Breitkopf and Haertel Urtext Editions

This cantata for the first day of Christmas is one of Kuhnau's most extensive works. It is underlaid with the free poetry of a hitherto anonymous author, not including any Bible or chorale texts. Though the

This cantata for the first Whitsun holiday is based on a text by Johann Christoph Wentzel (1659–1723). The yearly volume in which it appears dates to August 4, 1703, and is dedicated to, among others,

This mixed chorale cantata sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements are free poetry based on the content of the chorale. The time of composition

In the case of the oratorio Christus am Olberge (Christ on the Mount of Olives), Breitkopf & Haertel can finally make amends to Beethoven for a slight committed more than 200 years ago. As

Bach's chorales have become standard for all serious students of both music theory and choral singing. As early as 15 years after his death, published editions of his collected chorales began to circulate,

These four quartets op. 92 were composed in 1884 during Brahms' summer stay in Mürzzuschlag, Austria. The opening piece, however, was a revision of an earlier vocal quartet composed in 1877. Brahms had

A German Requiem is one of the world's most famous requiems, even though it does not set the customary requiem text to music. Brahms did not want to follow the Latin Catholic funeral mass,

This Passion oratorio Gethsemane und Golgatha was composed in the astonishingly short period from 22 to 28 July 1838 on a text by the evangelist Wilhelm Schuber, a close friend of Friedrich

The song cycle Zigeunerlieder (Gypsy Songs) by Johannes Brahms consists of eleven settings of Hungarian folk songs in a German adaptation by Hugo Conrat, which, according to the composer,

Originally for piano four hands and voices ad libitum, these Liebeslieder appear here for the first time as a modern Urtext edition in a hitherto little-known form for voices and piano two hands.

The Missa Omnium Sanctorum ZWV 21 is Zelenka’s last mass setting. It contains three  extended arias (one each for soprano, alto and tenor), concertante choruses and unusually expressive choral

Kuhnau’s Magnificat in C major is – apart from his Biblical Sonatas – considered to be his most ambitious and best known work. However, as recent research has revealed, there are indeed

"To strive for the highest in art" - these are the words with which Franz Schubert announced his A flat major Mass in 1828, a work which he designated as "Missa solemnis" in his autograph. Alone the genesis

“Striving for the highest in art" – this is how Schubert announced his A-flat major Mass to the Schott publishing house in 1828. The statement can also be seen as an artistic credo applicable to

In his op. 112, Beethoven sets two poems by Goethe: Meeresstille (Calm Sea) and Gluckliche Fahrt (Prosperous Voyage). Several sketches reveal that Beethoven had already begun to take an

Edited by Malcolm Bruno & Caroline Ritchie. Piano vocal score by Andreas Koehs. For soloists, choir & orchestra. Critical Edition with the original English text by Charles Jennens as well as

Jan Dismas Zelenka’s musical setting of Psalm 50, “Miserere mei Deus,” was presumably intended for the 1738 Holy Week. Thus, the composition is situated chronologically between the Missa

Jan Dismas Zelenka´s “Missa Dei Filii” is the second of three transmitted “Missae ultimae,” but consists, like other “short masses” of the 18th century, solely of a

The Missa Dei Patris ZWV 19 was composed in 1740 and ranks among the later works of the Bohemian composer Jan Dismas Zelenka. It opens an incompletely transmitted cycle of six masses which the composer

The Missa Sanctissimae Trinitatis was probably composed within a few weeks in the late fall of 1736, an occasion for the composition is not recorded. With this mass, the first in a series of five

The performance material is derived from the scholarly-critical editions of the "Das Erbe deutscher Musik" series, on which the informative Preface and Critical Report were based. The new piano-vocal score

Friedrich Schneider’s dedication to sacred vocal music dates back into his early years as a schoolboy in Zittau. As of today Schneider is - if at all - only known as the composer of the