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Messe in h-Moll

Messe in h-Moll

Bachs h-Moll-Messe

Analysis of the entire work with many musical examples

Messe in h-Moll

Messe in h-Moll

Bach: h-Moll-Messe [Bernius]

Bach's B minor Mass is among the greatest and most ambitious works of all time. The various stages of composition of the Mass occupied the composer for over two decades: beginning with the Sanctus [1724], by way of the "Missa" of 1733, to the remaining movements of the Ordinary, which were composed during his last years. Thus the Mass, in its wealth of forms with arias, duets, as well as concertante and fugal choruses, displays the essence of Bach’s skill and personal style. The "greatest musical work of art of all times and all peoples" [to quote the enthusiastic Hans Georg Nägeli, who first edited the Mass in 1818] and one of the most demanding choral works in the repertoire ispresented by Frieder Bernius, the Kammerchor Stuttgart and the Barockorchester Stuttgart in a stellar recording based on the principles of historical performance practice [Carus 83.211].

Messe de Minuit pour Noël - H 9

Deux Antiennes à la Vierge : H 18, 19

In the extensive œuvre of French composer Marc-Antoine Charpentier, the Marian Antiphons take pride of place among the smaller sacred works. He devoted himself to them for almost 25 years while working in the Italian-influenced circle of the Duchess Marie de Lorraine (known as Mademoiselle de Guise) and later in the service of the Paris Jesuits. This volume contains settings of the Salve Regina and the Ave Regina caelorum for two sopranos, mezzo-soprano, and basso continuo.

Deux Antiennes à la Vierge : H 18, 19

Te Deum : H. 146 - Foreword in German and English

Nacht ruht auf den fremden Wegen : G minor - H 225

Wake, o wake and hear the voices : BR JCFB H 101

H. Schütz und andere zeitgenössische Musiker : in der Lehre Giovanni Gabrielis

Contributions to Musicology, Tübingen

Deux Antiennes à la Vierge : H 18, 19 (Full Score without cover)

Deux Antiennes à la Vierge : H 18, 19 (Full Score with preface in D, ENG, F)

Quatre Antiennes à la Vierge pour deux dessus : Four Marian antiphons for two high voices - H 16, 21, 22, 32

Quatre Antiennes à la Vierge pour deux dessus : Four Marian antiphons for two high voices - H 16, 21, 22, 32

Messiah : Understanding and Performing Handel's Masterpiece

This book on Handel's Messiah reflects Helmuth Rilling's remarkable skills, both as a conductor and as an educator. It is literally a 'study-guide' for conductors and performers which shows the step-by-step thought process Rilling uses in preparing a score - a methodology which can be applied to any work. More importantly, Rilling challenges the reader to probe Handel's thinking - to consider ways of more effectively communicating the deeper layers of meaning found within this masterwork. [H. Royce Saltzman, Executive Director Emeritus, Oregon Bach Festival]

Georg Friedrich Händel: Neun deutsche Arien

Praise of the beauty of nature and eternal life are the subjects of the sacred poems by B. H. Brockes which Handel set to music in his "Nine German Arias". In these nine pieces for soprano and a small group of instruments, to be chosen at will, Handel drew in many places on music from his own operas, with the voice part in the German arias adapted to be less virtuosic and more deeply expressive. The "Three German Arias", recorded for the first time on this CD, by Johann Mattheson, which were formerly attributed to Handel, are a real discovery for the repertoire. The soprano Monika Mauch is accompanied in her beautiful interpretation of the arias by the specialist ensembleL'arpa festante.

Psalmen Davids. Complete recordings, Vol. 8

In the complete recording of Schütz’s works, The Psalms of David constitute a pinnacle not only in the composer’s oeuvre but also in this edition splendid, often polychoral music, captured in breathtaking surround sound and a luxurious ensemble are just some of the features that have made this recording into a veritable Schütz feast. The Dresdner Kammerchor and the Dresdner Barockorchester under Hans-Christoph Rademann are supported by renowned soloists, among whom particularly Dorothee Mields and Stephan MacLeod rank among the top international specialists for historically informed performance practice. A further interesting feature is the large-scale psalm Danket demHerren, denn er ist freundlich SWV 45, which has been recorded here for the first time in a version for brass choir and timpani as reconstructed by the trumpeter Edward H. Tarr. A coproduction with MDR figaro.