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Unlike Bach's other oratorio compositions, there is no definitive version of the St. John Passion. The first version of 1724 which is today's standard version represents a mixture of different readings. The second version of 1725 was performed under the direction of Bach himself and can therefore be considered authentic. In addition to a change in order of several movements,… Saber más sobre este artículo

This publication offers a source-critical edition of Mozart's fragmentary "Requiem" as well as an alternative to the traditional Süßmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in… Saber más sobre este artículo

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance and transposed it to D major, providing better sonority for the three trumpets. This version, first performed in… Saber más sobre este artículo

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, and transposed it to D major, providing better sonority for the three trumpets, which is the standard version… Saber más sobre este artículo

An interesting case of self-borrowing. Bach took music from his own Mass in B-minor (BWV 191/1 corresponds to the Gloria in excelsis Deo, BWV 191/2 to the Domine Deus, BWV 191/3 to the Cum Sancto Spiritu) for use in this latin cantata written to celebrate the Peace of Dresden which marked the end of the 2nd Silesian war. It was… Saber más sobre este artículo

This is an unabridged digitally-enhanced reissue of the vocal score that was prepared by Jean Roger-Ducasse and published by J. Hamelle & Cie. in 1900. Measure numbers have been added along with a table of contents and instrumentation. The large format is extremely easy to read for singers, choruses and pianists. This is Faure's final version the Requiem. The accompaniment… Saber más sobre este artículo

This is a new, digitally enhanced reissue of the classic vocal score prepared by Friedrich Brissler and issued by C.F. Peters of Leipzig around 1880. Brissler's vocal score was arranged from the well-known completion of Mozart's unfinished masterpiece done by his student Franz Xaver Süssmayr in 1792 at the request of Mozart's widow Constanze. Includes contents, instrumentation, and an English… Saber más sobre este artículo

Though it was composed in 1852, the Requiem wasn't published until a decade after the composer's death in 1856. This newly engraved vocal score is based upon the one prepared by Schumann himself that was first issued in conjunction with the Schumann complete works in the 1880s, supervised by his widow Clara and good friend Johannes Brahms. Includes contents page… Saber más sobre este artículo

For the Credo in E minor, Vivaldi borrowed some material he composed for his Magnificat, which places it later - probably after 1727. This completely choral work has much in common stylistically with the very famous Gloria (RV 589) and with his earlier psalm setting In exitu Israel (RV 604). Clayton Westermann's 1970 edition, with an English translation beneath the… Saber más sobre este artículo

Berlioz composed his Grand Messe des Morts, or Requiem, in 1837 for a huge orchestra with four brass choirs plus the usual vocal soli and chorus. The vocal score presented here was prepared by the Polish pianist and composer Philipp Scharwenka (1847-1917) to coincide with the issue of the full score issued as part of the Berlioz Complete Works published… Saber más sobre este artículo

The most famous of three settings of the Gloria text by Vivaldi, this one (RV 589) most likely dates from about the same time as its predecessor, during the composer's tenure at the Ospedale della Pietà convent in Venice (1713-40). It's also notable for the borrowing of the "Cum Sancto Spiritu" chorus in the setting composed by Vivaldi's fellow Venetian… Saber más sobre este artículo

This exceptional cantata was probably first heard at the Thomaskirche in Leipzig on June 16, 1726, though scholars cannot rule out it being composed for a festival later that year or early in 1727. The new digitally-enhanced vocal score presented here is reproduced from the series first issued to coincide with the monumental Bach Gesellschaft Ausgabe by Breitkopf und Hartel… Saber más sobre este artículo

An interesting case of self-borrowing. Bach took music from his own Mass in B-minor (BWV 191/1 corresponds to the Gloria in excelsis Deo, BWV 191/2 to the Domine Deus, BWV 191/3 to the Cum sancto spiritu) for use in this latin cantata written to celebrate the Peace of Dresden (which ended the 2nd Silesian war). It was first performed on… Saber más sobre este artículo

A newly engraved vocal score from the piano reduction prepared by the composer's son-in-law, Josef Suk (1874-1935). Dvorak composed the Te Deum in 1892, which was given its premiere at a delayed Columbus Day quadricentennial concert on Oct. 21, 1892 in New York.

Composed in 1849 in memory of Bruckner's friend Franz Sailer, the Requiem in D minor was the composer's first large scale work. The premiere was given at the St. Florian Abbey in Linz on September 15, 1849 under Bruckner's direction. This new study score is a digitally-enhanced reissue of the edition prepared by Robert Haas in the years following the… Saber más sobre este artículo

Long thought to be by Pergolesi, this splendid setting of the Magnificat text is actually by Pergolesi's contemporary Francesco Durante. This new vocal score is a digitally enhanced reissue of the one prepared by American musicologist Clayton Westermann in 1968. Now in a convenient size designed to fit into choral folders, measure numbers and an updated preface. Magnificat anima mea (chorus) Et… Saber más sobre este artículo

Schubert composed his sixth and final mass in the summer of 1828; it was premiered posthumously, on October 4, 1829, in the Viennese Parish Church of the Holy Trinity under the direction of the composer's brother, Ferdinand. In addition to five vocal soloists and chorus, the work is scored for pairs of oboes, clarinets, bassoons, horns and trumpets, three trombones,… Saber más sobre este artículo

Schubert's twelve movement work is a setting of a German paraphrase of the Latin sequence by F. G. Klopstock (1724-1803). It contains some of his finest choral writing. Unabridged digitally enhanced reprint of a vocal score prepared by Georg Gohler first issued in 1910 by Breitkopf & Hartel, Leipzig. Now with measure numbers and a very readable large A4 format. Coro:… Saber más sobre este artículo

Composed for an Easter Sunday performance in 1715 during Bach's tenure as court composer at Weimar, this cantata has long been a favorite among the more than 250 he wrote. Unabridged electronically enhanced reissue of the vocal score first published by C. F. Peters in ca.1880 based on the Bach Gesellschft volume which first appeared in 1857. Sonata Coro: Der Himmel lacht,… Saber más sobre este artículo

This is new, unabridged, digitally enhanced reissue of the classic vocal score for Schubert's youthful masterpiece prepared by Friedrich Spiro and published in 1904 by Breitkopf & Hartel. Composed when Schubert was only seventeen, the Mass in G entered the choral repertoire soon after its first publication in the mid-1800s. It's been a staple of the repertoire ever since. Kyrie Gloria Credo Sanctus Benedictus Agnus Dei