Format : Vocal Score
SKU: CA.3140203
ISBN 9790007295080. German/English. Text: Henrici (Picander), Christian Friedrich.
Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe” BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor? The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph.
SKU: CA.3140212
ISBN 9790007301590. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140211
ISBN 9790007301583. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140249
ISBN 9790007301620. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140213
ISBN 9790007301606. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140205
ISBN 9790007295097. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140200
ISBN 9790007295066. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140209
ISBN 9790007301576. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140219
ISBN 9790007300258. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140214
ISBN 9790007301613. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.4066106
ISBN 9790007242718. Language: Latin.
Antonio Lotti's Kyrie in G minor and Gloria in G major are found together under the title Missa Sapientiae in a score which belonged to the Dresden church musician Jan Dismas Zelenka. Please note: Carus 40.661/06 only contains the score of the four purely solo movements. To perform the complete mass, the soloists also need the chorus score (Carus 40.661/05). Score available separately - see item CA.4066100.
SKU: OU.9780193954069
ISBN 9780193954069. 10 x 7 inches.
For SATB and organ Written in 1911, this work is mainly homophonic. Tenors and basses sing four phrases in unison and a soprano solo takes the phrase 'He rememb'ring his mercy'. The Gloria returns to the music of the opening and builds to a fine climax, as does the Nunc dimittis.
SKU: CA.2708905
ISBN 9790007187101. Language: Latin.
Besides Ernst Krenek and the Czech composer, Alois Haba, Felix Petyrek (1892-1951) was one the most important pupils who studied under Franz Schreker in the latter's early composition classes in Vienna. In his Missa phrygica, written in 1949 for four to eight voices (it can be performed by a choir with soloists/small choir), Petyrek employs elements of vocal polyphony from the Renaissance and early Baroque in a very personal, modern contrapuntal fashion. However, the brightness of the splendid sonority in both the Gloria and Credo, obtained essentially through the use of chains of parallel fifths, shows the influence of his teacher, Franz Schreker. Score available separately - see item CA.2708900.
SKU: CA.2708900
ISBN 9790007187071. Language: Latin.
Besides Ernst Krenek and the Czech composer, Alois Haba, Felix Petyrek (1892-1951) was one the most important pupils who studied under Franz Schreker in the latter's early composition classes in Vienna. In his Missa phrygica, written in 1949 for four to eight voices (it can be performed by a choir with soloists/small choir), Petyrek employs elements of vocal polyphony from the Renaissance and early Baroque in a very personal, modern contrapuntal fashion. However, the brightness of the splendid sonority in both the Gloria and Credo, obtained essentially through the use of chains of parallel fifths, shows the influence of his teacher, Franz Schreker.