nature of the music.” Choir & Organ

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

I have now been a member of the team at Carus-Verlag as Sales Director for over six months, and am very pleased to be able to write to you in this capacity for the first time.

Behind us lie some very concentrated and productive months, particularly for colleagues in the Editorial and Production Departments. In November Johann Sebastian Bach’s complete sacred vocal works will be available from Carus in modern editions with corresponding performance material. Renowned Barbara Großmann takes us on a journey to Paris of the 19th Bach scholars have been involved in the Bach vocal project century in her article. The French metropolis had much more over several decades, a project which is now reaching its to offer than just Grand Opéra, and audiences in this Euro conclusion with a 23-volume Complete Edition of the scores pean capital of opera were also able to hear first performances in three slip cases. Dr. Uwe Wolf, Chief Editor at Carus, sums of grand and lavish mass and requiem settings. The paths up this project in his magazine article “The complete Bach”. taken by Charles Gounod and Gioachino Rossini are outlined Seven conductors who specialize in Bach offer us interesting in our magazine; they both have significant anniversaries in insights into performance practice by presenting their personal 2018 which we will be celebrating. favorite cantatas. In the area of critical complete editions, a further volume in What is more, we are thrilled to present you with our new the Stuttgart Schütz Edition has been published containing choral collection, Loreley, which is published as part of the various individual works. Helmut Lauterwasser reports in this highly successful LIEDERPROJEKT. With the Loreley choral issue about the new reconstructions which it includes. And in collection, mixed choirs with just one male voice part now the Reger Complete Edition the “Songs” volume is the first to have a range of new, modern arrangements of well-known be published in the Series “Songs and Choral Works”. German-language folk songs. Volker Hempfling, editor of this successful choral collection series, explains in the magazine I hope you will find much inspiration for your program plan- the significance this repertoire of songs holds for him, and ning for the coming year, and wish you much enjoyment in why he considers it just as valuable as Bach’s Mass in B minor. reading our CARUS Magazine!

Marit Ketelsen Sales Director

Find the latest happenings under facebook.com/CarusVerlag

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

3 SHORT NOTES

FRIEDER BERNIUS 70

The internationally renowned conductor Frieder Bernius has celebrated his 70th birthday. With the Kammerchor Stuttgart which he founded, he has enriched the Carus label right from the start, most recently with the award-winning complete recording of Felix Mendelssohn’s sacred vocal works. He has also just completed a musical edition for the publishers with a new version of the Missa in C minor by W. A. Mozart, augmented and edited in collaboration with Uwe Wolf, Chief Editor at Carus.

CCarus

Felix Mendelssohn Bartholdy

Lieder im Freien zu singen MULTIPLE AWARDS

Kammerchor Stuttgart The Stuttgart Kammerchor and Frieder Bernius’s CD of Lieder Frieder Bernius im Freien zu singen by Felix Mendelssohn Bartholdy features in the German Record Critics’ List of the Best 3/2017. As well as this, the Carus “Liebeslieder” series (song book, choral collection, voice and piano volume, and CD recordings) has been awarded the renowned BEST EDITION Prize by the German Music Publishers’ Association.

IMPRINT HEINRICH VON HERZOGENBERG: Editor Carus-Verlag GmbH & Co. KG Sielminger Straße 51 175TH ANNIVERSARY 70771 Leinfelden-Echterdingen Germany 2018 sees the 175th anniversary of the birth of Heinrich von Herzogen- Tel: +49 (0)711 797 330-0 berg. Carus has made a considerable contribution to Herzogenberg’s Fax +49 (0)711 797 330-29 rediscovery, a composer long overshadowed by his friend Johannes [email protected] Brahms. Choral music played a prominent role in Herzogenberg’s output. www.carus-verlag.com Two choral collections, one containing secular works (Carus 4.102), and editorial staff: Iris Pfeiffer, one sacred choral music (Carus 4.106), plus CD recordings of his works Christina Rothkamm (including Carus 83.024) have made many of his works available for the Translation: Elizabeth Robinson first time. His oratorio Die Geburt Christi (Carus 40.196) is frequently Layout: Sven Cichowicz performed. Errors excepted. We welcome your feedback on this issue of CARUS Magazine. Please send us a mail: [email protected] 2018 ANNIVERSARIES ¤ = available on Carus CD Carus 99.009/08 Marc-Antoine Charpentier (1643–1704) Charles Gounod (1818–1893) Press date 9/2017 375th anniversary 200th anniversary Cover: Frank Walka Claude Debussy (1862–1918) Gioachino Rossini (1792–1868) 100th anniversary of death 150th anniversary of death

4 BACH EDITIONS TODAY

What is Bach research yielding in terms of new discoveries? What function do printed music editions have in the digital age? What does Urtext mean for performers? At a special symposium on 9 December 2017 at the Bach-Archiv in Leipzig, the function of music editions in linking the manuscript to the performer will be brought to life in a number of short lectures and a round table discussion. The occasion for the symposium is the conclusion of the Complete Edition of Bach’s sacred vocal works published by Carus-Verlag (see following pages). Participants include Prof. Frieder Bernius, CELEBRATIONS AT CARUS Dr. C. Blanken, Dr. U. Leisinger, Dr. U. Wolf, and Prof. Dr. P. Wollny. In the first half of 2017 there were particular reasons for celebration at Carus: firstly, in April, company founder Waltraud Graulich celebrated her 80th birthday. After several years as a school teacher, Graulich, mother of four children, founded and built up Carus-Verlag with her husband Günter Graulich. She continues to makes music with her children and grandchildren Let’s meet! around the piano, and sings in a choir. At the end of July, her youngest son Dr. Johannes Graulich, who joined the 11–14 October, Music China publishing house in 2001 and is now managing director, celebrated his 50th Shanghai, China birthday. Congratulations! And by the way, Carus itself will be 45 years old this year. We are already focussing on the company’s forthcoming 50th 23–25 November, 2nd International anniversary in 2022, and are continually developing our program systemat- Symposium on Children’s Choirs ically with a wide variety of vocal music – music for use in church services, Bolzano, Italy choral music from the 16th to 21st century, repertoire for school choirs, and much more besides.

CCarus C Carus auf 4 CDs Liederprojekt DELUXE-BOX alle Weihnachtslieder CIRCUS ALLEGRO aus dem preisgekrönten The German version of the children’s musical Circus Allegro by Peter Schindler (English version: Carus 12.825) has now arrived at one of the Choral DELUXE-BOX MUSIC FOR alle WeihnachtsliederDELUXE-BOX DELUXE-BOX aus dem preisgekrönten alle Weihnachtslieder Christmasalle Weihnachtslieder world’s leading circuses. Circus Krone, for decades Liederprojekt ausauf dem 4 CDs preisgekrönten aus dem preisgekrönten Liederprojekt J. S. BACH · ZELENKA · MENDELSSOHNLiederprojekt · REGER · SAINT-SAËNS the stage for sensational acts in the arena, has auf 4 CDs auf 4 CDs proved itself to be the perfect theater setting for Circus Allegro. In July the Gärtnerplatztheater in CCarus Munich presented a series of highly acclaimed CCarus CCarus performances. CHRISTMAS CAROLS

The newly-released CD box set of Weihnachtslieder (Carus 83.031) contains both traditional Christmas carols and less well-known pieces and includes all recordings from the LIEDERPROJEKT. Traditional German Christmas carols are features alongside pieces from all over the world, all performed by distinguished soloists and ensembles. © Christian POGO Zach The new CD Choral Music for Christmas (Carus 83.486) will ensure an especially festive mood this Christmas. Renowned performers include the Calmus Ensemble, the Dresdner Kammerchor, the Kammerchor Stuttgart, and the Athesinus Consort Berlin who perform Christmas highlights.

5 CV 40.398/30 KCMY

Bach vocal THE COMPLETE BACH The complete sacred vocal works of J. S. Bach in Urtext

An ambitious publishing project stretch- performance material does not reveal the project, not only were a great many ing over several decades reaches its con- actual extent of the effort involved in the editions produced, but many had to be clusion this year: the publication of the project. The Stuttgart Bach Edition looks revised several times, or even com- complete sacred vocal works of Johann back over a long journey which stretches pletely newly edited in order to respond Sebastian Bach together with complete from the first editions of Bach cantatas to changed demands or new research performance material. Our project Bach around 1960 to today. Along the route, findings. vocal culminates with a complete edition worlds of difference lie between the of the scores in 23 volumes. The editorial performance practice of the 1960s or The changing history of the Stuttgart work involved in producing over 12,500 even the 1980s and the present-day, and Bach Editions goes right back to the first pages of scores is a mighty undertaking during this period Bach research too has Stuttgart cantata cycle, performed from in itself. But in fact, the Bach vocal proj- added enormously to our knowledge 1958 to 1970 under Hans Grischkat ect which stands behind them contains about works, sources, and traditions. For (1903–1977) in the Stiftskirche Stuttgart. many more pages – in the shape of the edition this process of evolution has Hans Grischkat was also responsible for vocal scores, chorus scores and parts. It been crucial for what was regarded as the first cantata editions published by is only these materials which enable the ‘correct’ in 1965, 1985 or even 1995, Hänssler-Verlag and was soon afterwards scores to be heard and bring the works does not have to be seen in the same joined by church musician and musi- alive musically. But even a glance at the way in 2017. So over the course of the cologist Paul Horn (1922–2016) who

6 Cantatas · Masses · Oratorios Passions · Motets

contributed to a first edition of the cantatas in 1960. Horn Attractive played a substantial role in his preparation of innumerable vocal scores and basso continuo realizations for numerous introductory price! works of Bach (and other composers) until shortly before his death. The impetus for the first sizeable number of J. S. Bach Bach editions came in the mid-1980s from a collaboration The Sacred Vocal Works between Hänssler-Verlag and the Internationale Bachakad- emie. In time for the 300th anniversary of Bach in 1985, Complete Edition in 23 volumes the musicologist and renowned conductor Reinhold Kubik (then an editor at Hänssler) edited a whole series of can- Edited by Ulrich Leisinger and Uwe Wolf tatas particularly for concerts and recordings by Helmuth in collaboration with the Bach Archive Leipzig Rilling. The motivation then was the same as it is today: a lack of modern and up-to-date editions with performance • 12,500 pages – 23 volumes – 3 slip cases material. • For study and performance: the authoritative Urtext of the Stuttgart Bach Edition reflecting the latest state of Bach After the Hänssler music publishing program was taken research over by Carus in 1992, the Bach editions were newly organized. To this end, Günter Graulich sought out contacts • Individual volumes edited by internationally-recognized with the leading Bach research centers in Germany, both Bach experts and interpreters, including Christine Blanken, at an official level and personally – with the Bach Archive Pieter Dirksen, Wolfram Enßlin, Andreas Glöckner, Klaus Leipzig and the Göttingen Johann-Sebastian-Bach-Institut. Hofmann, Ulrich Leisinger, Masaaki Suzuki, Uwe Wolf Ulrich Leisinger (previously at the Bach Archive Leipzig, and Peter Wollny now at the Stiftung Mozarteum Salzburg) and I have tak- • Each volume contains a preface reflecting the latest state en over the editorial directorship with different responsibil- of Bach research ities, and the Leipzig Bach Archive has joined us as co-ed- • Systematic revision of older editions – both music and text itor of the edition. Well over 100 Bach editions, including sections – in which there have been new discoveries about all the major works, have been edited by scholars from the the sources or from historically-informed performance team of the two institutes alone, and the process of con- practice tinual revision would hardly have been possible without • User-friendly order following the Bach Works Catalog these partnerships. Over the last years all editions have been checked through once more, forewords brought • Rapid location of desired work: each cantata volume con- up-to-date or changed, entire music editions revised (with tains an overview of the cantatas in the church year the music text often entirely re-set) or completely newly • Reader-friendly format, also suitable for conducting edited in order to offer the most up-to-date perspective (19 x 27 cm, like a vocal score) as possible. It has however been possible to retain some • Complete performance material for all works available for editions with unaltered music texts at least where no other sale: full score, study score, vocal score, choral score, and sources have emerged and the carefully-considered edito- the complete orchestral parts rial decisions originally taken remain valid today. • Innovative practice aids (carus music, the choir app, The enormous effort invested in this complete Stuttgart Carus Choir Coach) and large print editions of major works Bach Edition has brought great benefits for performers: an authoritative music text prepared for practical use, and partial new reconstructions or versions of Bach’s works which could not have been performed in this way until now. And the concluding complete edition of the scores occupies not only a good meter of shelf space in a music library, but it can now also be used on the conductor’s Introductory price rostrum for a whole range of performances. valid through 30.6.2018 full scores in 3 slip cases  Carus 31.500

consisting of: Cantatas and Motets (2 slip cases)  Carus 31.501 Dr. Uwe Wolf has been Chief Editor of Masses, Passions and Oratorios (1 slip case) Carus-Verlag since 2011, after holding  Carus 31.502 various positions in Bach research for over 20 years.

available November 2017

7 Conductors and Church musicians talk about their favorite cantatas

heard the record, I loved this cantata, hear the funeral bells). Happily there is and I still do today. Back then I did not a da capo! An accompagnato recitative know anything about the chorale can- with trumpet solo follows: a firework tatas or Bach’s second cycle of cantatas, display in which Bach depicts the Last but I was very impressed by the moving Judgement almost operatically. Finally a opening with the special recorder parts. chorale in which we ask for God’s help I played the LP until it was worn out. and for the forgiveness of our sins. What a magnificent chorale – that is how I felt Shortly before I moved from my home about it then, as now. town of Zwolle to study in Amsterdam, © Foppe Schut I had the opportunity to perform this Bach wrote many brilliant cantatas but Herr Jesu Christ, cantata myself. I played continuo on the put a huge amount of effort into this harpsichord, and by playing the bass one (as can be seen from the manu- wahr’ Mensch und Gott line I was able to appreciate the work script), and for me it stands apart. It still Thou who, a God, as man yet came even more. The magnificent opening moves me deeply. Particular chords go Cantata for the Sunday of Estomihi chorus is followed by a secco recitative straight to the heart. What a master- BWV 127 (Carus 31.127) which did not mean so much to me back piece! then, and after that one of the most Ton Koopman sublime soprano arias I know. The solo Ton Koopman, conductor, organist, harpsi- oboe, accompanied by bass pizzicati and chordist, and university lecturer, has special- When I was twelve or thirteen years short notes on the recorders, prepares ised in the music of the Baroque in historic performance practice. He has recorded the old, using the money I had earned as the way for the soprano, who sings the complete Bach cantatas with the Amster- organist at church, I bought an LP with heartfelt text: “Die Seele ruht in Jesu dam Baroque Orchestra and the Amsterdam a recording of this cantata with Hans Händen”. Here Bach sets the longing for Baroque Choir. Grischkat. From the very first time I the hereafter in breathtaking style (we

Der Himmel lacht! and violas. The hope of a continued Die Erde jubilieret personal life after death is expressed in an enraptured, meditative way. The heavens laugh, the earth exults in gladness. Cantata for Easter Sunday The final verse of the same hymn ap- BWV 31 (Carus 31.031) pears as the final chorale: “So fahr ich hin zu Jesu Christ”. As is often the case, Helmuth Rilling the chorale is sung in a four-part setting by the chorus. In addition Bach gives the first trumpet and the first violin an obbli- The Easter story is vividly stamped onto gato part – the radiance of the resurrec- each movement of this early cantata. tion shines on the chorale. The fermata Bach first greets the risen Christ with a at the end of the lines are notated on magnificent Sinfonia dominated by the © Holger Schneider quarter notes. For the upper part Bach trumpets. All the instruments seem to places the fermata an eighth note later. rush past in unison, then praise the risen It is moving how the urgent hope of life first aria for the bass is accompanied Lord in soloistic passages and chordal after death gains expression in the final only by continuo. The beginning of the blocks. In the introductory chorus, un- chorale through this device. usually in five parts, Bach’s allegro music text “Fürst des Lebens, starker Streiter” has a captivating, enthusiastic character. sets off a majestic dotted rhythm which Helmuth Rilling’s career as a conductor is He follows this with an adagio section, defines the whole piece. Bach embeds closely associated with J. S. Bach in many harmonically recalling the preceding the tenor aria “Adam muss in uns ways. He was the first conductor to record Passion story, and ends with a third verwesen” in a movement for strings. all the sacred Bach cantatas on LP record. In section which takes up the vitality of the This has a liveliness through the constant 2000 under his overall artistic direction, the opening. sixteenth notes in the upper part, but first complete recording of all the works of also a warmth through the scoring for Bach came to fruition. He was Artistic Director of the Internationale Bachakademie Stuttgart two viola parts. The third aria “Letzte Bach writes a two-part recitative and which he founded, and President of the Neue aria for each of the three soloists. The Stunde brich herein” unfolds as a dialog Bachgesellschaft from 1990 to 1996. constant change of tempo in the recita- between soprano and oboe. Line by tives results in an exceptionally varied line, the chorale “Wenn mein Stündlein and lively interpretation of the text. The vorhanden ist” is also heard in the violins

8 Wir müssen durch viel Trübsal in ing back at “schnödes Sodom” [wicked das Reich Gottes eingehen Sodom] with sighing nine-seven chords. In the B section of the da capo aria, the Through bitter tribulation we enter into theme at “meines Bleibens ist nicht hier” God’s kingdom. Cantata for the Sunday seems famililar to us – we recognize it as Jubilate BWV 146 (Carus 31.146) the theme of the cantata (and an organ fugue) Ich hatte viel Bekümmernis. That Frieder Bernius is what is special about Bach: we can reconstruct his compositional thought Cantata BWV 146 is one of the less process and at the same time enjoy the known works, and is the very first can- musical result! tata which I myself performed in 1971. Not only for that reason has it remained How else could the following soprano one of my favorite cantatas. accompagnato recitative with the words “Ach” [Ah!], “böse Welt” [evil world], When we hear the opening, it imme- “Weinen” [weeping], “Seufzer” [sighs], diately strikes as familiar: the begin- “Leid” [sorrow] be treated composition-

© Alexander Böhm, CC-BY-SA-4.0 ning of the Harpsichord Concerto in D ally than with diminished chords, chro- minor! What does this have to do with matic lines and sighing suspensions? And the title of the cantata, with “Trübsal” the following soprano aria? I still remem- Wer nur den lieben [tribulation]? Or with the “Eingehen ber as if it were yesterday my feelings Gott lässt walten in das Reich Gottes” [entering into the of happiness at hearing the duet with All those who seek God’s sov’reign kingdom of God]? We soon realize that the flute, accompanied by two oboes guidance. Cantata for the 5th Sunday it is not the introduction to an opening d’amore. How it constantly changes be- after Trinity BWV 93 (Carus 31.093) chorus, but an introductory sinfonia tween the D minor of “Zähren” [tears] with an organ solo part instead of the and the “bangem Herzen” [anxious Gotthold Schwarz harpsichord. We call this secondary heart] and the F major of the “Herrlich- exploitation nowadays. Is it a coinciden- keit” [glory] and the “Tage der seligen A guiding principle for my responsibilities tal choice? But could the key of D minor Ernte” [day of the blessed harvest]. And as Kantor of St. Thomas’s Leipzig could not also correspond with the “Trübsal” in the tenor/bass duet “Wie will ich be: “Bekennen will ich seinen Namen” [tribulation] and the concertante-rhyth- mich freuen” [How shall I rejoice], which (BWV 200). This applies as much to mic style be interpreted as joy at the ends the cantata: can anyone rejoice the musical direction of St Thomas’s “Reich Gottes” [kingdom of God]. [“freuen”] and be refreshed [“laben”] Choir, with its rich tradition as it does more appropriately in music – rhythmi- to the choice of works for performance Now we come to the second movement. cally, metrically and melodically – than in from the almost inexhaustible riches of Only now do we hear the text of the this minuet for two voices? sacred vocal music since the beginning cantata, set in G minor and in a four-part of polyphony and the current question setting, but this time entirely without In his varied repertoire, the choral and orchestral conductor Frieder Bernius has of how a chorale should be convincingly any instrumental introduction which is unusual. The orchestra underlies the focused intensively on the works of Bach. communicated. The masterly cantata The Barockorchester Stuttgart which he Wer nur den lieben Gott lässt walten choral writing with a theme played in unison which is again well-known to us: founded specializes in historical performance BWV 93 displays, as I understand it, the practice of the 18th century. His recording of it is the slow movement of the Harp- relevance and topicality of hymns. In Bach’s St Matthew Passion has recently been 1641 Georg Neumark wrote a humble, sichord Concerto! A passacaglia, the released on the Carus label. trusting hymn text, and a wonderful theme of which constantly repeats and melody to go with it. His “Trostlied” (as gives the upper parts the opportunity to he called it, taking his inspiration from depict the tribulation through the broken Psalm 55, verse 23) quickly became dominant seventh chord of the bass line. well-known. From this Bach shaped a What an overwhelming combination of perfect example of the chorale cantata instrumental concerto and choral writ- genre. As a brilliant composer, he made ing! Who else could write like this other it clear at the same time that this genre than Bach, without recourse to earlier should not be regarded as concert music models? for entertainment, but as his profession of “Soli Deo Gloria”. Today we can com- In the following aria in B flat major the prehend this if we take the trouble to alto frees herself from so much tribula- convey the meaning of the text clearly tion in a duet with a violin and with as- cending motifs to the text “ich will nach in our performances, following the tried © Gudrun Bublitz and tested rule “Prima le parole, poi la dem Himmel zu”, but not without look- musica”, while simultaneously asking, like Bach, “Juva Jesu” [Jesus, help]. CCarus

Johann J. S. Bach: Ein feste Burg BWV 80 Gotthold Schwarz has had a long associa- Sebastian NEW Bach Missa in g BWV 235 tion with St Thomas’s Choir Leipzig, firstly Ein feste Burg Kammerchor Stuttgart, Barockorchester Cantata BWV 80 as a choirboy, then as a concert singer, and Missa in g BWV 235 vocal coach. As Kantor of St. Thomas’s he Stuttgart, Frieder Bernius is now following directly in the footsteps of  Carus 83.282

Wegener · Allsopp J. S. Bach. Hobbs · Harvey Kammerchor Stuttgart Barockorchester Stuttgart Frieder Bernius

9 Lyn Williams, Gondwana Choirs, Australia Williams, Lyn Patrick Charbon Christian Hass © © ©

Nach dir, Herr, verlanget mich Sei Lob und Ehr Jesu, der du meine Seele O my Lord, I long for thee BWV 150 dem höchsten Gut Jesus, you have freed my spirit (Carus 31.150) All glory to the Lord of Lords Cantata for the 14th Sunday after Trinity BWV 78 (Carus 31.078) BWV 117 (Carus 31.117) Simon Carrington Rudolf Lutz This remarkable early cantata has always Kay Johannsen been a favourite of mine – and yet is My favorite cantata? I have many, My approach to Bach has a great deal to something of a mystery. Neither the poet do with my development and approach nor the occasion of its composition is and during the course of our ten-year “Bach:vokal” cycle others are constantly as an improviser and composer. What recorded. Bach seems to have chosen his has always particularly interested me is musical ideas with particular care to illus- being added. I have happy memories of the very first Bach cantata which I the decisions Bach made in setting and trate the text. Scored for just two violins, working out his textual model, some of solo bassoon and continuo, the cantata performed as a teenager: Sei Lob und Ehr dem höchsten Gut. I was particularly which can be reconstructed from the is eminently practical and yet supremely movement structure, but others com- expressive. fascinated by the alto aria “Ich will dich all mein Leben lang, O Gott von nun an pletely unexpected. For me the most ehren”. Here, Bach wrote an absolutely memorable experiences include the As a conducting exercise, the first chorus performance of the cantata Jesu, der du condenses a multitude of essential tech- beguiling aria theme in a gentle, lilting D major in triplet 3/4 meter. He has meine Seele BWV 78. This is a fascinat- niques into three action-packed minutes! ing work right from the opening chorus Each chorus is no more than two or the flutes float over the strings – what magic! In style, this aria is related to the for its innovative blending of traditions three minutes in length but packed with combining a chorale motet with an musical and pictorial ideas. opening chorus with its cheerful, lively 6/8 meter. This is also a straightforward ostinato passacaglia and concerto-style elements. The following duet “Wir eilen The final movement is a grand and movement, but is effectively struc- tured with agile sixteenth-note writing mit schwachen, doch emsigen Schritten” ingenious chaconne, full of a host of in turn combines an almost folk-music- inventive ways to pit orchestra against over long passages in the cellos and a cantus firmus high in the texture for the like cheerfulness with a beguiling duet choir, instability and suffering against and busy continuo writing. And the arias the strength and blessing of God, the soprano, shining above everything in the simply-scored chorale setting. In the ten- and recitatives feature more than ideal- protector. I have two strong memories ly-matched musical expression for each of conducting this marvelous chorus. or aria with two oboes d’amore, and also the bass aria with violin, lyrical rather nuance of the text – from strongly-ex- The first was in the Mormon Tabernacle pressive declamation over the elegiac in Salt Lake City, USA, with the 900 (!) than virtuoso writing comes to the fore. And so this chorale cantata based on a melody of the flutes to the pathos-laden voices of the Utah All State choir, the accompagnato and energetic orchestral best high school singers from around song of praise which is still frequently sung today, can serve as a beautiful writing. When the final chorale with its the state. The Mormons really know powerful longing for eternity is heard, how to sing Lutheran church music! The introduction to Bach’s cantatas, many of which are still too little known. we have experienced a veritable sermon vibrancy and fervency of that sound in music which is never conventional or in this B minor chaconne accompanied wearying. So I always look forward to by the great organ in the tabernacle Kay Johannsen, Kantor of the Stiftskirche in Stuttgart, performed the complete organ new works when I open the score of a remains unforgettable. Some years works of Bach between 1997 and 2007, and Bach cantata I do not yet know. later I conducted the cantata in Jordan has recorded 5 CDs for the Edition Bachakad- Hall at New England Conservatory, in emie. As part of the “Bach:vokal” cycle, he is Organist, harpsichordist, church musician, and Boston, Massachusetts. My choir sang conducting the complete vocal music of Bach choral director Rudolf Lutz was appointed the cantata with members of Benjamin between 2011 and 2021. Artistic Director of the J. S. Bach-Foundation Zander’s Boston Philharmonic Orchestra. in St. Gallen, Switzerland, in 2006. With the At the end of the cantata’s grand final instrumental and vocal ensembles he founded chaconne, Ben led the full orchestra into in Trogen (in the Appenzell region of Switzer- land) he has embarked on a project aiming to Brahms Symphony number 4 in E minor, Simon Carrington, Yale University professor emeritus, has enjoyed a long and distin- perform Bach’s complete cantatas in which a the last movement of which is based on new cantata is studied and rehearsed every a passacaglia bass line closely resembling guished career in music, performing as singer, double bass player and conductor including month. Bach’s chaconne. innumerable encounters with Bach.

10 J. S. BACH: CANTATAS – NEW EDITIONS

O ewiges Feuer, o Ursprung der Liebe Ich steh mit einem Fuß im Grabe O fire everlasting. Cantata for the 1st day I stand with my open grave before me of Pentecost BWV 34 Cantata for the 3rd Sunday after Epiphany Soli ATB, Coro SATB, 2 Fl, 2 Ob, 3 Tr, BWV 156 / Soli SATB, Coro SATB, Ob, Timp, 2 Vl, Va, Bc / 21 min 2 Vl, Va, Bc / 17 min ed. Paul Horn, rev. Felix Loy ed. Uwe Wolf  Carus 31.034  Carus 31.156

Schauet doch und sehet Der Friede sei mit dir Look ye then and see now. Cantata for May Peace be unto you. Cantata for the the 10th Sunday after Trinity BWV 46 3rd day of Easter BWV 158 Soli ATB, Coro SATB, 2 Blfl,2 Obca, Tr da Soli SB, Coro SATB, Ob, Vl solo, Bc New recordings of the tirarsi, 2 Vl, Va, Bc / 20 min 12 min / ed. Hans Grischkat, rev. Felix Loy Gaechinger Cantorey and ed. Paul Horn, rev. Uwe Wolf  Carus 31.158 Hans-Christoph Rademann  Carus 31.046 Ihr, die ihr euch von Christo nennet at Carus Jauchzet Gott in allen Landen You, who the name of Christ have taken Praise ye God throughout creation. Cantata for the 13th Sunday after Trinity Cantata for the 15th Sunday after Trinity BWV 164 / Soli SATB, Coro SATB, 2 Fl, BWV 51 / Solo S, Tr, 2 Vl, Va, Bc 2 Ob, 2 Vl, Va, Bc / 17 min 20 min / ed. Paul Horn, rev. Felix Loy ed. Frieder Rempp  Carus 31.051  Carus 31.164

Die Himmel erzählen die Ehre Gottes O heilges Geist- und Wasserbad The heavens are telling of God in glory O Holy Spirit’s solemn rite Cantata for the 2nd Sunday after Trinity Cantata for the Trinity Sunday BWV 165 BWV 76 / Soli SATB, Coro SATB, Ob I/ Soli SATB, Coro SATB, 2 Vl, Va, Fg, Bc J. S. Bach: Erhalt uns Herr, Obda, Ob II, Tr, 2 Vl, Va, Bc 15 min / ed. Frauke Heinze bei deinem Wort 35 min / ed. Ulrich Leisinger  Carus 31.165 Cantatas BWV 79, BWV 126  Carus 31.076 and Missa in G major

Ihr Menschen, rühmet Gottes Liebe  Carus 83.311 Herr Jesu Christ, wahr’ Mensch und Gott You mortals, tell of God’s devotion Thou who, a God, as man yet came Cantata for the feast of John the Baptist A CD marking the commemo- Cantata for the Sunday of Estomihi BWV 167 / Soli SATB, Coro SATB, Ob/ BWV 127 / Soli STB, Coro SATB, 2 Blfl, Obca, Clarino, 2 Vl, Va, Bc / 18 min ration year of the Reformation 2 Ob, Tr, 2 Vl, Va, Bc / 21 min ed. Ulrich Leisinger which simultaneously provides ed. Hans Grischkat, rev. Felix Loy  Carus 31.167 an illustration of the new  Carus 31.127 orientation of the Gaechinger December 2017 Es ist ein trotzig und verzagt Ding Cantorey. The heart is wicked, defiant and deceitful Warum betrübst du dich, mein Herz Cantata for Trinity BWV 176 What is it troubles thee, my heart Soli SAB, Coro SATB, 2 Ob, Tl (Eh), 2 Vl, Cantata for the 15th Sunday after Trinity Va, Bc / 13 min / ed. Paul Horn, BWV 138 / Soli SATB, Coro SATB, rev. Uwe Wolf 2 Obda, 2 Vl, Va, Bc / 20 min  Carus 31.176 ed. Uwe Wolf  Carus 31.138 Ärgre dich, o Seele, nicht Fret thee not, thou mortal soul Mein liebster Jesus ist verloren Cantata for the 7th Sunday after Trinity My blessed Jesus, gone forever BWV 186 Cantata for the 1st Sunday after Epiphany Soli SATB, Coro SATB, 2 Ob, Tl (Eh), Fg, BWV 154 / Soli ATB, Coro SATB, 2 Obda, 2 Vl, Va, Bc / 40 min / ed. Uwe Wolf J. S. Bach: Christmas Oratorio 2 Vl, Va, Bc [Cemb] / 17 min  Carus 31.186/50 Cantatas I–VI BWV 248 ed. Benedikt Leßmann  Carus 83.312 (2 CDs)  Carus 31.154 Gott ist unsre Zuversicht Rest thy faith on God the Lord Mein Gott, wie lang, ach lange Cantata for a wedding BWV 197 Based on the historic foundations Ah God, my way is weavy. Cantata for the Soli SAB, Coro SATB, 2 Ob/Obda, Fg, of the Bach era, and rooted in the 2nd Sunday after Epiphany BWV 155 3 Tr, Timp, 2 Vl, Va, Bc / 20 min living performance history of the Soli SATB, Coro SATB, 2 Vl, Va, Fg, Bc 13 ed. Uwe Wolf choir, the name “Gaechinger Can- min / ed. Paul Horn, rev. Felix Loy  Carus 31.197/50 torey” represents an integrated  Carus 31.155 musical approach and the aesthetic sound ideal of the Baroque. Text language: German, English singable Insert movements for the Magnificat NEW translation. Full score, vocal score, choral from BWV 243a (German, Latin) score and the complete orchestral material Soli SB, Coro SSATB, 2 Ob, 2 Vl, Va, Bc available or to be published in 2017. ed. Günter Graulich  Carus 31.243/50

11 PRICELESS CULTURAL TREASURE

40 41

Volker Hempfling on the new Loreley choral collection

German folk songs had disappeared from the repertoire of choirs for a long time. What do you see as the special value of Loreley, the choral collection series edited by Volker Hempfling with Günter Graulich, this cultural heritage? What characteriz- has successfully contributed to the revival of this traditional repertoire of songs in es the songs? musical life. Now another volume in the series has been published, arranged for mixed choirs with just one male voice part, some with piano accompaniment. Volker Folk songs are good, quite simply good! Hempfling explains why he particularly loves folk songs, and what the latest volume And they are also becoming popular in offers in terms of new pieces – including a quite personal discovery. other countries. Der Mond ist aufgegan- gen or Kein schöner Land, for example, are highly regarded, they stand for he “Loreley” choral collection do not sing them to them; folk songs pure romanticism. On tours abroad in series for mixed choir which were handed down through parents particular, German choirs are asked for you have edited with Günter and grandparents who also learned to these songs. I find this cultural heritage Graulich for over a decade appreciate them through singing them so incredibly precious that we simply continues to enjoy tremendous in choirs. And folk songs were sung less must engage with the job of preserving Tsuccess. How did this come about? Did frequently in choirs towards the end of it. I regard it as a precious treasure – it you expect this? the last century because the songs were simply cannot be put any other way – of too tainted due to their appropriation high quality, gathered together by many We could not have anticipated this by the Nazis. The Loreley choral collec- generations. And of course also by com- success, but German folk songs had tion which we have devised has now posers such as Silcher and Brahms. Today almost disappeared around the turn of reached its eighth edition, and folk songs we call them “folk songs”, but they were the millenium and were perhaps waiting are once again being widely sung by not planned as such by either Silcher or to be rediscovered. Back then Günter choirs, thereby continuing the tradition. Brahms. They have achieved this status Graulich asked me whether I would like I frequently receive feedback about how because they are sung by everyone. The to do a choral collection with German much choirs love this book. Parents repertoire of songs has just as great a val- folk songs, and I readily accepted. In fact, and grandparents – and youth choirs as ue for me as Bach’s B minor Mass which I was surrounded by folk songs from my well – are now singing folk songs. It is should never be allowed to fall out of the childhood onwards and I can recall from important that this continues through the repertoire, or works by Mozart, Handel, the age of two how my grandmother generations and is maintained. For why and others. It is an international cultural sang Guten Abend, gute Nacht to me. should we discard a 500-year-old cultural heritage worthy of preservation. And when later on I taught in a prima- heritage – think of Isaac’s Innsbruck, ich ry school, I sang folk songs with the muss dich lassen, for example – because children. Children will namely never learn of twelve years of Nazi darkness? the songs if their parents and teachers

12 voices have not yet developed their It was important for me to offer an high or low notes. For that reason, the additional piano accompaniment for male voice part in the collection is in the some of the settings, which can also baritone range, so that both tenors and give choirs a kind of musical support. In basses will be able to cope with it well. these piano accompaniments for almost half of the settings, some of which are optional, composers had the opportunity How did the composers approach the to present the text more richly with the guidelines for vocal scoring? possibilities offered by a piano.

There are, and were in the past, some very beautiful three-part settings, and The repertoire there are composers who achieve this wonderfully. Incidentally, it is a far great- of songs has just er skill than writing a four-part setting. But as there are now often more female as great a value than male voices in choirs, the composers could also write in four parts with a for me as Bach’s 40 41 third female voice part. That is possible nowadays, because in my experience, B minor Mass. It now after 55 years of choral conducting experience, the low female voices have is an international genuinely developed a lower vocal range. The new choral collection is conceived Whereas formerly it was a challenge to for choirs with just one male voice part – sing a low F below middle C audibly, this cultural heritage what is your target group here? is often no longer a problem. Women who sing in this register have powerful, worthy of preser- The collection is aimed at two groups. developed alto voices, so that composers Firstly there are choirs who have grown can write a four-part setting for soprano, vation. somewhat older, or established choirs mezzo-soprano, and alto – plus one where, over the course of time, fewer male voice part – with confidence. We For Das Wandern ist des Müllers Lust, basses or tenors come to rehearsals. also assume that there are more girls Jean Kleeb, a Brazilian composer who has These choirs will certainly have a lot of than boys in youth choirs. More than a lived in Germany for 20 years, initially fun with the collection. The other group third of the settings are therefore written wrote a very beautiful three-part setting. is youth choirs where the young male in this way for four parts. Then I asked him to incorporate some

NEW Loreley. Folk songs for choir Already published in the series: 77 German folk songs in arrangements for mixed choir with Loreley. Folks songs CHORBUCH DREISTIMMIG just one male voice part for choir SATB a cappella or with piano Choral collection with CD editionchor accompaniment  Carus 2.201/20, 224 p.  Carus 2.201/05 ed. Volker Hempfling

Choral collection with CD CHORBUCH VIERSTIMMIG Loreley. Folks songs (figure humaine, Denis Rouger) for women’s choir

77 Sätze für gemischten  Chor mit einer Carus 2.203, 176 p. Choral collection with CD Männerstimme  Carus 2.202/20, 224 p. editionchor (without CD)

147  Chorsätze chor Carus 2.203/05 SATB edition  Carus 2.202/05 Introductory price valid through 30.9.2018 Chorleiterband mit CD C_Carus Chorleiterband C_Carus

13 44 Horch, was kommt von draußen rein? 2627 Es Es klappert klappert die die Mühle Mühle 27 Horch, was kommt von draußen rein?

F CF D AD7

1. Es klap pert die Müh le am rau schen den Bach, klipp klapp! Bei 1. Horch, was kommt von drau ßen rein? Hol la hi, hol la ho!

FFC D A7 DG

Tag und bei Nacht ist der Mül ler stets wach, klipp klapp! Er Wird wohl mein Feins lieb chen sein. Hol la hi a ho! Geht vor D H77 Em AD D 7 F Dm7Gm 77C F B

bei und schaut nicht rein, hol la hi, hol la ho, mah let das Korn zu dem kräf ti gen Brot, und ha ben wir die ses, so G D H77 Em A D C SouthFC American7 flavor into F the work, Which songs mean a lot to you particularly since the tango rhythm personally? almost features in the song already. He wirds wohl nicht ge we sen sein. Hol la hi a ho! hat’s kei ne Not. Klipp klapp, klipp klapp, klipp klapp! responded to this enthusiastically When044-1 I was ten years old, an age

027-1 and composed a tango when you2. Leute are haben’s touched oft gesagt, by hollahi, romanti hollaho, - 2. Flink laufen die Räder und drehenpiano den Stein, accompaniment klipp klapp! cism, thewas ichsong für’n Feinsliebchen Dunkle hab.Wolk Hollahiaho! fascinat- Und mahlen den Weizen zu Mehl uns so fein, klipp klapp! Lass sie reden, schweig fein still, hollahi, hollaho, Der Bäcker dann Zwieback und Kuchenwhich draus can bäckt, be played ad ed mekann in particular.ja lieben, wen ich Iwill. had Hollahiaho! just begun der immer den Kindern besonderslib, gut schmeckt.something which piano lessons and then I wrote a Klipp klapp, klipp klapp, klipp klapp! most performers will three-part3. Wenn settingmein Liebchen – Hochzeitas appropriate hat, hollahi, hollaho, probably do. for theist für ability mich ein ofTrauertag. a ten-year-old. Hollahiaho! It 3. Wenn reichliche Körner das Ackerfeld trägt, klipp klapp! Geh ich in mein Kämmerlein, hollahi, hollaho, Die Mühle dann flink ihre Räder bewegt, klipp klapp! was thetrage meinentime Schmerzof Distler allein. Hollahiaho! and Pep- Und schenkt uns der Himmel nurWhat immerdar distin Brot, - ping and the setting is written in so sind wir geborgen und leiden nicht Not. Klipp klapp, klipp klapp, klipp klapp!guishes the choral that4. style. Wenn ich Carus-Verlag dann gestorben bin, hollahi, agreed hollaho, trägt man mich zum Grabe hin. Hollahiaho! collection series, par- to includeSetzt mir keinen this Leichenstein, three-part hollahi, setting hollaho, ticularly the third volume whichpflanzt I wrotemir drauf Vergissnichtmein.in 1954 in Hollahiaho!the latest Melodie: aus dem 16. Jahrhundert, um 1770 in Verbindung mit dem Text »Es ritten drei Reiter zum Tor“Loreley”? hinaus« bekannt geworden choral collection. In 1981 I creat- Text: Ernst Anschütz (1780–1861) ed a four-part setting from this, Von Michael Nagy für das Liederprojekt gesungen. Melodie und Text: unbekannter Herkunft, um 1870 entstanden, in vielen Textvarianten überliefert It is the settings above all which addingVon Dorothee just Mields one für das Liederprojektvoice which gesungen. com- are extremely innovative. We had prises a single note, B. This line more than half of these newly-writ- can easily be sung by women’s 44 ten for the collection. And the com- voices. And in 2017 I finally 45 posers come from all over the world, in composed a piano part to go the new volume for example from Great with it, with slightly jazzy Britain, the USA, Sweden and Finland. harmonies. The complete It is gratifying that in the first volume, song setting contains, as it were, my ly represented in this volume. Michael many of the settings were by composers development from childhood to today. Carbow’s setting of O du fröhliche also from countries which had particularly By bringing everything together, you can follows new trends – set with scat sylla- suffered under the Germans during the take everything apart again. bles, i.e. in a vocal jazz style. Or the set- Third Reich. I think it is tremendous ting Die Gedanken sind frei by Matthias that composers from these countries – In the book there is a whole range of Nagel who uses rap. These are wonderful Belgium, the Netherlands, France and songs which I am particularly fond of: settings with piano accompaniment. Poland of course – are now writing set- Kein schöner Land, Der Mond ist auf- tings of German folk songs and thereby gegangen, Bunt sind schon die Wälder, contributing to the renaissance203. Alle Vögel of sindthe schon daIt was also important to us to have and Die Gedanken sind frei. I also really 1816 Der Der Winter Winter ist istvergangen vergangen folk song. In this international17 Alle Vögel mix, sind many schon daarrangements in a more classical style: like Die Blümelein, sie schlafen and of witty and amusing and atmospheric good to sing, not too difficult, and yet course Wer hat die schönsten Schäfchen G D A7 D A D GD G Em C67 D G settings have been written.D cleverly and imaginatively composed. – I now need all of these for my seven Here, for example, are arrangements grandchildren. Basically, I can say there 1. Der Win ter ist ver gan gen, ich seh des Mai en Schein, In the latest volume we have1. Al alsole Vö re-gel sind suchschon da,as theal Vogelhochzeitle Vö gel, al by Guntherle! are no songs in the collection which I am ich seh die Blüm lein pran gen, des ist mein Herz er freut. sponded to new trends and have includ- Martin Göttsche, the Loreley by John not especially fond of. DDA7 D A A7 D A Em Am D76G C ed rap-like elements or pop, for example, Høybye, and the short “musical” Ein with composers such as Carsten Gerlitz Jäger längs dem Weiher ging by Peter So fern in je nem Ta le, da ist gar lus tig and Oliver Gies, who usuallyWelch einwritesSin gen,for Mu siSchindler,ziern, Pfei to fen,nameZwit justschern, a Tifew.ri liern!

7 D G D G Em C67 D G his ensemble Maybebop. DThe generationG D A D A D of 30 to 40-year-old composers are new- sein, da singt die Nach ti gal le und manch Wald vö ge lein. Früh ling will nun ein mar schiern, kommt mit Sang und Schal le.

018-1 203-1 2. Ich geh ein’ Mai zu hauen 4. »Ach, Wächter auf der Mauren, 2. Wie sie alle lustig sind, 3. Was sie uns verkünden nun, hin durch das grüne Gras, wie quälst du mich so hart! flink und froh sich regen! nehmen wir zu Herzen: schenk meinem Buhln die Traue, Ich lieg in schweren Trauren, Amsel, Drossel, Fink und Star Wir auch wollen lustig sein, die mir die Liebste was, mein Herze leidet Schmerz: und die ganze Vogelschar lustig wie die Vögelein, und bitt, dass sie mag kommen Das macht die Allerliebste, wünschen dir ein frohes Jahr, hier und dort, feldaus, feldein all an dem Fenster stahn, von der ich scheiden muss; lauter Heil und Segen. Volkersingen, Hempfling springen, scherzen! has many years empfangen den Mai mit Blumen, das klag ich Gott dem Herren, experience as Professor of Choral er ist gar wohlgetan. dass ich sie lassen muss. Conducting. A truly knowledgeable

3. Er nahm sie sonder Trauern 5. Adieu, mein’ Allerliebste, connoisseur of the international in seine Arme blank. Adieu, schön Blümlein fein. Der Wächter auf der Mauern Adieu, schön Rosenblume! choral scene, he is editor of the hub an ein Lied und sang: Es muss geschieden sein. Loreley choral collection. »Ist jemand noch darinnen, Bis dass ich wiederkomme, der mag bald heimwärts gahn! bleibst du die Liebe mein; Ich seh den Tag her dringen das Herz in meinem Leibe schon durch die Wolken klar.« gehört ja allzeit dein!«

Melodie: Erk/Böhme, »Deutscher Liederhort«, Leipzig 1893/94, nach einer Melodie aus dem Melodie: nach der Volksweise »Nun so reis ich fort« aus dem späten 18. Jahrhundert, mit dem obigen Text erstmals gedruckt, Hamburg 1844 Lautenbuch von Adriaen Jorisz Smout (»Thysius luitboek«), um 1600 Text: August Heinrich Hoffmann von Fallersleben (1798–1874), 1835 Text: deutsche Fassung von Franz Magnus Böhme, 1877, nach dem mittelniederländischen Lied Von der Mädchenkantorei an der Domkirche St. Eberhard Stuttgart sowie von SingsalaSing Ochsenhausen für das Liederprojekt gesungen. »Die winter is verganghen«, erstmals in einer Liederhandschrift aus dem Jahr 1537 Vom Jungen Vokalensemble Hannover für das Liederprojekt gesungen.

28 14 29 •

New in Charity project supporting October 2017 singing with children

nyone looking for a wide-ranging selection from the classic treasury of songs from German-speak- ing countries in a beautifully-produced volume will strike lucky with this song book. Families with Achildren will enjoy using this volume over the years. The choice of songs is as colorful as life itself: songs for celebrations, for telling stories, playing, laughing and dancing, enjoying the seasons, friendship, the pleasures and pains of love, going to sleep. Alongside folk songs, the book also 1 Vol. contains songs from other countries which have already C Carus

become standards, plus lots of rounds. erfolgreichen Liederprojekts

The song book contains 166 songs with melodies, texts, Fortsetzung des and chord symbols. The singalong CD (mp3 format) contains one or two verses of all the songs recorded on different instruments. An invaluable support for learning and singing together.

Frank Walka has produced numerous expressive paintings Have a look inside: www.carus-verlag.com/2409 specially for the song book. Printed on double pages and also scaltered throughout the music pages, these invite you The most beautiful songs to explore the songs and tell their stories in a unique way. The big family song book Song book inc. singalong CD (mp3) ed. Christine Busch and Frank Walka This extensive volume Illustration by Frank Walka for piano offers for all 166 songs arrangements 246 pages, Hardcover for voice and piano. The Large-format 30,5 x 26,5 cm C Carus melodious arrangements  Carus 2.409 ar easy to medium level of difficulty, the involvement of around 50 composers Vol. 2 mit Annette Dasch, Christian Gerhaher, guarantuees a wide range Nuria Rial, Philippe Jaroussky, of music and styles. All the u. v. a.

verses of the text are inclu- Vol. 2 Vol.mit Annette 2 Dasch, CCarus mit AnnetteChristian Dasch, Gerhaher,• • ded. A unique treasury of Christian Gerhaher,Nuria Rial, 166 Lieder NuriaPhilippe Rial, Jaroussky, für Singstimme Philippe Jaroussky,u. v. a. Vol. 1 Vol.Vol. 1 1 & Klavier songs for voice and piano. u. v. a. Fortsetzung des mit JonasFortsetzung Kaufmann, des erfolgreichen Dorothee Mields, erfolgreichen Liederprojekts Christoph Liederprojekts Prégardien, Calmus Ensemble CCarus u. v. a. CCarus

Klavierband C_Carus CCarus CCarus

CCarus a. The most beautiful songs CDs: The most beautiful songs, vol. 1 and 2 v.

volume for voice and piano Dorothee Mields, Jonas Kaufmann, Christoph Prégardien, u. Vol. 2 Vol. 176 pages Calmus Ensemble, Kammerchor Stuttgart, Dresdner Kammerchor Nuria Rial, Philippe Jaroussky, mit Annette Dasch,mit  Carus 2.409/03 and others Christian Gerhaher,  Carus 83.032, 83.033 (vol. 2 only available in Germany, Austria and Switzwerland) Win CD boxes!

The front cover of the song book The most beautiful songs depicts one of the song illustrations by Frank Walka. To which song does it refer? Just write an email until 30.11.2017 to [email protected]. From the correct answers we will draw five winners who will get each a package with the CD boxes The most beautiful songs (Carus 83.032 und Carus 83.033)!

Employees of Carus and their families are excluded. There is no right of appeal.

15 “Capital of the Nineteenth Century”. This much-quoted label is as challeng- ing as it is fitting: it is hard to overesti- mate the charisma and force of attrac- tion which radiated from Paris during this period. The French capital became a melting pot for artists and intellectuals from all over the world. In 2018, the anniversaries of two important pro- Charles Gounod Gioachino Rossini tagonists in this Parisian century will (1818–1893) (1792–1868) be celebrated: firstly, the 150th anniversary of Gioachino Rossini’s death, and secondly the 200th anniversary of Charles Gounod’s birth. Both became celebrated for the music they wrote for A PARISIAN Paris theaters, but they also achieved great success with their sacred works. The political events and upheavals of CENTURY the time shaped their careers. In the footsteps of Gioachino Rossini and Charles Gounod

In the 19th century France experi- ing Frédéric Chopin, Richard Wagner, enced a period of great upheaval and Niccolò Paganini. Composers and both politically and socially: the virtuosi of international rank wanted to tribulations of the French Revolution make their names in the city on the River 14 and the Napoleonic Wars ended Seine. Works by Giacomo Meyerbeer, I in 1815 with the restored order Adolphe Adam, and Daniel-François-Es- brought about by the Vienna Congress, prit Auber dominated Parisian stages. and the Bourbon monarchy was reinstat- Rossini was indeed dismissed from his ed. But the new ways of thinking about positions, but nevertheless continued to liberty, equality, and fraternity could no exert considerable unofficial influence longer be suppressed. At the onset of in his previous places of work, and even industrialization, the rising bourgeoisie lived in a small apartment directly in the and the working classes increasingly Théâtre Italien (Salle Favart) 3 . Now he subverted the traditional hierarchical class had time to devote himself to a com- system, in opposition to all attempts at mission from Spain – the Stabat Mater. restoring the previous order. At the same Because of health problems he initially time, over the course of the century, a wrote just six of the twelve movements. completely new French self assurance Only later did he replace the other move- and national confidence developed. In ments with his own music. On 7 January the preceding century, Italian influences 1842 the completed version of the work had shaped musical life at court and in was extremely successfully premiered in Paris. Under Louis XIV, the Italian com- the Théâtre Italien. Given a tumultuous poser Jean-Baptiste (Giovanni Battista) reception by audiences and critics, the Lully firmly held the reins as regards op- work was heard again that same year in era, and Napoleon too preferred Italian Paris alone a further 14 times. music to French. Italians such as Giovanni Paisiello and Ferdinando Paër directed The French composer Charles Gounod, the imperial chapel. Even after Bonapar- 26 years younger, did not experience

te’s fall, Italian composers still influenced Rossini’s success in 1842. He spent a pe- 8 musical life in Paris; the Florentine Luigi riod from 1839 in Italy as prize-winner of Cherubini was even appointed director the illustrious “Prix de Rome” awarded of the Conservatoire in 1822. At this by the Académie des Beaux Arts 4 . Back

time, the 32-year-old Gioachino Rossini in Paris, in 1843 he took up a position as Map by L. Guilmin, 1890 came to Paris and, with his last stage music director at the Église des Mis- work Guillaume Tell (1829) in particular, sions Étrangères 5 , initially devoting engaged with the traditions of French himself exclusively to sacred music. The but very shortly afterwards he had him- opera in France. However, because of the troubles of the February Revolution in self proclaimed Emperor in a coup d’etat. abdication of his royal patron in the July 1848 brought this period in his career There is very little information about how Revolution of 1830, he lost all his official to an end. The rebellions of the workers Gounod spent the period between 1848 positions in Paris. and bourgeoisie against the increasingly and 1852. Was he involved in fighting on reactionary politics of the King led to the barricades, like his fellow-musician Under the new Regent, the “Citizen the declaration of the Second Republic. Ambroise Thomas? As regards music, King” Louis-Philippe, numerous musical Napoleon’s nephew, Louis Napoléon during this period he seems to have guests from abroad came to Paris, includ- Bonaparte, was elected French president, attempted to make contacts in various

16 Map of the city 1890

1 Gounod’s birthplace (11 place Saint-André-des-Arts) 2 Conservatoire de musique 150. anniversary 3 Salle Favart (Théâtre Italien 1825–1838) of death 2018 4 Académie des Beaux Arts (Institut de France) 5 Église des Missions étrangères Gioachino Rossini (1792–1868) 6 Salle Le Peletier (Opera 1821–1873) 7 Opéra Garnier (from 1875) 8 Eiffel Tower Stabat Mater (Latin) 9 Église Saint-Eustache Soli SSTB, Coro SSTB (SATB), 10 Rossini’s Paris city apartment (2 rue de la Chausée d’Antin) 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 11 Hôtel Pillet-Will (12 rue Moncey) 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb 12 Église de la Trinité 66 min / ed. Klaus Döge 13 Église Sacré-Cœur de Montmartre  Carus 70.089, full score, study score, 14 Gounod’s Paris city apartment (20 place Malesherbes / vocal score, choral score, complete place du Général-Catroux) orchestral material, 15 Église de la Madeleine Arrangement for chamber orchestra Soli SSTB, Coro SSTB (SATB), Fl, Ob, Clt, Cor, Fg, Timp, 2 Vl, Va, Vc, Cb arr. Joachim Linckelmann  Carus 70.089/50, full score, complete orchestral material vocal score und choral score see above 13

Petite Messe solennelle (Latin) 11 Soli SATB, Coro SATB, 2 Pfte, Armo 90 min / ed. Klaus Döge 12  Carus 40.650, full score, study score, vocal score (identical with Pianoforte concertato), vocal score XL, choral 6 score, Pianoforte di ripieno + Armonio, Set: 2 x Pianoforte di ripieno + Armo- 10 2 nio + 1 x vocal score

7 3

15 Choral and ensemble music (French, Italian, Latin) ed. Guido Johannes Joerg

Rossini humorously termed his numerous compositions written after the end of his operatic career in Paris as “sins 9 of old age”. This collection of Rossini’s choral music is a complete edition of all compositions written for several voices – either unaccompanied, or with piano or organ accompaniment.

 Carus 70.090, full score separate editions available 4 CD Carus 83.324

1 5 www.carus-verlag.com/ en/composers/rossini

places. In the process he turned to dramatic cause. In 1852 Gounod took up a position works, but his first opera, Sapho (premiered as director of the amateur choral associa- in 1851 in the Salle Le Peletier 6 ), was tion Orphéon. Only after his breakthrough unsuccessful. Only in 1852 did Gounod’s in the realm of opera composition with For major choral works Carus life return to a more ordered course. He Faust (1859) did he relinquish this post and offers extra material: innovative married Anna Zimmerman, daughter of devote himself primarily to music for the practice aids, available as app Pierre-Joseph-Guillaume Zimmerman, the theater. In time he went on to achieve great or CD, and vocal scores XL in influential teacher at the Conservatoire, success with his operas alongside the works large print. who went on to champion his son-in-law’s of Georges Bizet and Léo Delibes.

17 200th anniversary 2018 The Paris of the 1850s and 1860s had a spirit of opti- Charles Gounod GOUNOD mism: Napoleon III Messe solennelle de sainte Cécile Messe solennelle de sainte Cécile had commissioned „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 Charles Gounods auf ihn gemacht hatte. Das Werk, das im Jahr 1855 zu Ehren der Schutzpatronin der Kirchenmusik entstand, wurde schon bald weit über die Baron Georges- 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. NEW Eugène Haussmann to remodel the city into a modern metropolis for the in-

Urtext dustrial age. Without any consideration for

C C

CV 27.095 Carus existing buildings, ISMN M-007- Carus 27.095 corridors were driven through to create the world in musical salons in his city apart- great boulevards in the heart of the capital ment 10 and in his villa in Passy, including city. The building of the magnificent Opéra Richard Wagner and Franz Liszt, whose Charles Gounod (1818 –1893) Garnier 7 , opened in 1875, was also initi- work Légendes was performed publicly ated by Baron Haussmann. The first French for the first time in this setting. Gounod Messe solennelle de sainte Cécile International Exhibition in Paris could also was also a guest at these salons. Rossini’s (Latin) / Soli STB, Coro SATB, Picc, 2 Fl, be seen as an expression of the new spirit; Petite messe solennelle, his second major 2 Ob, 2 Clt, 4 Fg, 4 Cor, 2 Pist, 2 Tr, it was intended to present technical inno- church music composition (alongside the 3 Trb, Perc, Arpa, 2 Vl, Va, Vc, Cb, Org vations, and explicitly also the fine arts. For Stabat Mater), was composed in 1863, in 45 min / ed. Frank Höndgen this occasion, Jacques Offenbach opened fact as an occasional work for the dedi-  Carus 27.095, full score, vocal score, his own Théâtre des Bouffes-Parisiens to cation of the private chapel of a Parisian choral score, complete orchestral material great success. The Eiffel Tower 8 was built nobleman 11 . The premiere of the work, for the International Exhibition in 1889, accompanied only by piano and harmoni- Reduction for two equal voices and Gounod had an uninterrupted view of um, took place privately, and the following Soli SA, Coro SA, Org (Pfte) the building site from his house in Saint- day publicly in the Théatre Italien, and was  Carus 27.025, full score, Cloud. Innovations in instrument making tremendously well received by audiences. choral score were presented at world exhibitions, for Urged by his friends, Rossini orchestrated NEW example the octobass, the largest instru- the mass in 1867. His wish was to be able Messe no 1 aux orphéonistes ment in the string family, which the violin to perform the work “in a great basilica”, (Latin) / Soli TTB, coro TTB, [Soli SS, maker Jean-Baptiste Vuillaume had devel- but this was impossible because at that Coro SS], Org / 19 min / ed. Paul Prévost oped with Hector Berlioz. This instrument time men and women were not allowed  Carus 27.021, full score, choral score was used for the first time in an orchestra to sing together in choirs in the Catholic in 1855, in Gounod’s Messe solennelle church. Rossini personally applied to the de sainte Cécile, composed in 1855 for Pope for a lifting of this restriction, but Requiem (Latin) the annual Feast of St Cecilia given by the without success. On Friday 13 November Solo SATB, Coro SATB, 2 Fl, 2 Ob, Eh, Association des artistes musiciens. 300 1868, the composer died at his villa. Over 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Tb, Timp, singers and instrumentalists took part in 4,000 people accompanied him on his Gran cassa, Arpa, Piatti, 2 Vl, Va, Vc, Cb, the first performance, including six harps final journey from the official state funeral Org / ed. Barbara Großmann / 35 min and an octobass, as well as one of the at the church of La Trinité 12 to Père-  Carus 27.315, full score, vocal score, largest organs in France in the church of Lachaise Cemetery. choral score, complete orchestral material Saint-Eustache 9 . Hardly any other sacred work of the time was as enthusiastically Within a few years of Rossini’s death, there Arrangement for soli, choir and organ received or achieved European-wide dis- were political revolutions once again. In Solo SATB, Coro SATB, Org semination as rapidly as Gounod’s Messe July 1870, war between Germany and arr. Zsigmond Szathmáry de sainte Cécile. France broke out, and from September  Carus 27.315/45, full score, 1870 to January 1871 German troops vocal score und choral score see above In the same year Rossini and his French besieged the French capital. The popu- wife finally returned to Paris after a long lation starved. After the capitulation of Italian sojourn in Bologna and Florence. France there were uprisings in Paris, and: www.carus-verlag.com/en/composers/ However, he suffered from serious health as a result the city was governed for three gounod problems and depression which made months by a revolutionary council on any kind of work impossible for him. In socialist lines. The so-called Paris Com- Water color by Gaspard Gobaut (1814–1882) Paris his state of health mune was violently suppressed in May by improved considerably government troops. As the July revolu- and he began to com- tion of 1830 for Rossini and the February pose again. He received revolution of 1848 for the young Gounod musicians and other had marked important turning points, so guests from all over the the political events of 1870/71 probably

Gounod’s large-scale “Messe solennelle de sainte Cécile” was successfully premiered in 1855 in the church of Saint-Eustache 9 , involving around 300 performers. The orchestra included six harps and one of the largest organs in France, and for the first time the octobass, an instrument developed by Berlioz and Vuillaume. Camille Saint-Saëns (1835–1921) The Théâtre Italien (Salle Favart) 3 gave his first public concert at the age of eleven in was where Rossini worked and also the Salle Pleyel in Paris. He studied piano, organ and lived for a time. This is where the first performances of the “Stabat composition at the Paris Conservatoire, and was Mater” (1842) and the “Petite Messe organist at various different churches. Gabriel Fauré solennelle” (1864) took place, which was one of his piano students at the École Nieder- were extremely enthusiastically re- meyer in Paris. ceived by audiences.

NEW Messe à quatre voix op. 4 (Latin) Messe de Requiem op. 54 (Latin) Soli SATB, Coro SATB, 2 Fl, 2 Eh, 2 Tr, Soli SATB, Coro SATB, 4 Fl, 2 Ob, 2 Eh, Picture by Thomas Talbot Bury (1809–1877) by Thomas Talbot Picture 3 Trb, 2 Vl, Va, Vc, Cb, Org, Org ripieno 4 Fg, 4 Cor, 4 Trb, 4 Arpa, Grand Orgue, 45 min / ed. Dieter Zeh Orgue d’accompagnement, 2 Vl, Va, Vc, represented the greatest turning point Cb (reduzierte Fassung: 2 Fl, 2 Ob, 2 Eh, in Gounod’s personal life. A few days The Messe op. 4 was first performed in 2 Fg, 2 Cor, Trb, 2 Arpa, Org, 2 Vl, Va, before the siege encampment closed 1857. Camille Saint-Saëns was a de- Vc, Cb) / 35 min / ed. Fritz Näf around Paris, he succeeded in escap- voted follower of historicism as part of  Carus 27.317, full score, vocal score, ing with his family across the English the reform movement in French church choral score, complete orchestral material Channel to London. His house in music. This is more evident in the mass Saint-Cloud was plundered and de- published here than in any other of his Oratorio de Noël (Latin) stroyed. Oppressed by events, Gounod compositions. The model for this work Soli SMsATB, Coro SATB, 2 Vl, Va, Vc, did not feel ready to work for several is the unison Messe Royale by Henry Cb, Org, Arpa / 40 min months, but with the help of the singer DuMont (1610–1683). Saint-Saëns ed. Thomas Kohlhase Georgina Weldon, he gradually found combined its Gregorian style convincingly  Carus 40.455, full score, study score, his feet in London musical life. Only in with contemporary elements of Romantic vocal score, vocal score XL, choral score, 1874 did he finally return to Paris. The composition, an expressive chromati- complete orchestral material situation in the city gradually returned cism, which determines the harmonic , Carus Choir Coach to normal and a new sense of national progression. identity awakened which was expressed Organ arrangement in architecture with the building of the Alongside the orchestral forces, the Soli SMsATB, Coro SATB, Org monumental church of Sacré-Cœur in Grand Orgue plays an important role.  Carus 40.455/45, organ arrangement, Montmartre 13 . And this was accompa- Used as a solo instrument, it is an equal vocal score, vocal score XL und choral nied by a reinvigoration of church music. partner in the composition. score see above Corresponding with innovations and ad- vances in organ building, a new genera-  Carus 27.060, full score, vocal score, tion of organ virtuosi emerged including choral score, complete orchestral material Gabriel Fauré and Camille Saint-Saëns. The study in Gounod’s Paris city apartment 14 housed a salon organ made by Aristide Cavaillé-Coll. In the last years of his life Gounod also increasingly ded- Gabriel Fauré (1845–1924) icated himself to sacred music. In 1893 was organist at several churches in Paris from 1870 he wrote in a letter: “I have just put the onwards. From 1871 he also taught at the École Nieder- finishing touches to a Requiem which meyer, and from 1877 he was choirmaster at the church will probably be my last work.” In fact, shortly after completing the orchestra- of La Madeleine. In 1905 he became director of the Paris tion of the Requiem, he suffered a stroke Conservatoire. in October and died soon afterwards as a consequence. At Gounod’s state funeral in the church of La Madeleine 15 , there was “no first performance” at Requiem (Latin) Version for small orchestra his own request. The Requiem was first Version for symphony orchestra Soli SBar, Coro SATB, 2 Cor, 2 Tr, 3 Trb, performed publicly in Holy Week 1894 Soli SBar, Coro SATB, 2 Fl, 2 Clt, 2 Fg, Timp, Vl solo, 2 Va, 2 Vc, Cb, Org, Arpa and again on the first anniversary of his 4 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, 2 Va, 2 Vc, 35 min / ed. Marc Rigaudière death, conducted by Gabriel Fauré. The Cb, Arpa, Org / 40 min press reported: “The effect was magnif- ed. Marc Rigaudière The present reconstruction of a “version icent. Sacred music has now acquired with small orchestra” presents the work another masterpiece.” This Requiem is Gabriel Fauré’s Requiem is undoubt- for the first time not in a mixed version, the final testament of Charles Gounod, a edly the most important opus among but rather in its well-documented form contemporary witness who had expe- the sacred works of this French master. dating from 1889. rienced almost the whole of the “great Beginning with the first performances Parisian century”. during the composer’s lifetime, it is one of  Carus 27.311, full score, vocal score, Barbara Großmann those works whose popularity has never choral score, complete orchestral material waned.

Barbara Großmann studied  Carus 27.312, full score, study score, Musique religeuse musicology, history, Roman- vocal score, vocal score XL, choral score, Complete edition of shorter sacred works ce languages, and German complete orchestral material for choir and ensembles (Latin, French/ language and literature in German) Saarbrücken, Tübingen and ed. Jean-Michel Nectoux Paris. She has been an editor  Carus 70.301, full score at Carus-Verlag since 2004. separate editions available HEARING SCHÜTZ ANEW New reconstructions of works by Heinrich Schütz

he translates the emotions of the madrigal, closely allied to the “What is the purpose of a new edition of old works, in words as he had experienced in Italy, to the powerful imagery which only the tiniest details have been altered?”, is a of the Lutheran text (Das ist mir lieb SWV 51); and with the question sometimes heard amongst musicians. But the oratorio-like Vater Abraham, erbarme dich mein SWV 477, he latest volume of the Schütz Edition shows just how worth- brings echoes of Monteverdi’s new opera into the Lutheran while a new look at the seemingly familiar can be. The church. But the salient feature of this volume with its recon- reconstructions created from the available source material structions of works which survive incomplete is that previously demonstrate what varied results can be produced from unheard music is being published for the first time. And so a new evaluation of the sources and their contexts. This the repertoire of church music has gained two “new” Christ- is partly due to the great variety of pieces they contain mas pieces by Schütz: it was possible to compile a convincing and partly because of the completely different status quo reconstruction of the short sacred concerto Ein Kind ist uns regarding the frequently poor and inadequate sources. geboren SWV 497 for two tenors and basso continuo after a perusal of the surviving vocal parts. And the three-part Ach Herr, du Schöpfer aller Ding SWV 450a, a setting of the ninth verse of Luther’s Christmas carol Vom Himmel hoch, da komm Volume 19 of the Stuttgart Schütz Edition Opera varia I. Works ich her, with the aid of the parody model. For this work, like with 1–7 parts contains all works either published by Schütz the five-part setting SWV 450, is based on the Italian madrigal himself as smaller individual works, for example as music for Deh poi ch’era ne’ fati ch’io dovessi by Luca Marenzio, which special occasions, works which were published in contemporary is printed in the Appendix of the volume. This process not only printed collections along with works by other composers, or made transparent the reconstruction of the lost upper voice works which only exist in manuscript sources. The 26 compo- of the three-voice work, but also provides an insight into the sitions and versions by Schütz collected in this volume offer a composer’s arranging skills. representative cross-section of the Saxon Court Kapellmeis- ter’s output, ranging from simple chorale movements through The Osterdialog Weib, was weinest du SWV 443 is one of the motets in the “old style” to sacred madrigals and concertos in works which has survived in incomplete form, but this fact is the “new style”. In the six-part Ultima verba Psalmi 23 1625, often overlooked. It is nevertheless the case that all previous Schütz displays his mastery in contrapuntal writing (Gutes und editions only include about two thirds of the complete work, Barmherzigkeit SWV 95); in the multi-part setting of Psalm 116 because only the basso continuo parts survive from the rela-

20 Illustration on the left: Heinrich Schütz, SWV 448, provides a relevant example. “Ach Herr, du Schöpfer aller Ding” Here, it was necessary to undertake a criti- SWV 450a. Page from a compiled manu- cal re-evaluation of Spitta’s edition and his script from the Bass II part book in which description of the now missing manuscript source. As a result, a decision was made to the basso continuo has been retained present the piece in two different scorings: (under the heading from the second for five-part vocal choir, accompanied by line of music onwards). Sächsische a wind and string ensemble, and with an Landesbibliothek – Staats- und Universi- additional five-part vocal ripieno choir (in- tätsbibliothek Dresden cluded in the appendix to the volume) and provided with text by the editor. tively extensive final chorus. It was at least possible to establish the rhythm and harmo- The situation was similar and yet quite Stuttgart Schütz Edition ny from a figured bass part. This is probably different in the case of the three-part the first time an attempt has been made to “angelic concert” Heute ist Christus, der The Stuttgart Schütz Edition featu- reconstruct the final section marked with Herr, geboren SWV 439. The sole manu- res Schütz’s complete oeuvre, and “ripieno” and “forte” by Schütz himself; script source does indeed survive, but here, all works are published in practical now it is possible to perform and listen to too, it was essential to consider practical Urtext editions. the work in a compoletely new fashion. performing options and their interpretation. The vocal parts now preserved in the Uni- The six-part funeral music Gutes und Barm- versitätsbibliothek – Landesbibliothek und herzigkeit SWV 95, written in 1625 on the Murhardsche Bibliothek der Stadt Kassel are death of the Leipzig student Jacob Schulte, so heavily figured that we are undoubtedly has the title “Ultima verba Psalmi 23” in the dealing with fully notated ornamentation, original printed version. Of the original sev- typical of its time, the so-called practice of en part books only cantus, altus, tenor and diminution. As we are not familiar with the bassus continuus survive; the bassus vocal original musical text, this work is published part and quinta and sexta vox are missing. largely corresponding with the source with- Although the reconstruction partly follows out alteration of the vocal parts, as it might Heinrich Schütz (1585–1672) the attempt undertaken by Hans Joachim actually have sounded during Schütz’s day. Opera varia I Moser in 1936, it also contains numerous At the same time, this edition offers the Works with 1–7 parts divergences from the earlier reconstruction opportunity of adding a ripieno choir to (Complete Edition, vol. 19) in which Moser either did not recognize the three solo parts. This decision was also ed. Helmut Lauterwasser the composer’s intentions or consciously made after consulting the source material:  Carus 20.919 ignored them. in the lower margin of the vocal parts, an separate editions available “Alleluja” section in triple meter with the heading “Tripel” is written out separately and can be introduced in four passages in A challenge were the works which rests are notated for all parts. NEW Psalm 119 with relatively little source (Schwanengesang [Swansong]) The approach adopted for all these recon- (Complete Edition, vol. 18) material. structions has been explained and substan- ed. Werner Breig tiated in the foreword, giving all performers  Carus 20.918 the opportunity of understanding the November 2017 This is already visible in the opening mea- chosen version. Of course, none of the pub- www.carus-verlag.com/ sures, but to an even greater degree in an lished additions claims to be the answer to en/composers/schuetz extended passage – almost half of the entire everything. Instead, the Schütz connoisseur piece – in which Schütz wrote a repetition is explicitly encouraged to investigate the in the cantus, altus and basso continuo, but composer’s intentions and perhaps improve not in the tenor. It seems likely that Schütz an occasional passage in his spirit. The com- Complete Recording simply switched round the two tenor parts positions of Schütz always invite musicians Dresdner Kammerchor in this section, as was his custom in many to make new and rewarding discoveries. Hans-Christoph Rademann other works with pairs of voices with similar Helmut Lauterwasser ranges. The fact that the surviving first ten- 8 CDs CCarus 8 CDs C 8 CDs CCCarusCarusNEW or part of one section actually fits as “sexta 8 CDs HEINRICH SCHÜTZCarus HEINRICHHEINRICHDie Gesamteinspielung SCHÜTZCHÜTZ vox” in the preceding section, i. e. as the HEINRICH DieS GesamteinspielungCHÜTZBox II Die GesamteinspielungDresdner KammerchorBox II Hans-ChristophDresdner Kammerchor RademannBox II missing second tenor part, cannot be mere Die GesamteinspielungHans-Christoph Rademann DresdnerBox Kammerchor II coincidence. It was therefore possible to Hans-Christoph Rademann Dresdner Kammerchor Hans-Christoph Rademann reconstruct the original part of this extend- Dr. Helmut Lauterwasser ed section in the new edition. studied music education, church music, musicology, educational A further challenge were the works with science and music ethnology. relatively little source material, i.e. pieces After receiving his PhD from Box II: Vol. 9–14, 8 CDs the University of Göttingen,  Carus 83.042 for which no source authorized by Schütz he was initally employed as a exists, only individual manuscript copies. full-time church musician. In Symphoniae Sacrae I (Vol. 14) Some of them in turn were partially lost as 2000, he was appointed as an  Carus 83.273 (2 CDs), a result of war damage and only indirectly academic research assistant for Becker-Psalter (Vol. 15) available through their inclusion in the old the Gesellschaft zur wissenschaftlichen Edition des deutschen Kirchenlieds in Kassel and since May  Carus 83.276 Schütz Gesamtausgabe by Philipp Spitta. 2008 for the RISM (Répertoire International des Schwanengesang The most extensive piece in the volume, the Sources Musicales) in the project team Germany  Carus 83.275 (2 CDs) Gesang der drei Männer im feurigen Ofen e.V. at the Bavarian State Library in Munich. November 2017

21 NEW EDITIONS: VOCAL MUSIC

Michael Dieterich Johann Schelle Vier weihnachtliche Chorsätze PRAETORIUS BUXTEHUDE auch zur Einlage in das Magnificat Four choral movements for Christmas Komm, Heiliger Geist, Herre Gott Du Lebensfürst, Herr Jesu Christ also insert movements for the Magnificat BuxWV 22

Urtext Stuttgarter Buxtehude-Ausgabe Urtext

C C C Carus 36.222 Carus 10.030 Carus 10.026

Michael Praetorius (1571–1621) Dieterich Buxtehude (1637–1707) Johann Schelle (1648–1701) Komm, Heiliger Geist, Herre Gott Du Lebensfürst, Herr Jesu Christ Four choral movements for Christmas (German) O price of life, Lord Jesus Christ Also insert movements for the 4 children voices/S, ATTB (SATB), [Instr.], Ascension cantata BuxWV 22 (German) Magnificat (German) Bc / 7 min / ed. Uwe Wolf Soli SATB, Coro SATB, 2 Vl, 2 Va, Bc Soli SATB, Coro SATB, 2 Ctr, Timp, 12 min / ed. Violetta Brehm 2 Vl, Va, Bc / ed. Arne Thielemann This late work by Michael Praetorius is First edition characterized by a combination of the The Ascension Cantata Du Lebensfürst, new Italian style with the Protestant cho- Herr Jesu Christ BuxWV 22 by Dieterich In the period around 1700, nu- rale. The Puericinium, which appeared Buxtehude is based on five verses of the merous settings of the Magnificat in 1621, the year of Praetorius’ death, hymn of thanksgiving of the same name were performed in the main Leipzig has a music-pedagogical component. by Johann Rist (1641) based on the form churches. Works by composers such as Four children’s voices (who would have of a Concerto cum aria. An introductory J. Kuhnau and G. P. Telemann survive; been boys in Praetorius’ time), ideally sonata is followed by verse and ritornello however, the best-known examples spread around the four corners of the in alternation. A special feature of the are undoubtedly the Magnificat church, sing the chorale line by line in scoring is the use of the violetta as a BWV 243 and 243a by J. S. Bach with turn, interrupted and concluded by tutti string instrument in the middle of the fi- ‘extra’ movements for the latter com- passages augmented by an adult choir. ve-part string texture. This can be played position which still exist in Bach’s own The whole piece is accompanied by bas- by a modern viola. hand. Following a long-established so continuo and a four-part instrumental Leipzig tradition, the vocal settings of ensemble ad lib. The magnificent Komm  Carus 36.222, full score, vocal score, Vom Himmel hoch, Freut euch und heiliger Geist, Herre Gott is still suitable choral score, complete orchestral jubiliert, Gloria in excelsis and Virga for performance by a children’s choir material Jesse floruit (known as the Kindl-Wie- and adult choir today; although adult gen) could be inserted between the sopranos would not have sung in church verses of the Magnificat at Christmas. choirs in Praetorius’ time, they can join Some of these are scored for festive in the melody line in the tutti passages. forces. The extra movements in C major published here for the first time  Carus 10.030, full score, choral score 1 attributed to Johann Schelle, can be and 2, complete orchestral material performed either together with a Ma- gnificat setting in a suitable key (e.g. by Kuhnau, Telemann, see next page) or independently.

 Carus 10.026, full score, choral

MICHAEL Michael Praetorius: score, complete orchestral material PRAETORIUS Gloria sei dir Gloria sei dir gesungen gesungen Choralkonzerte · Chorale concerts Chorale concerts

Gli Scarlattisti Jochen Arnold Gli Scarlattisti, Jochen Arnold  Carus 83.482

22 NEW EDITIONS: VOCAL MUSIC

250th anniversary

352of Seiten death = 22 Bogen = 23 mmin Rücken 2017 Georg Philipp Wolfgang Amadeus Joseph Haydn Stabat Mater Joseph TELEMANN HAYDN MOZART Missa brevissima Magnificat inJoseph C Haydns Oratorium Die Schöpfung, eines der ganz großen Werke der Chorliteratur, war Stabat Mater auch für den Komponisten selbst von besonderer Wichtigkeit. So war es sein erstes und einziges WERBETEXT TVWV 9:17 bis Werk, das er im Eigenverlag erscheinen ließ, um eine optimal eingerichtete Ausgabe „letzter Hob. XX nach Fragmenten und Skizzen/after fragments and sketches Hand“ anzubieten. Dieser Originaldruck, sorgfältig durchgesehen und mit weiteren relevanten eingerichtet von/arranged by Quellen verglichen, bildet die Grundlage der vorliegenden Urtextausgabe. Carus präsentiert Johann Simon Kreuzpointner damit einen Notentext auf dem neuesten wissenschaftlichen Stand. Über alle wichtigen Daten zur Edition informiert der Kritische Bericht in praxistauglicher, kompakter Form. Ein ausführliches Vorwort vermittelt Einsicht in Werkentstehung, -aufbau und -rezeption und beleuchtet kompositorische 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 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).

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

C_Carus C C C C CV 51.991 Carus ISMN M-007- Carus 51.991 CV 51.801 Carus Carus 39.143 ISMN M-007- Carus 51.801

Georg Philipp Telemann (1681–1767) Joseph Haydn (1732–1809) Wolfgang Amadeus Mozart (1756 –1791) Magnificat in C major(Latin) Stabat Mater Hob. XXbis (Latin) Missa brevissima (Latin) Soli SATBB, Coro SATBB, 3 Ctr, Timp, Soli SATB, Coro SATB, 2 Ob (also Eh), Soli e Coro SATB, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc / 19 min 2 Vl, Va, Bc / 60 min 2 Vl, Bc / 15 min ed. Arne Thielemann ed. Clemens Harasim after fragments and sketches arranged by Johann Simon Kreuzpointner Georg Philipp Telemann has long been Joseph Haydn’s Stabat Mater, written perceived as a composer of sacred music, in 1767, was the first church work the When Wolfgang Amadeus Mozart re- and particularly of the German-language composer wrote after entering the turned to Salzburg in January 1779 from church cantata. However, in the course service of Prince Esterházy in Eisenstadt. his journey to Paris, his luggage con- of his long life, he also composed church Unlike almost all his other sacred works, tained a single church music work – an works in Latin text settings. In addition it soon circulated in numerous copies and unfinished Kyrie in E flat major (K. 296a) to works for smaller ensembles there is established Haydn’s reputation as the together with sketches for the Sanctus presently only one larger psalm setting, leading vocal composer of his day. This and Benedictus (K. 296c). In 2015, at Deus judicium tuum available in a new edition is based on three original copies the suggestion of the late Armin Kircher, edition. This will now be joined by the of parts which are regarded as being par- Johann Simon Kreuzpointner set about first ever scholarly, critical edition of ticularly close to the (missing) autograph compiling a five-movement setting of his Magnificat in C major. Telemann manuscript on the strength of their date the mass from this material, also drawing probably composed this impressive work of production and the reliable trans- on an unfinished cantata in E flat major for the dedication of the organ in the mission of the music text. This great, (K. 429). For the orchestration and text Leipzig Neukirche in 1704. Like Bach’s moving setting of the Stabat Mater is underlay, Kreuzpointner took his cue well-known Magnificat, it is scored for now newly available in a modern, schol- from Mozart’s church music works. With three trumpets and timpani. For ambi- arly edition. The complete performance this edition, Kreuzpointner, an experi- tious church choirs, the work is really material is available for purchase. enced church musician and composer, worthwhile and also a most effective created a convincing and stylistically piece for audiences to enjoy.  Carus 51.991, full score, vocal score, assured work, which he tried out in sev- choral score, complete orchestral eral performances. The result is a concise  Carus 39.143, full score, vocal score, material setting of the mass which is good to sing choral score, complete orchestral and does not present any great difficul- material ties for soloists, chorus or orchestra. The title “Missa brevissima” was not given by Mozart, but was chosen because of the brevity of the mass setting with its missing Credo. It also underlines the special status of this setting of the mass.

 Carus 51.801, full score, vocal score, choral score, complete orchestral material

23 NEW EDITIONS: VOCAL MUSIC

Also available: Johannes Schicksalslied (German/English) Otto Nicolai BRAHMS original version Te Deum Schicksalslied op. 54 Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, Bearbeitung für Kammerorchester von Arrangement for chamber orchestra by Russell Adrian 2 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb  Carus 10.399, full score; vocal score and choral score see arrangement for chamber orchestra, complete orchestral material

German Requiem (German)

C original version Carus 27.193 Carus 10.399/50 Soli SB, Coro SATB, Picc, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Tb, 3 Timp, Arpa, 2 Vl, Va, Vc, Cb, [Org]  Carus 27.055, full score, study score; Otto Nicolai (1810 –1849) Johannes Brahms (1833–1897) vocal score and choral score see arrange- Te Deum (Latin) Schicksalslied op. 54 (German/English) ment for chamber orchestra, complete Soli SATB, Coro SATB/SATB, 2 Fl, 2 Ob, Arrangement for chamber orchestra orchestral material 2 Clt, 2 Fg, Cfg, 2 Cor, 3 Tr, 3 Trb, Timp, by Russell Adrian 2 Vl, Va, Vc/Cb / 45 min Coro SATB, Fl, Ob, Clt, Fg, Cor, Tr ad lib, ed. Klaus Rettinghaus Trb ad lib, Timp, 2 Vl, Va, Vc, Cb 16 min The Te Deum composed in 1832, is a Available for the same scoring as the convincing work with quick changes of With his Schicksalslied (Song of Des- arrangement of the Schicksalslied expression and warm orchestral colors. tiny), inspired by a text by Friedrich Choruses, including a double chorus, Hölderlin, Brahms created a timeless alternate with arias and soloist ensem- piece of music with his personal interpre- bles, smooth woodwind sounds and an tation of the idea of destiny. The work is obbligato solo violin with orchestral tuttis impressive both in the concert hall and in and special sound combinations, e.g. in a sacred setting. With the publication of Tibi gloriosus for male voices, bassoons, this arrangement for chamber orche- contrabassoon and three trombones. stra, smaller choirs now also have the opportunity of performing this work. The  Carus 27.193, full score, scoring (for flute, oboe, clarinet, horn, vocal score, choral score, complete timpani, and strings) is identical with orchestral material the chamber orchestra version of the German Requiem (Carus 27.055/50), meaning that the two works can easily German Requiem (German) be combined in a concert program. A Arrangement for chamber orchestra trumpet and trombone can be added ad by Joachim Linckelmann libitum. The choral parts correspond to Soli SB, Coro SATB, Fl/Pic, Ob, Clt, Fg, the original version, meaning that the Cor, Timp, 2 Vl, Va, Vc, Cb / 70 min vocal score and choral score from that  Carus 27.055/50, full score, vocal version can be used. score, Vocal score XL, choral score, complete orchestral material  Carus 10.399/50, full score, vocal score, choral score, complete orchestral material

The repertoire of major choral works for smaller scorings in our catalog is being con- For major choral works Carus offers extra material: innovative practice stantly expanded. The range already includes arrangements of Verdi’s popular Requiem aids, available as app or CD, and and Dvořák’s imposing Stabat mater. Have a look at our catalogue online: vocal scores XL in large print. www.carus-verlag.com/en/focus/thematic-series/great-choral-works-in-small-scorings

24 NEW EDITIONS: VOCAL MUSIC

Charles Villier Stanford Felix Petyrek Three Motets op. 38 Missa phrygica for unaccompanied chorus

1. Justorum animae 2. Coelos ascendit hodie 3. Beati quorum via

C C Carus 23.302 Carus 27.089

Antonín Dvořák (1841–1904) Charles Villiers Stanford (1852–1924) Felix Karl August Petyrek (1892–1951) Te Deum op. 103 (Latin) Three Motets op. 38 (Latin) Missa phrygica (Latin) Soli SB, Coro SATB, 2 Fl, 2 Ob (also Eh), 1. Justorum animae (SATB) Soli (small Chor), Coro SATB (partly 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Tuba, 2. Coelos ascendit hodie (SATB)/SATB) divisi) Timp, Perc, 2 Vl, Va, Vc, Cb / 20 min 3. Beati quorum via (SSATBB) 25 min / ed. Claus Woschenko ed. Lucie Harasim Berná ed. Barbara Mohn Felix Karl August Petyrek grew up in Vi- In 1892 Dvořák received a prestigious The three Latin Motets from the late enna where he studied musicology with commission from New York to write a 1880s have long been part of the Guido Adler, piano with Emil von Sauer festive cantata to commemorate the standard repertoire of British choirs and and composition with Franz Schreker. 400th anniversary of Christopher Colum- have often been recorded on CD. And His Missa phrygica, written in 1949 for bus’s discovery of America. In response yet, although the Anglo-Irish composer four-voice a cappella choir, is being pub- he wrote an impressive work in a very Charles Villiers Stanford is no longer lished for the first time. Petyrek, in his short space of time – his Te Deum, which unknown in Germany, the motets remain Missa phrygica, uses elements of vocal expresses in celebratory style the ancient an insider’s tip. The motets are true mi- polyphony from the Renaissance and hymn of praise in four effective, con- niatures of a cappella music. Due to their the early Baroque in an updated con- trasting sections. During preparation of fine motivic structure, effective antipho- trapuntal garb, as is often the case for the Carus edition, a careful assessment nal groupings and clear harmonics, they many church-related composers during has been made of the variant readings produce tremendous sound effects in a the first half of the 20th century. In the of the autograph score and first printed small space. Gloria, for example and in the Credo, edition, drawing on these as sources. The the influence of Petyrek’s composition result is that the work is newly available Separate editions are available. teacher, Franz Schreker, can be felt in in a modern, scholarly edition. The com- the sweetly-iridescent splendor of the plete performance material is available  Carus 23.302, full score upper voices in the choir, whose moving on sale. sonority is primarily made up of chains of parallel fifths.  Carus 27.189, full score, vocal score, choral score and complete orchestral  Carus 27.089, full score, choral score material

November 2017

25 NEW EDITIONS: VOCAL MUSIC

REGER EDITION OF WORKS

Max Reger (1873–1916) Songs I Reger Edition of works vol. II/1

für Solo-Sopran Since January 2008, the first scholarly, critical edition of gemischten Chor und Band

the works of Max Reger (RWA) is being produced at the Bobbi Fischer Max-Reger-Institute, Karlsruhe. The Reger Edition of Works is sponsored by the Akademie der Wissenschaften und der Literatur, Mainz and and is breaking new ground in editorial techniques as a hybrid edition.. C_Carus 28.007/03

Each volume will be accompanied and supplemented by a digital data storage medium containing facsimiles of all relevant sources presently available. With the aid of the software program Edirom, the sources will be com- Bobbi Fischer (*1965) pared and contrasted in a commentary. Furthermore, an Missa latina (Latin) encyclopedic section, also in digital form, offers primarily Solo S, Coro SATB (with parts divisi and soli), Vl, Ban- information and illustrations relevant to the history of the doneon (Akkordeon), Pfte, Cb, Drums, Perc / 35 min work(s), alongside information on the dedicatees of the compositions, the musicians involved in first performances The Missa latina is a complete setting of the Latin and much more besides. Mass for solo soprano, large mixed choir (SATB divisi as well as soloists from the choir) and a band The edition encompasses three areas of Reger’s creative consisting of violin, bandoneon (accordion), pia- output: organ works (7 volumes, completed), songs and no, double bass, drums and percussion. The word choral music (choruses) (10 volumes, in preparation) and “latina” not only refers to the Latin text, but also to for the first time, Reger’s arrangements of works by other the musical style which makes use of Latin-American composers (11 volumes, in preparation). rhythms. Thus elements from Argentinian tangos stand side by side with Caribbean rhythms and Latin The first volume in the Songs and Choral Works series jazz with enough space provided for instrumental contains the songs Max Reger composed between 1889 improvisation. and spring 1899 in Weiden and Wiesbaden in chronologi- cal order. The “youthful songs“ WoO VII/1–13, composed  Carus 28.007, full score, vocal score, by Reger but without the aim of publication, are published instrumental parts rental in the Appendix. CD in preparation

 Carus 52.808

Claude Debussy (1862–1918) / Clytus Gottwald (*1925) Les sons et les parfums tournent dans l’air du soir (Harmonie du soir) (French) transcribed for 5 to 6 voices (SATBB) / 5 min

Gottwald’s transcriptions of songs and instrumental works for vocal ensemble, distinguished by their highly sophisticated sound, have become firmly established in choral repertoire throughout the world in recent years.

 Carus 9.168 screen view

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

26 NEW EDITIONS: VOCAL MUSIC

Vytautas Miškinis (*1954) Damijan Močnik (*1967) Gunther Martin Göttsche Magnificat op. 94 Vytautas Miškinis is among the most Močnik’s sacred choral works are charac- Orchesterfassung/Orchestral version prolific composers in Lithuania. The terized in particular by flowing musical texture of his works is often polyphonic, structures. Each work has numerous containing aleatoric elements and sono- dramatic turns with rich, unusual and rous effects. Many of his compositions sometimes mysterious sounds. have been awarded prizes in national competitions and have been chosen as obligatory pieces for performance at in- Damijan Močnik: CCarus ternational choral and choral conducting et lux perpetua competitions. S:t Jacobs

C Kammarkör,

Carus 27.210 S:t Jacobs Kammarkör The same stream of life (English) Gary Graden Gary Graden Damijan Močnik  Coro SSAATTBB / 4 min et perpetua Carus 83.487  Carus 7.394 LUX

Gunther Martin Göttsche (*1953) In lectulo meo (Latin) Magnificatop. 94 (Latin) Coro SSAATTBB, Vl / 6 min / ¤ Orchestral version  Carus 7.426 Missa Sancti Jacobi (Latin) Solo S, Coro SATB, 2 Fl, 2 Ob, 2 Fg, Coro SATB/SATB, Perc (Triangel, Drum) 2 Vl, Va, Vc, Cb / 20 min 30 min / ¤ Five Sonnets (English) The Magnificat shows the typical per- Text: William Shakespeare The mass consists of the usual five sonal style of the composer Gunther SATB, Pfte movements: Kyrie, Gloria, Credo, San- Martin Göttsche who was inspired ctus/Benedictus and Agnus Dei. Every by the colorful harmonics of French Mine eye and heart,  Carus 9.210/10 movement has a characteristic form. To Impressionism as well as by elements Lord of my love,  Carus 9.210/20 keep them musically interconnected, of jazz music. He has given equal con- When in disgrace,  Carus 9.210/30 Močnik used similar or varied musical sideration to both the vocal line and When I do count,  Carus 9.210/40 images (melody, harmony or rhythms) the ease of execution as well as an O how,  Carus 9.210/50 with the same words or thoughts. understanding for the musical events and a comprehensible interpretation of  Carus 27.057, full score and parts the text. The work which was revised available in December 2017 at the beginning of 2016 is based on an earlier work commissioned for the Touched by the Strings Dresden Kreuzkirche. A version with works for Solo violin and choir ... et lux perpetua (Latin) organ accompaniment (instead of von Gjeilo, Coro SSATB / 8 min / ¤ orchestra, Carus 27.210/45) is also Buchenberg,  Carus 7.427 Touched by The STringS Chorwerke mit Solovioline available. Ida Bieler, Violine Nystedt, Miškinis, Orpheus Vokalensemble Michael Alber, Leitung Hübner, Høybye Geburts-Nacht (German/English)  Carus 27.210, full score, choral Ida Bieler, ed. Stefan Schuck score, rental of parts, full score organ Orpheus Vokal Coro SSAATTBB / 4 min / ¤ version ensemble,  Carus 9.672 Michael Alber  Carus 83.481 Acclamatio (Latin) Coro SSAA / 3 min  Carus 7.511 Coro SSAATTBB / ¤  Carus 7.511/50

Hymnus tertiae horae George Balint (*1961) Ko Matsushita (*1953) “Nunc Sancte nobis” Paparuda Salva me (Latin) (Latin) (Romanian/German/English) SSATB divisi / 5 min Coro SMsATBarB / 8 min Coro SSAATTBB / 4 min ed. Stefan Schuck  Carus 7.332   Carus 9.751 Carus 9.673 Photo: Jana Jocif

27 NEW EDITIONS: ORGAN MUSIC

100th anniversary of death in 2018 Charles-Marie Claude Charles-Marie Widor WIDOR Great organ works DEBUSSY Widors frühe Orgelsymphonien op. 13 erhalten durch ihre suitenähnliche Anlage eine Symphonie II Debussys Danse (Tarantelle styrienne), original für Klavier komponiert und von Ravel orchestriert, Danse besondere Prägung. So kombiniert auch die sechssätzige IV. Symphonie in reizvoller Weise eignet sich auch hervorragend für den Vortrag auf der Orgel. Das zeigt die vorliegende Bearbeitung, klassizistische Formen wie Toccata und Fuge mit romantischen Charakterstücken – darunter op. 13,2 die bereits in mehreren Ländern von renommierten Organisten mit großem Erfolg beim Publikum auf- Tarentelle styrienne das bekannte Andante cantabile, einer der schönsten langsamen Sätze des Komponisten. geführt wurde und nun rechtzeitig zum Debussy-Jahr 2018 im Druck erscheint. In großer Farbigkeit Die neue Carus-Edition basiert auf der letzten zu Lebzeiten Widors veröffentlichten Aus- bringt sie diesen kraft- und temperamentvollen „Tanz“ zur Geltung und bietet dem Ausführenden gabe, Paris 1929. Darüber hinaus fanden diejenigen Korrekturen Berücksichtigung, die der reichlich Gelegenheit zur künstlerischen Entfaltung. Die Registrierungsangaben sind als Vorschläge Komponist nach Veröffentlichung der Ausgabe von 1929 noch angebracht hatte. Zudem gedacht und lassen sich leicht an verschiedenartige Instrumente anpassen. wurden zur Klärung einzelner Lesarten frühere Auflagen vergleichend hinzugezogen. bearbeitet für Orgel von/arranged for organ by Vorschläge des Herausgebers zur Ausführung einzelner Stellen runden die vorliegende Series A: Debussy’s Danse (Tarantelle styrienne), originally for piano and orchestrated by Ravel, is also extremely Thierry Hirsch Neuedition ab. well suited to performance on the organ. This is shown in this arrangement which has been successfully performed in concerts in several countries by renowned organists. It is now being published in time for Widor’s early organ symphonies op. 13 have a quite special character because of their the Debussy anniversary year in 2018. The arrangement shows this powerful and spirited “Danse” suite-like structure. Thus also the IVth Symphony delightfully combines classical forms - Symphony II op.to its best advantage. 13 The great no. range of colors 2 offers performers plenty of opportunity for artistic dis- such as toccata and fugue with Romantic character pieces, including the well-known play. The registration markings are intended as suggestions and can easily be adapted to suit different Andante cantabile , which is one of the composer’s most beautiful slow movements. The instruments. new Carus edition is based on the last edition published during Widor’s lifetime, issued Paris 1929. Corrections made by the composer after the edition of 1929 was published - Symphony IVLa Danseop. (Tarantelle 13 styrienne) deno. Debussy, composée 4 à l’origine pour le piano puis orchestrée par have been taken into consideration. In addition, for purposes of clarification of single Ravel, convient aussi parfaitement à une interprétation sur l’orgue. Nous en voulons pour preuve readings, earlier print runs were consulted. Editorial suggestions on the performance of l’arrangement présent qui a déjà été donné en public avec grand succès par des organistes renommés individual passages complete the new edition. dans plusieurs pays et dont la parution coïncide avec l’année Debussy 2018. Haute en couleur, cette interprétation met en valeur la « danse » pleine de tempérament et donne à l’exécutant l’opportunité Charles-Marie Widor - Symphony V deop. déployer à souhait42 tout son no.talent artistique. 1Les indications de registration sont des suggestions et Die großen Orgelwerke / The Great Organ Works se laissent facilement adapter sur des instruments divers et variés. Reihe A / Series A: Symphonie II op. 13 no. 2 Symphonie IV op. 13 no. 4 in preparationwww.carus-verlag.com Symphonie V op. 42 no. 1 Symphonie VI op. 42 no. 2 Symphonie Romane op. 73 Ausgewählte Orgelwerke · Selected Organ Works - Symphony VI op. 42 no. 2 www.carus-verlag.com Urtext - Symphony Romane op. 73

C in preparation C

CV 18.178 Carus CV 18.010 Carus ISMN M-007- Carus 18.178 ISMN M-007- Carus 18.010

Subscription offer for Series A: 20% discount off the retail price Charles-Marie Widor (1844–1937) Claude Debussy (1862–1918) Symphony II op. 13,2 Danse (Tarantelle styrienne) 35 min / ed. Georg Koch arranged for organ by Thierry Hirsch / 7 min Widor’s early organ symphonies op. 13 have a quite special character Debussy’s Danse (Tarantelle styrienne), because of their suite-like structure. Charles-Marie originally for piano and orchestrated by WIDOR

The six-movement SymphonyIn seiner VI.II Orgelsymphonie also zeigt sich Charles-Marie Widor auf dem Höhepunkt seiner Symphonie IV Ravel, is also extremely well suited to kompositorischen Meisterschaft. In den dicht gearbeiteten, monumentalen Ecksätzen, den expressiven langsamen Sätzen und einem effektvoll-brillanten Intermezzo schöpft Widor die op. 13,4 Möglichkeiten des Instruments voll aus. Die neue Carus-Edition basiert auf der letzten zu Lebzeiten des Komponisten veröffentlichten Ausgabe, Paris 1929. Darüber hinaus fanden diejenigen Korrekturen Berücksichtigung, die der Komponist nach Veröffentlichung der Ausgabe combines different types of movementvon 1929 noch angebracht hatte. Zudem wurden zur Klärung von Unstimmigkeiten bei performance on the organ. This is shown Registrierangaben frühere Auflagen vergleichend hinzugezogen. Vorschläge des Herausgebers zur Ausführung einzelner Stellen runden die vorliegende Neuedition ab.

In his VIth Organ Symphony, Charles-Marie Widor showed himself to be at the height of his compositional mastery. In the densely-worked monumental outer movements, the expressive in an unusual way; it includesslow movementsa andPrae a dramatic, brilliant Intermezzo- , Widor exploits the possibilities of the in this arrangement which has been instrument to the full. The new Carus edition is based on the last edition published during the composer’s lifetime, issued Paris 1929. Corrections made by the composer after the edition of Charles-Marie 1929 was published have been taken into consideration. In addition, for purposes of clarification concerning inconsistencies in the registration, earlier print runs were consulted. Editorial ludium Circulare, which exploressuggestions on the performance all of individual passages complete the new edition. WIDOR successfully performed in concerts in Charles-Marie Widor Die großen Orgelwerke / The Great Organ Works Reihe A / Series A: Die Kirchenmusik bildet den Mittelpunkt des kompositorischen Gesamtwerkes Symphonie II op. 13 no. 2 Symphonie VI von Joseph Leopold Eybler, der 30 Jahre lang als Chordirektor im Schotten- Symphonie IV op. 13 no. 4 kloster in Wien tätig war, bevor er 1824 zum Wiener Hofkapellmeister ernannt op. 42,2 the twelve keys, a Salve ReginaSymphonie V op. 42based no. 1 several countries by renowned organists. wurde. Seinen großbesetzten Mess-Vertonungen steht die Missa Sancti Alberti Symphonie VI op. 42 no. 2 mit ihrem lyrisch-pastoralen Grundton gegenüber; sie erinnert in Anlage, Um- Symphonie Romane op. 73 fang und Instrumentation an Franz Schuberts bekannte Messe in G-Dur. Bis auf zwei Soloquartette (auch aus dem Chor besetzbar) ist der Chor Hauptträger des musikalischen Geschehens; die konzentrierte Vertonung desAusgewählte Messtextes Orgelwerke · Selected Organ Works www.carus-verlag.com ist überwiegend homophon gestaltet. Ausgehend vom Streicherklang kann Urtext on the Gregorian antiphon of the same das Orchester ad libitum mit zwei Oboen, zwei Fagotten, zwei Trompeten und It is now being published in time for the Pauken angereichert werden, wodurch sich das Werk in seiner meisterlichen Orchestrierung präsentieren kann.

Church music was the focal point of the compositional output of Joseph Leo- name, and a grand Toccata as the Finalepold ,Eybler, who for thirty years was the choral conductor at the Schottenklos- Debussy anniversary year in 2018. The ter in Vienna, before being appointed Kapellmeister at the Court of Vienna. C The Missa Sancti Alberti, with its fundamentally lyrical-pastoral character, CV 18.177 Carus stands in stark contrast to his large-scale settings of the Mass. In its design, ISMN M-007- Carus 18.177 scope and instrumentation it is reminiscent of Franz Schubert's well-known Mass in G major. With the exception of two solo quartets (which can also be an interesting precursor of the famous performed by members of the choir), the choir plays the primary role in the arrangement shows this powerful and performance of this work. Stylistically, the concentrated setting of the Mass text is predominantly homophonic. The setting of the Mass, starting with strings, can also be augmented, ad libitum, by adding Eybler's additional instrumental parts, consisting of two oboes, two bassoons, two trumpets and timpa- Toccata from the 5th Symphony. The ni to showcase his masterly orchestration. spirited “Danse” with its typical synco- Ausgewählte Orgelwerke · Selected Organ Works Carus edition is based on the Paris edi- Urtext pated rhythms to its best advantage. The

CV 18.176 Carus tion of 1928/29, the last to be published ISMN M-007- Carus 18.176 great range of colors offers performers during Widor’s lifetime. The corrections plenty of opportunity for artistic display. made by the composer after publication The registration markings are intended of the 1928/29 edition have also been as suggestions and can easily be adapted taken into consideration. What is more, to suit different instruments. earlier editions have been consulted as a comparison to clarify individual variant  Carus 18.010 readings. Editorial suggestions on the performance of individual passages complete the new edition.

 Carus 18.178

Organ music is one of the major categories at Carus. The spectrum ranges from works for solo organ via chamber music with obbligato organ, to organ concertos, vocal works with concertante organ and vocal works with organ accompaniment. The organ collections in particular offer a rich storehouse of rewarding repertoire and represent a significant enrichment of organ repertoire.

www.carus-verlag.com/en/focus/organ-music

28 NEW CDS

Luigi Boccherini: Stabat Mater Béla Mendelssohn: Salve Regina; BARTÓK Mozart: String Quartet K. 428

Béla Bartók selbst hinterließ keine Werke für Orgel. In seinen Klaviersammlungen Gyermekeknek Klavierstücke aus/Piano pieces from und Mikrokosmos sind jedoch manche Kompositionen zu finden, die sich auch gut für das Spiel Dorothee Mields, Salagon Quartett auf der Orgel eignen und in diesem anderen Klanggewand einen besonderen Reiz auszuüben Gyermekeknek & Mikrokosmos vermögen. Der vorliegende Band enthält ausgewählte Stücke aus diesen beiden Sammlungen in entsprechenden Bearbeitungen. Damit stehen für das freie Orgelspiel in Gottesdienst und Konzert interessante Neuentdeckungen bereit! bearbeitet für Orgel von/arranged for organ by Luigi Boccherini Eberhard Hofmann  Carus 83.470 Béla Bartók himself did not write any works for organ. There are, however, some compositions in his piano collections Gyermekeknek and Mikrokosmos which are eminently playable on the STABAT MATER organ and which, in this differing guise, have a very special charm. The present volume contains Felix Mendelssohn Bartholdy · Salve Regina selected pieces out of both collections in appropriate arrangements. Thus, some interesting new discoveries for organists are now available for performance in both church services and concerts! Dorothee Mields · Salagon Quartett

Simon Mayr: Missa in c, Stabat Mater Johann Simon Mayr Missa in c · Stabat Mater Orpheus Vokalensemble, Concerto Köln, Stuber · Eckstein Guimarães · Nazmi C Orpheus Vokalensemble Florian Helgath CV 18.009 Carus Concerto Köln ISMN M-007-18697-5 Carus 18.009 Florian Helgath 9 790007 186975  Carus 83.480

Béla Bartók (1881–1945) Piano pieces from Gyermekeknek and Mikrokosmos arranged for organ arranged for organ by Isfrid Kayser: Magnificat Eberhard Hofmann Johanna Pommranz, Orpheus Vokal ensemble, Ars Antiqua Austria, Jürgen Essl Béla Bartók himself did not write any  Carus 83.479 works for organ. There are, however, some compositions in his piano collections Gyermekeknek and Mikrokosmos which are eminently playable on the organ and which have a very special charm in this different guise. The present vol- CCarus György Ligeti: Requiem, Lux aeterna; ume contains selected pieces from both György Ligeti Clytus Gottwald: Arrangements of compo collections in appropriate arrangements sitions by Ravel, Debussy and Mahler meaning that some interesting new  Carus 83.283, UVP 19.90 € discoveries for organists are now available REOUIEM Gabriele Hierdeis · Renée Morloc for performance in both church services Kammerchor Stuttgart · Danubia Orchestra Óbuda Frieder Bernius and concerts!

 Carus 18.009

The Rhythm of Life T� � Works from Brahms, Chilcott, Humperdinck, R�y�� Mendelssohn, Pergolesi, Purcell, Rutter, Sheeran, � L i � � Sima and others Ulmer Spatzen, Hans de Gilde

Walter Feldmann (*1965) « unsichtbahr Text » Wolfs - « Allgebrah » Sunrise. Compositions by Kay Johannsen CCarus for 8 instruments Kay Johannsen (organ), Stiftsphilharmonie  Carus 16.334, full score Stuttgart, Mikhail Gerts  Carus 83.485

Esquisse: « le froid » Kay Johannsen

SUNRISE SUNRISE

for solo marimbaphon and Stadt Ulm Stadt Ulm Kinder- und Jugendchor Ulmer Spatzen e.V. . Marktplatz 19 . 89073 Ulm Kinder- und Jugendchor Ulmer Spatzen e.V. . Marktplatz 19 . 89073 Ulm Stadt Ulm Tel + 49 (0) 731/161-4733 . Fax +49 (0) 731/161-1683 . [email protected] . www.ulmer-spatzen-chor.ulm.de Tel + 49 (0) 731/161-4733Kinder- und . Fax Jugendchor +49 (0) 731/161-1683 Ulmer Spatzen . [email protected] e.V. . Marktplatz 19 .. www.ulmer-spatzen-chor.ulm.de89073 Ulm Bankverbindung: IBAN DE 58 630 5 0000 0000 1350 16 . BIC SOLADES1 ULM Bankverbindung:Tel IBAN + 49 DE (0) 58 731/161-4733 630 5 0000 0000 . Fax 1350 +49 16(0) .731/161-1683 BIC SOLADES1 . [email protected] . www.ulmer-spatzen-chor.ulm.de Bankverbindung: IBAN DE 58 630Music 5 0000 0000 for 1350 Organ 16 . BIC SOLADES1 Solo ULM 14 instruments Concerto for Organ, Strings and Percussion  Carus 16.335, full score

rental of performance material

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

Special offer:

J. S. Bach: St. John Passion BWV 245 Traditional version You can download the St. John Passion (1739/1749) in carus music, the choir app, between Price reduction of 1 October and 30 November 2017 for over 60 %! a special discount!

Performer: Barbara Schlick (Soprano), Catherine Patriasz (Alto), Howard Crook, William Kendall (Tenor), Peter Lika, Peter Kooy (Bass), Collegium Vocale Gent, Orchestre de la Chapelle Royale, Philippe Herreweghe

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

30 Practice aids for carus music, the choir app choir singers Carus Choir Coach NEW

Carus Choir Coach – SOPRANO – Übe-CD für Chorsänger Carus 51.626/45 Wolfgang Amadeus Wolfgang Amadeus Mozart (1756–1791) Requiem KV 626 · ergänzt von Franz Xaver Süßmayr Missa in c Mozart Carus Choir Coach Dauer Seite* Dauer Seite* Duration Page* Duration Page* MOZART CD 1 CD 2 1 Requiem aeternam ...... 05:04 3 1 Coach ...... 03:22 2 Coach ...... 05:04 2 Coach in Slow Mode ...... 04:39 SOPRANO 3 Coach in Slow Mode ...... 07:05 Missa in c 3 Hostias ...... 03:48 51 4 Kyrie eleison ...... 02:22 8 Carus Choir Coach 4 Coach ...... 03:48 5 Coach ...... 02:22 KV 427 5 Coach in Slow Mode ...... 05:14 6 Coach in Slow Mode ...... 03:18 ergänzt und herausgegeben von 7 Dies irae ...... 01:47 14 6 Sanctus ...... 01:41 58 8 Coach ...... 01:47 7 Coach ...... 01:41 Frieder Bernius & Uwe Wolf SOPRANO 9 Coach in Slow Mode ...... 02:30 8 Coach in Slow Mode ...... 02:17 Carus 51.651/91 DDD | GEMA 10 Rex tremendae ...... 01:54 24 9 Benedictus ...... 00:35 66 Carus Choir Coach Carus Choir Coach SOPRANO 11 Coach ...... 01:54 10 Coach ...... 00:35 CD 1 12 Coach in Slow Mode ...... 02:38 11 Coach in Slow Mode ...... 00:45 13 Confutatis ...... 02:28 35 Carus Choir Coach 12 Agnus Dei ...... 03:13 67 14 Coach ...... 02:28 SOPRANO 13 15 Coach in Slow Mode ...... 03:27 Coach ...... 03:13 Carus 51.651/91 14 Coach in Slow Mode ...... 04:30 Übe-CD für Chorsänger Wolfgang Amadeus Mozart (1756–1791)DDD | GEMA 16 Lacrimosa ...... 03:04 40 17 Coach ...... 03:04 15 Lux aeterna ...... 02:58 71 Missa in c KV 427 CD 1 18 Coach in Slow Mode ...... 04:17 16 Coach ...... 02:58 17 Coach in Slow Mode ...... 04:08 Kammerchor Stuttgart · Hofkapelle Stuttgart 19 Domine Jesu ...... 03:20 43 Frieder Bernius * Seitenzahl in der Klavierauszug-Ausgabe 18 Lux aeterna ...... 02:25 74 Carus 51.651/91 bei Carus (51.626/03) / Page number refers 19 Coach ...... 02:25 SOPRANO Wolfgang Amadeus Mozart (1756–1791) DDD | GEMA to the vocal score by Carus (51.626/03) 20 Coach in Slow Mode ...... 03:16 Missa in c KV 427 CD 1 Carus Choir Coach bietet Chorsängern die Möglich- The Carus Choir Coach offers choir singers the oppor- Kammerchor Stuttgart · Hofkapelle Stuttgart keit, ihre Chorstimme im Gesamt klang von Chor und tunity to study and learn their own, individual choral Instrumenten einzustudieren. Für jede Stimmlage ist parts within the context of the sound of the entire Frieder Bernius eine separate CD mit allen Chorwerkteilen erhältlich. choir and orchestra. For every vocal range a separate Sarah Wegener, Soprano · Sophie Harmsen, Mezzosoprano Der CD liegen Einspielungen renommierter Interpreten CD containing each choir part is available. Wolfgang Amadeus Mozart (1756–1791) zugrunde. The CD is based on recorded interpretations by Colin Balzer, Tenore · Felix Rathgeber, Basso Jeder Chorwerkteil liegt in drei Varianten vor: renowned artists. Kammerchor Stuttgart · Hofkapelle Stuttgart Missa in c KV 427 – Originaleinspielung (Carus-CD 83.207) Each choir part is presented in three different versions: – Coach: jeweilige Stimme wird auf dem Klavier mit- – Original recording (Carus-CD 83.207) Frieder Bernius Kammerchor Stuttgart · Hofkapelle Stuttgart gespielt, Originaleinspielung im Hintergrund – Coach: each part is accompanied by the piano, with Frieder Bernius – Coach in Slow Mode: durch Tempo reduzierung the original recording sounding in the background können komplizierte Partien effektiv geübt werden – Coach in Slow Mode: through a slow down of

the tempo difﬁ cult passages can be learned more Carus 51.651/91 effectively

An extraordinary new publication is now available in carus music, the choir app and as Carus Choir Coach: the C Minor Mass K. 427 by Wolfgang Amadeus Mozart in the new version by Frieder Bernius and Uwe Wolf. In this work, the coach does not offer a reinforcement of the selected voice part, but is based on individual recorded parts sung by the Kammerchor Stutt- gart, making practicing even more enjoyable!

Just have a try: In carus music, the choir app, you can find a movement for free!

NEW Vocal scores XL Giuseppe

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

New published or in preparation

Felix Mendelssohn Bartholdy Franz Schubert Vom Himmel hoch Mass in G major Carus 40.189/04 Carus 40.675/04 vocal score · XL · Vocal score Wolfgang Amadeus Mozart Giuseppe Verdi Coronation Mass Messa da Requiem Carus 27.303 Carus 40.618/04 Carus 27.303/04

See left page for more Vocal scores XL.

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: * carus music, the choir app, in preparation ¤ Carus Choir Coach available + Vocal score XL available www.carus-verlag.com/en/focus/carus-plus

31 Mozart vocal Masses & Requiem · Litanies & Vespers · church works

C Minor Mass K. 427: New version

Carus Choir Coach – SOPRANO – Übe-CD für Chorsänger Carus 51.626/45 Wolfgang Amadeus Wolfgang Amadeus Mozart (1756–1791) Requiem KV 626 · ergänzt von Franz Xaver Süßmayr Missa in c Mozart Carus Choir Coach Dauer Seite* Dauer Seite* Duration Page* Duration Page* MOZART CD 1 CD 2 1 Requiem aeternam ...... 05:04 3 1 Coach ...... 03:22 2 Coach ...... 05:04 2 Coach in Slow Mode ...... 04:39 SOPRANO 3 Coach in Slow Mode ...... 07:05 Missa in c 3 Hostias ...... 03:48 51 4 Kyrie eleison ...... 02:22 8 Carus Choir Coach 4 Coach ...... 03:48 5 Coach ...... 02:22 KV 427 5 Coach in Slow Mode ...... 05:14 6 Coach in Slow Mode ...... 03:18 ergänzt und herausgegeben von 7 Dies irae ...... 01:47 14 6 Sanctus ...... 01:41 58 8 Coach ...... 01:47 7 Coach ...... 01:41 Frieder Bernius & Uwe Wolf SOPRANO 9 Coach in Slow Mode ...... 02:30 8 Coach in Slow Mode ...... 02:17 Carus 51.651/91 DDD | GEMA 10 Rex tremendae ...... 01:54 24 9 Benedictus ...... 00:35 66 Carus Choir Coach Carus Choir Coach SOPRANO 11 Coach ...... 01:54 10 Coach ...... 00:35 CD 1 12 Coach in Slow Mode ...... 02:38 11 Coach in Slow Mode ...... 00:45 13 Confutatis ...... 02:28 35 Carus Choir Coach Wolfgang Amadeus Mozart: C Minor Mass K. 427 12 Agnus Dei ...... 03:13 67 14 Coach ...... 02:28 SOPRANO 13 15 Coach in Slow Mode ...... 03:27 Coach ...... 03:13 Carus 51.651/91 14 Coach in Slow Mode ...... 04:30 Übe-CD für Chorsänger Wolfgang Amadeus Mozart (1756–1791)DDD | GEMA 16 Lacrimosa ...... 03:04 40 17 Coach ...... 03:04 15 Lux aeterna ...... 02:58 71 Missa in c KV 427 CD 1 18 Coach in Slow Mode ...... 04:17 16 Coach ...... 02:58 Kammerchor Stuttgart · Hofkapelle Stuttgart completed and edited by Frieder Bernius and Uwe Wolf 17 Coach in Slow Mode ...... 04:08 19 Domine Jesu ...... 03:20 43 Frieder Bernius * Seitenzahl in der Klavierauszug-Ausgabe 18 Lux aeterna ...... 02:25 74 Carus 51.651/91 bei Carus (51.626/03) / Page number refers 19 Coach ...... 02:25 SOPRANO Wolfgang Amadeus Mozart (1756–1791) DDD | GEMA to the vocal score by Carus (51.626/03) 20 Coach in Slow Mode ...... 03:16 Missa in c KV 427 CD 1 (without additional movements), 55 min Carus Choir Coach bietet Chorsängern die Möglich- The Carus Choir Coach offers choir singers the oppor- Kammerchor Stuttgart · Hofkapelle Stuttgart keit, ihre Chorstimme im Gesamt klang von Chor und tunity to study and learn their own, individual choral Instrumenten einzustudieren. Für jede Stimmlage ist parts within the context of the sound of the entire Frieder Bernius eine separate CD mit allen Chorwerkteilen erhältlich. choir and orchestra. For every vocal range a separate Sarah Wegener, Soprano · Sophie Harmsen, Mezzosoprano Der CD liegen Einspielungen renommierter Interpreten CD containing each choir part is available. Wolfgang Amadeus Mozart (1756–1791) zugrunde. The CD is based on recorded interpretations by Colin Balzer, Tenore · Felix Rathgeber, Basso Jeder Chorwerkteil liegt in drei Varianten vor: renowned artists. Kammerchor Stuttgart · Hofkapelle Stuttgart Missa in c KV 427 Carus 51.651, with facsimile – Originaleinspielung (Carus-CD 83.207) Each choir part is presented in three different versions: – Coach: jeweilige Stimme wird auf dem Klavier mit- – Original recording (Carus-CD 83.207) Frieder Bernius Kammerchor Stuttgart · Hofkapelle Stuttgart gespielt, Originaleinspielung im Hintergrund – Coach: each part is accompanied by the piano, with Frieder Bernius – Coach in Slow Mode: durch Tempo reduzierung the original recording sounding in the background können komplizierte Partien effektiv geübt werden – Coach in Slow Mode: through a slow down of

the tempo difﬁ cult passages can be learned more Carus 51.651/91 effectively Now available in carus music, the choir app,

Also available:

Wolfgang Amadeus Mozart MOZART C Minor Mass K. 427 Missa in c · KV 427 (arr. Bernius / Wolf) Missa in c KV 427 completed and edited by Robert D. Levin (2005) ergänzt und herausgegeben von completed and edited by Robert D. Levin liturgically complete work, 80 min Carus 51.427

Stuttgarter Mozart-Ausgaben

C C

Carus 51.427

Mozart´s complete sacred vocal works are available from Carus in critical editions with practical performance material. C Carus