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Libera me : Responsorium

Asperges me : Antiphon

Asperges me : Antiphon

Asperges me : Antiphon

How dear to me the hour : G major

Scarlatti: Geistliche Chorwerke [Carus Classics]

On the occasion of its 40th anniversary Carus has initiated a new series Carus Classics, featuring outstanding CD productions from the past library of recordings. This exclusive collection, designed by Friedrich Forssman and Cornelia Feyll, is presented in high-quality DigiPacs and each CD includes an extensive booklet. "The performances by the 50-voice choir are highly competent." American Record Guide, May 1992

Brahms: Liebeslieder-Walzer [Carus Classics]

On the occasion of its 40th anniversary Carus has initiated a new series Carus Classics, featuring outstanding CD productions from the past library of recordings. This exclusive collection, designed by Friedrich Forssman and Cornelia Feyll, is presented in high-quality DigiPacs and each CD includes an extensive booklet. "All four parts blend nicely, even at high dynamic level. The chorus sings with good line and the ‘pleading’ phrasing, which communicates these love-songs so well, is beautifully done." American Record Guide, May 1992

Messiah : Understanding and Performing Handel's Masterpiece

This book on Handel's Messiah reflects Helmuth Rilling's remarkable skills, both as a conductor and as an educator. It is literally a 'study-guide' for conductors and performers which shows the step-by-step thought process Rilling uses in preparing a score - a methodology which can be applied to any work. More importantly, Rilling challenges the reader to probe Handel's thinking - to consider ways of more effectively communicating the deeper layers of meaning found within this masterwork. [H. Royce Saltzman, Executive Director Emeritus, Oregon Bach Festival]

Messe in e, Josef Gabriel Rheinberger : Requiem in Es op. 84 Musica Sacra VIII

In his well-known “Mass in E minor” Anton Bruckner combined the vocal style of the Palestrina period with the musical resources of his own time. Along with its austere sound picture and its powerful dynamic contrasts, this Mass differs from Bruckner's other orchestral masses above all by reason of its uncommon accompaniment of wind instruments alone. In addition to Bruckner's demanding funeral motet "Libera me", Josef Gabriel Rheinberger's "Requiem in E flat" op. 84 is here recorded for the first time. In a masterful a cappella structure Rheinberger created, with straightforward resources, wide areas of tension and extremely effective musical highlights. The KammerChorSaarbrücken again demonstrates its supreme quality, convincing especially in the absolutely homogeneously sung a cappella passages and by its fine dynamic shading.

Gonzalo Grau: Aqua : Oratorium

Gonzalo Grau's oratorio Aqua, commissioned by the International Bachakademie Stuttgart, is concerned with the important global theme of "water." It is precisely in central Europe that this precious commodity is frequently and thoughtlessly wasted, while in other parts of the world it is so scarce. Moreover, water shows two sides, which Grau makes audible in his oratorio: It gives, but it can also take life - in some places rain brings luck, while in others it brings destruction. Worldwide water is a theme, it means different things in different cultures - this, for example, is reflected in the music of Indian and African cultures. Gonzalo Grau’s compositional style is markedby a variety of influences: "For me a Gregorian chant is just as beautiful as a Cuban Santer a song. Indian ornamentation and baroque articulation can both appear in the same piece," says the composer. Special sound effects make Aqua a multi-cultural oratorio in which man and the environment is the central theme.

The Great Wall

The Great Wall developed out of an improvisation, a homage to the Great Wall of China. Two motifs dominate in the work, which requires a three-manual organ: a two-measure ostinato in the pedal, and an oriental-sounding melody found on the manuals, in the basic shape and in the variations. The music leads seamlessly from an atmospheric picture into a rhythmically-driven crescendo, is interrupted by a storm fantasy before ending, after a second upsurge, in a radiant fortissimo. The dynamics and articulation are given very precisely in the score. The registration markings relate to the four-manual Mühleisen organ in the Stiftskirche Stuttgart, and are intended as a guide forperformance. This thrilling work, which recalls Ravel’s Bolero at certain moments, communicates directly with a wide range of audiences.

Orgelschule zur historischen Aufführungspraxis : Teil 3. Die Moderne

Volume 3 [in German] contains articles by different authors on the interpretation of organ music of the 20th century [ranging from the early modern era to the avantgarde]. The chapters are not structured based on a pre-existing mould or pattern. Rather they display stylistic diversity personal recollections appear together with analytical studies. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the result of practical and scholarly research whichpresent to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction.

Historical Performance Practice in Organ Playing : Part 1. Baroque and Classical Era

Volume 1 is organized into two main sections: Part A treats general technical and musical principles, while Part B explores the stylistic differences of interpretation between music of the early and high Baroque eras, the organ music of J. S. Bach and the late Baroque, as well as the organ music of the Classic era. The enclosed volume of music contains a selection of the works referred to in the book. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the resultof practical and scholarly research which present to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction.

Reger-Werkausgabe, Bd. I/2 : Phantasien und Fugen, Variationen, Sonaten, Suiten I für Orgel

Volume 2 of the Reger-Werkausgabe, in the category "organ music," comprises, in chronological order, the fantasies, fugues, variations, sonatas and suites which Max Reger composed between October 1894 and May 1901, primarily for concert purposes. In addition to the version of op. 33 printed in this volume, the DVD also contains the first version of mm. 75-88 from the Passacaglia, as well as the five variations composed for this movement [mm. 159 ff.] after the fact, which Reger wrote for Karl Straube. Volume 3 will conclude this category and will contain the following works: Sonata in D minor op. 60, Variations and Fugue on an original theme op. 73, Suite in G minor op. 92,Introduction, Passacaglia and Fugue in E minor op. 127, Fantasia and Fugue in D minor op. 135b. Starting with Vol I/2 of the Reger-Werkausgabe the DVD will include a user guide in English.

Chorbuch Trauer

64 choral settings [SATB] for worship services for commemorative anniversaries and catastrophic occurrences, edited by Matthias Kreuels and Martin Dücker. A fine sense of tact and sensitivity are expected of church musicians when communicating with the members of families in mourning or when commmemorating several persons who have died as the result of an accident. Although there is no lack of music for mourning, or choral pieces appropriate to these situations, but though often these works reflect the mood and feelings associated with mourning and they are not readily performed. This choirbook fills an important need: It offers a selection of proven repertoire which can beperformed with a minimum of rehearsal time; yet this repertoire still displays a high degree of quality. In addition, it includes an instructive musical and theological guide for arranging a funeral service, as well as additional suggestions for repertoire and further literature to be found beyond the scope of this choirbook.

Lukaspassion & Die Sieben Worte : Complete recordings, Vol 6

A seventeenth century Passion “Radio Drama,” the sixth installment of the recording of Schütz’s complete works by the Dresdner Kammerchor and Hans-Christoph Rademann presents three powerful works for Passion. The St. Luke Passion SWV 480 unfolds a panorama inviting us to experience an intense, inward-looking pictorial reflection on Jesus’s Passion. The words of Luke the Evangelist are sung without accompaniment, the musical means skillfully reduced to a minimum. This narrative is interrupted by the choruses, creating dynamic emotional scenarios, clamoring, pleading, querying and raging: in this way, Schütz creates a form of Passion, a “radio drama” with a deeply movingintensification of events. The well-known “Sieben Worte Jesu am Kreuz” [The Seven Last Words of Jesus on the Cross] SWV 478 is the first contribution of the viola da gamba player Hille Perl and her ensemble "The Sirius Viols" to the complete Schütz recording. The sophisticated structure of the work, the intense sensuality of the individual sections and the beauty of the musical message make the “Seven Last Words” a masterpiece. The third work on this CD, “Erbarm dich mein, o Herre Gott” [Have Mercy on me, O Lord God] SWV 447 for solo soprano accompanied by a consort of viols a composition for the Good Friday service represents a charming and appropriate complement to the “Seven Last Words”.

Historical Performance Practice in Organ Playing : Part 2. Der Romantic Era

Volume 2 presents a detailed interpretation of the organ music of Germany and France between 1800 and 1930. With the Romantic style of composition there arose a change from the technical style of playing, characterized by the differentiated non-legato of the Baroque and Classic eras to a fundamental style of legato playing in the romantic era. In addition, between 1830 and 1845 the first truly “romantic” organs were constructed, through which their builders [primarily Walcker and Cavaillé-Coll] opened up a completely new sound perspective to organists and composers alike. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It isaddressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the result of practical and scholarly research which present to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction.