Stabat Mater - Op. : 168 (LACHNER FRANZ)

SKU: CA.7003705

ISBN 9790007103750. Language: Latin.

Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was strictly for a vocal ensemble; the second, op. 168, from 1870 (see p. 5) included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Liszt and Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. Score available separately - see item CA.7003700.

SKU: CA.4077315

ISBN 9790007221034. Language: Latin.

2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb) Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble (CV 70.037); the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Liszt and Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. Score and part available separately - see item CA.4077300.

SKU: CA.4077305

ISBN 9790007109332. Language: Latin.

2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb) Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble (CV 70.037); the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Liszt and Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. Score available separately - see item CA.4077300.

SKU: CA.4077314

ISBN 9790007221027. Language: Latin.

2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb) Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble (CV 70.037); the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Liszt and Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. Score and part available separately - see item CA.4077300.

SKU: CA.4077312

ISBN 9790007221003. Language: Latin.

2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb) Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble (CV 70.037); the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Liszt and Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. Score and part available separately - see item CA.4077300.