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Chorissimo! Blue-Schulchorbuch für gleiche Stimmen : PREMIUM Set

Geistliche Chormusik [Carus Classics]

The Carus Classics series features outstanding CD productions from Carus’ past library of recordings. The series has been designed exclusively by the well-known graphic artists Friedrich Forssman und Cornelia Feyll. This selection of Brahms’s sacred choral music shows a clear line of development from the early works, such as the songlike Ave Maria, to the contrapuntal masterpieces, the motets with their art of motivic variation.

Brahms: Liebeslieder-Walzer [Carus Classics]

On the occasion of its 40th anniversary Carus has initiated a new series Carus Classics, featuring outstanding CD productions from the past library of recordings. This exclusive collection, designed by Friedrich Forssman and Cornelia Feyll, is presented in high-quality DigiPacs and each CD includes an extensive booklet. "All four parts blend nicely, even at high dynamic level. The chorus sings with good line and the ‘pleading’ phrasing, which communicates these love-songs so well, is beautifully done." American Record Guide, May 1992

Requiem KV 626 : Arman Version

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Requiem KV 626 : Arman Version

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Requiem KV 626 : Arman Version

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

World, away, I long only for heaven : BuxWV 106

The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book "Poetisierende Jugend" (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem "Welt, packe dich" and a rhythmically concise triad motif.

Abba Yitkadash Shemakh : Lord's Prayer in Aramaic

I have used heterophony (simultaneous variation of a single melodic line) in the choral writing, not just because it is a technique I find rewarding as a composer and as a listener, but also as a way of reflecting the ’shared inheritance’ of the prayer – I mean, the many translations in which it exists and is regularly used, and the many denominations and strands of Christianity (and beyond) for whom it is a central, or model, way of speaking to God. My hope is that this piece, which may possibly have some connection to the actual physical sound of Jesus’ own words, will provide a meditative and a moving experience, whether performed in a liturgical or concert setting, andwhether performed by, or for, Christians or for those of any or no religious faith.

Albert Becker: Bleibe, Abend will es werden

Albert Becker belongs, with his a cappella choral music, to the traditional line of composers including Mendelssohn and his own contemporary Rheinberger. Expansive use of double choirs and effective combinations of sound with well-judged musical rhetoric clearly point back to classical vocal polyphony and the vocal music of the baroque age as models. After his studies Becker worked, with short interruptions, as a music teacher at various private institutions in Berlin, where Jean Sibelius was among his pupils. In the early 1890s he took over the renowned Berlin Cathedral Choir, and it was only the personal intervention of the Emperor Wilhelm II which prevented hisintended move to Leipzig as Thomaskantor. The prize-winning chamber choir CONSONO, under the direction of Harald Jers, gives extremely fine interpretations of these choral works, some of which are here recorded for the first time.

Les Berceaux

In “Les berceaux” the ships of men setting off into the unknown and the cradles with children pushed by the women’s hands both rock in 12/8 meter. Amongst all of this, an eighth-note motif is heard rocking to and from in the Piano accompaniment in Fauré’s unique and subtle pianistic language.These art songs were originally composed not for Chamber Choir, but for solo Voice and Piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the Choir has a melodic line drawn from the harmonic and rhythmicframework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Sei Mein!

“Sei Mein!” was written and composed by Peter Cornelius in 1865 for his future wife Bertha Jung. The composer set the poem in short rhyming lines using the scheme aaabcccb, recounting with loving humor what his beloved means to him.These art songs were originally composed not for Chamber Choir, but for solo Voice and Piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral languagecombines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Verborgenheit

Hugo Wolf composed over 250 songs to texts by the greatest poets of his day. One of the best-known of these is “Verborgenheit”. In Denis Rouger’s arrangement it reveals its own momentum which does not conflict with the original masterpiece, but presents new facets alongside it, inviting us to discover something new in the old.These art songs were originally composed not for Chamber Choir, but for solo Voice and Piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from theharmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Lydia

Gabriel Fauré’s original setting of “Lydia” contains a Piano accompaniment which is largely written colla voce – following the vocal part. In Denis Rouger’s arrangement this is omitted, and by contrast the peaceful, flowing character unfolds in a purely vocal texture. The dreamy ideas, full of longing, addressed to the beloved Lydia find their expression in a melody based on the Lydian mode – that is a major scale with a raised fourth.These art songs were originally composed not for Chamber Choir, but for solo Voice and Piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing theany of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Nell

The writer Charles Marie René Leconte, born on the French island of La Réunion, published his literary works under the nom de plume Leconte de Lisle ("the Count of the island"). His poem Nell, a poetic vow of eternal fidelity to the beloved, was written in 1852 and set to music by Gabriel Fauré in 1878. Long vocal phrases unfold over continuous sixteenth-note figurations in the piano, which combine emphatic depictions of nature and affirmations of love both in text and music. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by alarger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Au bord de l'eau : Op. 8 no. 1

In "Au bord de l’eau" (By the water) two lovers sit as in a dream, removed from the real world with all its conflicts. They only take themselves seriously, the surrounding nature lies as beneath a dream-like veil: steadily like the river flowing by, the passing clouds, the babbling brook, time also passes. The poet Sully Prudhomme, the first Nobel prizewinner for literature (1901), ends the poem with the assertion that only love is immortal. With this knowledge, Gabriel Fauré’s setting turns from a dreamy, deceptive C sharp minor to a more promising C sharp major. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger hascarefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Dans les ruines d'une abbaye : Op. 2 no. 1

The exuberant amorousness of a newly-wed couple pulsates in every note of Gabriel Fauré’s Dans les ruines d’une abbaye (In the ruins of an abbey). In this piece, the reverent silence of prayer no longer prevails, but within the venerable walls "various shouts of joy" and "sparkling laughter" are now heard. The old graves have long been overgrown by stinging nettles, and a new dawn of spring and of love fills the air. Napoleonic post-revolutionary France, which drove the author of the poem, Victor Hugo, into exile, is also building a new world on the ruins of olden days. Although the setting by the composer, 40 years younger than the poet, uses the romanticized backdrop of the oldabbey, with its 6/8-meter it reflects the uninhibited happiness of the two lovers, who do not look back. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).

Fußreise

Hugo Wolf set a total of 53 songs by Eduard Mörike, all in the year 1888. The composer wrote in a letter: "Once you have heard this song, it can only inspire one wish – to die." In the artistic-metaphysical milieu of the late 19th century this was regarded as the highest ideal, especially for Hugo Wolf, who believed in the body as a “wretched piano case” from which the soul can only break free like harmonies dying away. And yet "Fußreise" (Journey on Foot) begins as a simple, happy, elated song of travel, revolving around the key of D major over an ostinato piano rhythm. "Old Adam" believes he senses the "bliss of paradise" in this, but he continues to be caught in the tensionbetween earthly suffering and eternal longing, as the rest of Hugo Wolf's setting clearly shows: it remains a pious hope that a whole life "would be such a morning journey bathed in gentle perspiration". These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD "Kennst du das Land ..." (Carus 83.495).