Format : Octavo
SKU: HL.50603806
ISBN 9781705144756. UPC: 840126992670. 7.75x11.0x0.355 inches.
Based on the Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for male voices. The lyrics in this Urtext edition are in the original languages and in the translations authorized by the composer. Literal English translations are provided in the appendix, which also includes the early version of Four Hungarian Folk Songs and the German version of movements 3 to 6 from Székely Folk Songs. The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper. This volume is also available cloth-bound, along with the volumes for children's and female voices and for mixed voices, in slipcase(HL50603804). Separate editions of each work included in this volume are also available.
SKU: HL.50606536
ISBN 9781705191002. UPC: 196288127147.
This publication is based on volume 9 of the Bela Bartok Complete Critical Edition, published jointly by G. Henle Verlag, Munich, and Editio Musica Budapest Zenemukiado.
SKU: BT.EMBZ20036
English-German-Hungarian.
Based on the Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for male voices. The lyrics in this Urtext edition are in the original languages and in the translations authorized by the composer. Literal English translations are provided in the appendix, which also includes the early version of Four Hungarian Folk Songs and the German version of movements 3 to 6 from Székely Folk Songs.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailedinformation on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for children's and female voices and for mixed voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.
SKU: HL.14000823
Village Gossip is the first movement of Czech composer Antonin Dvorak's cycle 'Five Choruses For Male Voice'.
The cycle of five choruses is set toLithuanian folk texts translated by Frantisek Ladislav Celakovsky and is written for unaccompanied male choir (TTBB Voices). The title page of the autograph score bears the note: Composed on the journey from Prague to Vienna,12thof December 1878.
The individual parts of the cycle present a vibrant palette of moods, from the balladic 'Dwellers by the Sea' to the final, light-hearted 'The Sparrow's Feast'. The songs' melodies echothe spirit of folk songs, and the composer used simple but colourful harmonies and chose a strophic form.
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: BR.CHB-5323-00
Choral music for all occasions in the original notational image, sorted by genres and themes
ISBN 9790004412534. 7.5 x 10.5 inches.
The Choir Library for Women's and Children's Choir invites browsing and discovering: Apart from Johannes Brahms, Robert Schumann and Franz Schubert, also lesser known composers like Arnold Mendelssohn, Hanns Eisler and Siegfried Strohbach are represented. The division into sacred and secular compositions as well as the sorting by genres and themes enable a fast locating and retrieving of the pieces. This also makes the usage of the volume by the whole choir a viable option in order to have a basic repertoire at hand. Last but not least, the small oeuvre for women's and children's choir can be purposefully complemented.We wish you lots of joy at discovering and singing!Sacred MusicI. Christmas Carols and MotetsII. Songs of PraiseIII. Psalm SettingsIV. Sacred Choral WorksV. Masses, Mass Sections and HymnsSecular MusicI. Love Songs and BalladsII. Nature and Evening SongsIII. Children's SongsIV. Parting Songs and Solemn PiecesV. Dance and Folk SongsChoral music for all occasions in the original notational image, sorted by genres and themes. Let yourself be inspired by more of our Choir Libraries as well.
SKU: CF.CM530
ISBN 9781491144978. UPC: 680160902477. 6.875 x 10.5 inches. Key: G major. English. Edvard Bull.
From his Album for Male Voices, Op. 30, a set of 12 Norwegian folksongs set for chorus with male leads, The Great Angelic Host was arranged for double mixed chorus by Eyvind H. Bull, and has here been edited by Walter Aschenbrenner. We are pleased to make this exquisite choral work available once again. David Monrad Johansen, in his published life of Grieg, was moved to say, In The Great Angelic Host true religious feeling has been given the purest expression. This composition shows what wonderful material we have right at hand on which to base a future church music for Norway..
SKU: BR.CHB-5386
ISBN 9790004413876. 7.5 x 10.5 inches. German.
It is unknown when exactly Brahms wrote his 13 Kanons op. 113, a collection of 13 rounds for female voices. However, it is likely that the individual pieces were composed between 1859 and 1863 and for various occasions. In this period, Brahms did various counterpoint studies to which the rounds as one the strictest forms of counterpoint fit nicely. Another contributing factor around this time was Brahms' work with the newly founded Hamburger Frauenchor [Hamburg Female Choir]. Some of the rounds can be found in the part books of this ensemble. The innocent, small, amorous lines that should be sung lightly and joyfully by pretty girls were not published until 1891. For the whole set, Brahms received the formidable salary of 6000 marks. As well as using lines by famous writers, Brahms drew lyrics from folk songs, too.For three, four and six female voices a cappella.
SKU: BR.CHB-5386-02
SKU: HL.14013374
ISBN 9788759876220. Norwegian.
Varen (Last Spring, Op.32 No.2) was the second in a collection of twelve songs, originally for solo Voice and Piano, published in 1881. It takes its lyrics from a poem by the Norwegian poet Aasmund Olavsson Vinje (1818-1870). Is has been arranged for SSAA Female Voices by Emil Nielsen . Edvard Grieg (1843-1907) was born in Bergen, Norway, and studied Piano at the Leipzig Conservatory. He became interested in Norwegian folksong, and began to employ it as a source of musical material and inspiration in his compositions. He was soon established as a major composer. Despite his success, Grieg was of a retiring disposition and spent most of his time at his house in Troldhaugen, nearBergen, avoiding visitors and shunning public acclaim.