A Jazzy Dozen -Arrangements for Jazz and Pop Choir

Exciting new compositions and arrangements for Jazz and Pop choirs. In "A Jazzy Dozen" eight established arrangers have presented a diversity of styles in vocal jazz and jazz- related music. A cappella ballads, Latin groove, swing and writing in close harmony appear alongside popular songs, gospel and new compositions. Not only the stylistic variety, but also the cooperation between internationally renowned arrangers make this a very special collection.

Gabriel: Swinging Christmas. Pop-Chorbuch II

Gabriel: Swinging Christmas. Pop-Chorbuch II

Extended Works. Fabulous Fridays

The Fabulous Fridays is a Jazz-Pop choir located at the University of the Arts in Berlin. Under the direction of Michael Betzner-Brandt, in the CD "Extended Works" the choir combines the Jazz-Pop-A-Cappella-Sound with larger, more classical forms [such as the suite, cantata, or motet]. Thus their music ranges from the "usual" three-minute pop numbers up to a larger from, which allows them more time to express their musical thoughts. The result is a wonderful, unconventional recording which cannot be fit into any pre-existing scheme; rather this is pure a cappella sound.

Pop-Chorbuch zum EG: Morning has broken

A Jazzy Dozen -Arrangements for Jazz and Pop Choir

carus novus - Musik vom Ende des 20 : Jahrhunderts / Music from the late 20th century

This CD includes works by five contemporary composers that have been published in the carus novus series. The various musics and sounds swing between the styles of the European avant-garde, post modern, experimental music and music of the pop culture.

Heinichen: Missa- Händel: Dixit Dominus [Rademann]

The music of the Court of Dresden is of special interest to Hans-Christoph Rademann and his two Dresden ensembles. Johann David Heinichen’s Missa No.11 is presented in a manner in which the musicians can display the entire majestic sound of this festive court music from the baroque era.

Peter Schindler: Sonne, Mond und Sterne : Szenische Kantate in zwei Akten

In his new work Sonne, Mond und Sterne [Sun, moon and stars], composer Peter Schindler combines texts from five centuries to form a kaleidoskope of life. The music, closely reflecting the many and diverse texts, borrows influences from classical music and jazz, chanson, pop and chamber music, and is merged into a unique and unmistakable musical language by Peter Schindler.

Wolfgang Amadeus Mozart: Litaniae [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. Mozarts Litanies and Vesper settings are works which are convincing due to the musical liberties which they display, through the joy of experimentation and through their variety of form. “… the performers’ joy of making music and the differentiated shaping by Tõnu Kaljuste shows the quality of the compositions.” [Musica sacra, 2000]

Singfonie

Singfonie is more than a hodgepodge of scat syllables, motives, patterns and riffs in a largedesigned form. rather it attempts to unite traditional forms with modern styles. The achievements of past circle song and improvisational techniques are blended with the pure feeling for rhythms and joy in the pursuit of motivic development in the four movements, which are primarily for double choir. Thus, some rhythmic and motivic germ cells are to be rediscovered in various movements, including the pulsing and unfolding tone repetitions of the first and last movements. a new journey of discovery through the world of pop-choral singing.

Missa in tempore incerto

Following the great success of his Magnificat, the internationally famous pop and jazz choir composer Christoph Schönherr has composed his MISSA in tempore incerto. “MISSA in tempore incerto Mass in a difficult time. The beginning of the 21st century is beset by threats to the planet that will pose undreamt-of challenges to humanity. The music oscillates between fervent entreaties, cries for help, and hope. For the musical exegesis I found suitable and contemporary idioms in blues and Latin styles in particular. The instrumental scoring of the Mass is similar to that of the Magnificat, and thus a concert combining the two works would be possible.

Pastoralmusik für Orgel, Band 2 : Deutschland, Böhmen, Österreich, Südtirol

This volume presents 64 Pastorale compositions for organ [harpsichord/pianoforte] of the 18th century from Germany, Bohemia, Austria and South Tyrol. Charming melodies shaped by natural notes, bordoun basses, a lyrical-cheerful or sensitive tone these are some of the common characteristics of the works in this collection. Several of them are connected to the custom of the "Kindlwiegen" or cradle song. Those in search of new discoveries will also find a number of first editions here. Almost all of the pieces can be played manualiter and range from easy to moderate level of difficulty. Together, both Pastorale volumes display an impressive kaleidoscope of the different nationalcharacteristics of the pastorale and offer a rich repertoire for organists, not only at Christmas time.

Chanson triste : E flat major - 2,4

The few works which Henri Duparc composed and left to posterity display a deep preoccupation with grief and pain, coupled with a great fear of loneliness. His Chanson triste (Sad Song), composed in 1868 or 1869, was one such work. Duparc treasured it so much that he made an orchestral version of it in 1912. He set texts by contemporary French poets such as Charles Baudelaire, Sully Prudhomme, and Henri Cazalis, who wrote under the pseudonym Jean Lahor. Denis Rouger, founder and director of the figure humaine chamber choir, has arranged art songs for solo voice and piano for his ensemble, in the process carefully adapting these to the needs and expressive possibilities offered bya larger ensemble. Music edition for the successful CD “Kennst du das Land...” (Carus 83.495).

Josef Gabriel Rheinberger: Die Wasserfee

The works of the composer Josef Gabriel Rheinberger are mostly unknown today. In the later 19th century in mid-Europe he was quite well-known. Rheinberger’s compositional oeuvre is certainly not restricted to the realm of sacred music. He repeatedly occupied himself with the solo lied, publishing eleven lied collections containing altogether more than 100 songs between 1862 and 1890. In their musical language, Rheinberger’s lieder look for models not among his contemporaries, but in the early 19th century, in Schubert, Mendelssohn and Schumann. Rheinberger’s predominant use of the strophic form hearkens back even further, to the “Second Berlin Lied School” around CarlFriedrich Zelter. But, Where Schubert or Hugo Wolf would have emphasized the dark, despairing aspects of a poem, Rheinberger’s lieder display an almost Haydnesque clarity. Most of the songs recorded on the present CD Die Wasserfee [Water sprite] are first recordings.

Advents- und Weihnachtslieder. Chorbuch 4stimmig

The repertoire of this four-voice choral collection ranges from the Baroque via the Romantic era to modern choral music. New settings of well-known Christmas songs have been especially composed for this collection. Many renowned composers contributed to this choral collection. A special attraction is the fact that, from an international perspective, a number of traditional German songs were arranged by composers from Poland, Denmark, England, Japan, South America, Italy, the Nethelands and Lithuania. For several of the Christmas songs two arrangments were chosen, so that an older and a modern setting of would be available. Around forty lieder were expresslyarranged for the collection. Many of the contemporary arrangements draw on jazz and swing styles, or on pop music. The repertoire is suitable for Advent, Christmas, the New Year and Epiphany.

Magnificat : The Groovy Version of OX

Christoph Schönherr, Professor at the Hamburg Conservatory of Music, is a respected expert in the field of jazz and pop choirs and he is a much sought after choral composer. He has written of his work: “I have been especially influenced by the polarity of the text. On one hand it expresses Mary's joy at her pregnancy, but on the other Mary presents a bold image of God: a God of almost old Testament sternness in his demand for justice on earth. My music depicts a strong woman, who rejoices in her happiness and also swings [many 6/8, 12/8 and swing passages], but on the other hand who in formulating her concept of God clearly stands up for the poor and needy. Here I use stylisticelements of rock and funk music.”

Orgelschule zur historischen Aufführungspraxis : Teil 3. Die Moderne

Volume 3 [in German] contains articles by different authors on the interpretation of organ music of the 20th century [ranging from the early modern era to the avantgarde]. The chapters are not structured based on a pre-existing mould or pattern. Rather they display stylistic diversity personal recollections appear together with analytical studies. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the result of practical and scholarly research whichpresent to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction.

Chorbuch a Tre

Today an increasing number church choirs are lamenting the lack of male voices. The present Chorbuch a tre (choir book a tre), anticipated by many, addresses this situation. It contains 160 three-part settings for two female voices and one male voice (some with accompaniment). The collection, designed for ecumenical use, offers a broad selection of choral settings for the church year, times of the day, praise and thanks, the Ordinary, etc. It includes works from from the 17th century to the present, and presents a range of various styles (including gospel and sacred pop). About 50 settings were written for this choir book by renowned composers and church musicians. Choirmasterscan now enjoy having a current, comprehensive collection of three-part choral settings with a variety of ideas for singing and making music in worship services.

Sämtliche Motetten. Werkausgabe. Neue Ausgabe 2014

In the new edition, the collection of 67 motets [Carus 4.100] is expanded by the addition of two three-choir motets and three choral songs; the foreword and Critical Report have been updated, reflecting the latest state of research. “... the most important body of motets between Johann Sebastian Bach and Felix Mendelssohn ...” [Frieder Bernius]. During his lifetime Homilius was regarded as one of the most famous and productive composers of sacred music, but in the 19th century he fell into oblivion. Only now is he being recognised in his role as one of the most important composers of the ‘Empfindsamer’, or sensitive, style. His motets clearly display the compositionalcharacteristics of early classicism: the counterpoint is subordinated to the simple harmonies, the regularly-structured themes follow the ideal of the ‘unity of sentiment’ and of ‘pleasing, natural singing’. The collection contains something for all occasions and every level of difficulty. The informative foreword contains details about the composer’s life and work, together with suggestions for performance practice. A detailed Critical Report completes the edition.