| +++ Compositions for the Passion and Easter seasons +++ |
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| Bärenreiter News (February 2025) |
Dear musicians
Are you still looking for a choral work for the Passion and Easter season? We have put together some suggestions for you in this newsletter – there are works in a wide range of styles and of varying levels of difficulty.
We are sure, you will find something suitable.
Further information on our editions and music samples can be found on our website. All editions can be ordered directly from our webstore.
We look forward to receiving your orders.
With kind regards
Your international sales and marketing team |
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| Choral Music for the Passion Season |
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| | Complete scholarly critical edition based on the Urtext from the “New Bach Edition – Revised” (NBArev)
Foreword in two languages (Ger/Eng)
Easy-to-play piano reduction |
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Bach, Johann Sebastian
| St. John Passion "O Mensch, bewein" BWV 245.2
Version II (1725) | BÄRENREITER URTEXT
Editor: Bärwald, Manuel | | BA 5938-90 | EUR 21.50 | Vocal score | 9790006543991 | 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, the second version differs from the earlier version by the use of the opening chorus “O Mensch, bewein”.
The performance material corresponds to the Urtext edition of Version II which was recently published as part of the “New Bach Edition – Revised” (NBArev). | | |
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| Bach, Johann Sebastian | St. Mark Passion BWV 247
Recitatives and turbae by Reinhard Keiser (1674-1739) | A reconstruction
Editor: Gomme, Austin Harvey | | BA 5209-90 | EUR 27.95 | Vocal score | 9790006501175 | Gomme has added passages from Reinhard Keiser's setting of the Passion (a setting highly esteemed by Bach, who performed it several times), thereby allowing this lost work to be performed in its entirety. A detailed preface (Ger/Eng) sheds further light on this unique reconstruction.
Performance material available on hire. | | |
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| | Suitable for smaller-scale performances
Straightforward, idiomatic piano reduction |
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| Caldara, Antonio | | Stabat mater | | Arranger: Köhs, Andreas | | BA 8955-90 | EUR 11.50 | Vocal score | 9790006541713 | Antonio Caldara (1670–1736) is primarily known for his numerous oratorios and operas which brought him great popularity during his lifetime. Besides these large-scale compositions, Caldara also wrote smaller vocal works, of which his “Stabat mater” is the best known.
This publication is based on Eusebius Mandyczewski’s edition of the “Stabat mater”, which has, until now, been the definitive edition. The notation and key signatures have been adapted to today’s standards. The effective instrumentation with two trombones and strings supports the solemn character of the work and enables smaller-scale performances. | | |
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| Dvorák, Antonín | | Stabat Mater op. 58 | The Complete Works of Antonín Dvorák. Volume II/1
| | H 1882 | EUR 14.95 | Vocal score | 9790260104877 | The sacred cantata for solos, choir and orchestra was written as an expression of the pain Dvorak felt after the death of his daughter Josefa (September 1875). He returned to the final stylisation of the work after fate dealt him another heavy blow when, in the summer of 1877, two of his other children died in quick succession. Dvorak's musical setting of the medieval Passion text by Jacopone da Todi is an integral part of the Easter festivities and it is also performed regularly on the concert platform.
Arranged in ten independent parts, of which only the two outer parts are thematically related, this cantata is an unadorned, sincere, to a considerable extent realistic, but also magnanimous reflection of the emotional journey from the depths of torment and suffering to the joyful solace of compassionate prayer. This, together with its purely musical qualities, renders it one of the most compelling and most successful spiritual works in the world repertoire. This title is part of the first Complete Critical Edition of Works by Antonin Dvorak. The piano reduction was edited by Karel Solc and is based on the critical edition of the score.
Performance material available on hire. | | |
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| Haydn, Joseph | The Seven Last Words of our Saviour on the Cross Hob.XX:2
Oratorio (Vocal Version) | | Editor: Unverricht, Hubert | | BA 4655-90 | EUR 21.50 | Vocal score | 9790006452262 | Haydn originally composed “The Seven Last Words of our Saviour on the Cross Hob.XX:2” as Passion music for orchestra. He also made an arrangement for string quartet and oversaw a piano reduction at the same time. These three versions were published in Vienna in the summer of 1787.
Using this as a basis Haydn wrote a vocal version for soloists, choir and orchestra Hob. XX:2. This appeared only in 1796, as a commission for the priest José Saenz de Santamaría, Marqués de Valde-Íñigo, from Cádiz. The work was probably performed on Good Friday 1787 in the Santa Cueva chapel below the parish church of Nuestra Señora del Rosario. The commission was to compose seven slow meditative movements, one for each of Jesus' last words.
This edition of the vocal version is based on the Urtext of the G. Henle Complete Edition “Works of Joseph Haydn”.
Performance material available on hire. | | |
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| Haydn, Joseph | Stabat Mater Hob. XX bis
Oratorio (funeral music), versions from 1767 and 1803 | | Editor: Helms, Marianne / Stoltzfus, Fred | | BA 4642-90 | EUR 19.95 | Vocal score | 9790006493425 | The new scholarly critical edition of Joseph Haydn's Stabat Mater (1767) is published in Henle's complete edition of Haydn's works. This edition is the first to come as close as possible to the lost original and has been compiled using all currently available sources. The score has been fully amended. In its original orchestration for two oboes or English horn, strings and organ.
At a later performance of this work, probably in 1803, Haydn attempted to accommodate the intervening changes in musical taste. According to the composer's request and under his supervision, Sigismund Neukomm enlarged the wind orchestration by adding a flute, two clarinets, two bassoons, two French horns, trumpets and timpani. Haydn’s Stabat Mater in both its original scoring as well as Neukomm's scoring. | | |
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| Mendelssohn Bartholdy, Felix | Passion Music after the Evangelist Matthew
Arrangement of Johann Sebastian Bach's St. Matthew Passion | | Editor: Bruno, Malcolm / Ritchie, Caroline | | BA 11308-90 | EUR 43.95 | Vocal score | 9790006574674 | It is hard to imagine today that the music of J. S. Bach fell into oblivion for about half a century after the composer’s death. His successors at the Thomaskirche preferred simpler homophonic compositions, and by the beginning of the 19th century his music served only as a subject of academic study. The composer and teacher Carl Friedrich Zelter greatly appreciated Bach’s contrapuntal artistry and passed it on to his pupil Felix Mendelssohn who, by the age of twelve, had become a master of the art of the fugue. Two years later, the young Felix was to receive his most valuable gift, a hand-copied score of Bach’s St. Matthew Passion. With Zelter at his side, he gave the first performance (since Bach’s death) in 1829 with musicians from the Berlin Singakademie.
It was an ambitious undertaking, not only because of the complexity of Bach’s music, but also because of the unfamiliarity by that time with Baroque performance practice (size of instrumentation, Baroque instruments, ornamentation, etc.).
Twelve years passed before Mendelssohn made another attempt to perform the “Great Passion Music” as he called it – this time as part of a Bach series in Leipzig’s Thomaskirche. For this performance, he reinstated a number of arias that he had deleted in 1829 and revised the secco recitatives so that no keyboard instrument was required. This 1841 version still followed a shorter conception of the work and comprised about two-thirds of the original, roughly the same size as the St. John Passion. What Mendelssohn left behind when he died a few years later must be seen as a “version in progress” on which he had certainly intended to continue working.
The new Bärenreiter edition returns to Mendelssohn’s unique vision of Bach’s masterpiece. By bringing together what Mendelssohn had sketched and including supplements to certain parts by the editor, the work is now presented in its reduced form, with the revised part for the Evangelist (in the secco recitatives with orchestral accompaniment), with clarinets replacing the oboe d’amore, and with a suggestion for the missing continuo part (which had been begun for the Thomaskirche organ but remained unfinished or was lost). The new edition shows not only Mendelssohn’s imaginative reinterpretation of the original, but also the versatility of Bach’s music in his hands. In an age in which Bach is played almost exclusively by Baroque ensembles, it allows them the opportunity to perform one of Bach’s greatest works from a 19th century perspective.
Performance material available on hire. | | |
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| | The popular work is presented in a well researched Urtext edition
Clear, idiomatic piano reduction |
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| Pergolesi, Giovanni Battista | | Stabat mater for Soprano, Alto, Strings and Basso continuo | BÄRENREITER URTEXT
Editor: Bruno, Malcolm / Ritchie, Caroline | | BA 7679-90 | EUR 14.95 | Vocal score | 9790006528905 | The “Stabat mater”, composed shortly before Pergolesi’s untimely death at the early age of 26, quickly attracted attention. The work’s importance was soon so great that none other than Johann Sebastian Bach performed a German version of the work based on the 51st Psalm. Numerous copies, prints and arrangements attest to the work’s vast popularity, a popularity that still exists today.
For the present edition, the autograph was for the first time compared to a very early Neapolitan score that is presumably based on the parts from the work’s premiere. The findings have influenced the musical text; the details are described in the critical commentary. | | |
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| Choral Music for the Easter Season |
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| Bach, Johann Sebastian | Christ lay by death enshrouded BWV 4
Cantata for Easter Sunday | BÄRENREITER URTEXT
Editor: Dürr, Alfred | | BA 10004-90 | EUR 12.95 | Vocal score | 9790006493418 | | |
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| Bach, Johann Sebastian | | The Heavens laugh, the earth exults in gladness BWV 31 | BÄRENREITER URTEXT
Editor: Dürr, Alfred | | BA 10031-90 | EUR 11.50 | Vocal score | 9790006503261 | | Composed in 1715, Cantata 31 gives joyous expression expression to the Easter story and Christ's resurrection. The performance material, drawn from the New Bach Edition, allows the work to be performed either in its richly scored Weimar version or its later Leipzig version, with ossia passages on a double staff to simplify the choice between oboes and oboes d'amore. The vocal score is a useful aid to choristers and soloists alike. | | |
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| Händel, Georg Friedrich | La Resurrezione HWV 47
Oratorio in two parts | BÄRENREITER URTEXT
Editor: Köhs, Andreas | | BA 4096-90 | EUR 41.50 | Vocal score | 9790006541263 | The Italian oratorio "La Resurrezione" (The Resurrection) was written during Handel’s time in Rome. It was performed on Easter Sunday 1708 with great splendour and extravagance by a large orchestra conducted by Arcangelo Corelli in the Palazzo Bonelli, the Roman palazzo of Handel’s patron the Marchese Francesco Maria Ruspoli.
In its dramatic structure and characterisation of the protagonists, the work displays a striking affinity with Italian opera. Lucifer’s raging sixty fourth notes call to mind the demon characters in Venetian opera and Maddalena’s arias are so full of expressive power and virtuosity that Handel later incorporated one of them into his opera "Agrippina". The unusual musical richness of this work and the virtuosic and masterly shaping of the arias make it a welcome addition to any concert programme.
The edition is based on the complete edition volume of the "Halle Handel Edition" (BA 4096), making the complete music text of the oratorio available for the first time.
Performance material available on hire. | | |
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| | Vocal score based on the “New Mozart Edition”
With an easy-to-play piano part and spacious layout
Compatible with the full score (BA04880) and performance material |
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| Mozart, Wolfgang Amadeus | | Missa in C major K. 317 "Coronation Mass" | BÄRENREITER URTEXT
Editor: Holl, Monika | | BA 11971-90 | EUR 12.50 | Vocal score | 9790006578795 | The richly orchestrated Missa in C minor K. 317 was probably one of the first church music works that Mozart composed at the beginning of 1779 as the newly appointed Salzburg court organist. With a large orchestra, choir and four soloists, the composer impressively demonstrates his skills. The nickname “Coronation Mass” has a long tradition and is already mentioned in the first edition of the Köchel catalogue; however, it does not go back to the premiere, which took place on one of the Easter holidays in April 1779. In all probability, the mass was performed in 1791 at the coronation celebrations in Prague for Leopold II and – after his unexpected death – in 1792 for Franz I under Antonio Salieri.
For this vocal score, Andreas Köhs has provided an improved orchestral reduction which optimally transfers the instrumental parts to the piano while ensuring playability. The vocal parts are based on the Urtext of the “New Mozart Edition”. | | |
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Errors excepted; price changes and delivery terms subject to change without notice.
Responsible for content (i.S. des § 10 Abs. 3 MDStV): Ivan Dorenburg.
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