SKU: HL.49025870
ISBN 9790001013864. German.
SKU: HL.48184786
Franck Panis Angelicus No 9 Unison Voices & Organ.
SKU: HL.49026707
ISBN 9790001019941. German.
SKU: CA.4020440
ISBN 9790007065119.
SKU: HL.49025871
7.5x11.0x0.039 inches.
SKU: HL.49026405
ISBN 9790001018746. German.
SKU: HL.49026662
German.
SKU: HL.14068045
SKU: BR.CHB-3481-02
ISBN 9790004404232. 7.5 x 10.5 inches. French / German.
Psalm 150 calls out to sing the praise of God on various instruments. Many composers have set this text to music, including Cesar Franck. Nevertheless, Franck, who worked as an organist in Paris for many years and wrote many orchestral works and oratorios, left only a few works on Biblical texts in a large setting. Franck wrote his setting of Psalm 150 in 1883 for the inauguration of the organ in a home for the blind in Paris. The basically simple, homophonic choral writing was conceived with the young students in mind. Franck regularly articulated the texture of the full orchestra with percussion and harp entries evocative of tone-painting. It is a short, effective work that has been making a strong impact at many choral concerts ever since its publication by Breitkopf & Hartel in 1896.
SKU: BR.EB-1523
ISBN 9790004160565. 9 x 12 inches.
SKU: CA.3116149
ISBN 9790007208882. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
The cantate was most likely performed for the first time on 27 September, the 16th Sunday after Trinity, 1716 at the Schlosskirche in Weimar. The text originated from the Kantatenjahrgang (yearly cantata cycle), Evangelisches Andachts-Opffer (Evangelical Devotional Offering) by the secretary of the Weimar high conistory, Salomon Franck. The sermon text for the 16th Sunday after Trinity, the raising of the boy from the dead at Nain (Luke 7: 11-14), is only indirectly reflected in Franck's cantata text. In a prevalent interpretation from that period of this biblical text, the raising of the dead is seen as an allegory for the resurrection of the faithful. Score and part available separately - see item CA.3116100.
SKU: CA.3116105
ISBN 9790007113070. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
The cantate was most likely performed for the first time on 27 September, the 16th Sunday after Trinity, 1716 at the Schlosskirche in Weimar. The text originated from the Kantatenjahrgang (yearly cantata cycle), Evangelisches Andachts-Opffer (Evangelical Devotional Offering) by the secretary of the Weimar high conistory, Salomon Franck. The sermon text for the 16th Sunday after Trinity, the raising of the boy from the dead at Nain (Luke 7: 11-14), is only indirectly reflected in Franck's cantata text. In a prevalent interpretation from that period of this biblical text, the raising of the dead is seen as an allegory for the resurrection of the faithful. Score available separately - see item CA.3116100.
SKU: CA.3116119
ISBN 9790007136871. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
The cantate was most likely performed for the first time on 27 September, the 16th Sunday after Trinity, 1716 at the Schlosskirche in Weimar. The text originated from the Kantatenjahrgang (yearly cantata cycle), Evangelisches Andachts-Opffer (Evangelical Devotional Offering) by the secretary of the Weimar high conistory, Salomon Franck. The sermon text for the 16th Sunday after Trinity, the raising of the boy from the dead at Nain (Luke 7: 11-14), is only indirectly reflected in Franck's cantata text. In a prevalent interpretation from that period of this biblical text, the raising of the dead is seen as an allegory for the resurrection of the faithful. Score and parts available separately - see item CA.3116100.
SKU: CA.4009509
ISBN 9790007061463. Language: Latin/English.
Unlike the well-known settings of the Seven Last Words by Schutz or Haydn, in his opulently scored composition Franck provides commentary to the words of Jesus with excerpts from the Old and New Testaments as well as from portions of the Stabat Mater. In his transposition of the Latin text into music Franck reveals a rich palette of compositional parameters: different-sized ensembles, exciting orchestration, formal variety and sophisticated harmony. Laments, simple passages for the choir in unison, passages with great drama, melodic shapes filled with sweetness convey to the listener a multi-layered impression of a composition stamped by a strongly personal will to expression. Wurttembergische Blatter fur Kirchenmusik 1/1991. Score and parts available separately - see item CA.4009500.
SKU: CA.301740
ISBN 9790007173661. Key: E minor. Text language: German. Text: Franck, Michael. Text by Michael Franck.
SKU: CA.4064659
ISBN 9790007293604. Key: A major. Latin.
Cesar Franck's great orchestral Mass in A major of 1861 is one of the works which the composer wrote for liturgical use at St. Clotilde in Paris, the church where he played for many years as a famous organist and organ improviser. Probably because of concerns on the part of his publisher, a few years after Franck composed his orchestral Mass he reworked it for much smaller forces: instead of orchestra, just organ, harp, cello, and double bass are required. It was this version of the work was first published in 1872 in Paris.As well as the orchestral version (40.646/00), Carus-Verlag also publishes this much reduced version - both in the original, now rather unusual, choral scoring for soprano, tenor, and bass (40.646/50), and in a four-part scoring adapted for modern-day choirs (40.646/60).Score and parts available separately - see item CA.4064600.
SKU: CA.3114713
ISBN 9790007208448. Key: C major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
Original form of the later BWV 147, composed in Weimar. Score and part available separately - see item CA.3114700.
SKU: CA.3116803
ISBN 9790007166724. Language: German/English. Text: Franck, Salomo. Text by Salomo Franck.
The text of Bach's cantata Tue Rechnung! Donnerwort was published in 1715, that is during Bach's Weimar period, in the Evangelisches Andachts-Opffer by Salomon Frank. This concisely-written but powerful work was, however, only composed ten years later in Leipzig, and was heard for the first time on 29 July 1725, the 9th Sunday after Trinity. Its main dramatic-musical emphasis lies clearly in the first movement, a dark, almost operatic movement for baritone and string orchestra in B minor. By contrast, the ensuing aria for tenor with obbligato oboe accompaniment is distinctly more intimate, and the duet between soprano and alto - just accompanied by continuo - is more restrained in its musical language and expression than the first movement. In between there are two extended recitatives, the first of which leads into an arioso. The breadth of expression within the cantata is striking, its opening movement a masterpiece of Bach's dramatic writing. Score available separately - see item CA.3116800.
SKU: CA.3116513
ISBN 9790007209100. Text language: German/English. Text: Franck, Salomo.
The cantata O heilges Geist- und Wasserbad (O Holy spirit's solemn rite) BWV 165 is one of Bach's earliest cantata compositions and was presumably first performed in the Weimar Schlosskirche for Trinity Sunday in 1715. With a simple instrumentation of only strings and basso continuo (including bassoon), the cantata offers an alternative to the later Leipzig cantatas for the Feast of the Holy Trinity, also with regard to the vivid interpretation of the text in the librettos by Salomon Franck. In the two expressive recitatives and the three distinctively different arias, Bach repeatedly emphasizes the central words of the text, which focuses on the meaning of the rebirth of the spirit through baptism. Score and part available separately - see item CA.3116500.
SKU: CA.3118015
ISBN 9790007050139. Key: F major. Language: German/English. Text: Franck, Johann. Text: Johann Franck.
Score available separately - see item CA.3118000.
SKU: CA.3116400
ISBN 9790007187170. Language: German/English.
This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form.
