SPA030_Choral_Music_2018_2019_hoch

Y o u r n e x t p e r f o r m a n c e 

i s w o r t h i t 

Bärenreiter Choral Music 

A selection 2018/2019 

Bärenreiter Urtext 

1

I love 

singing 

with 

Bärenreiter 

blue 

The Bärenreiter blue vocal scores 

are the gold standard for singers all 

over the world. These editions represent 

our Urtext choral catalogue and are 

musicologically sound as well as practical. 

For the majority of the choral works 

orchestral parts are available for sale. In 

addition to the Urtext editions we also 

publish choral collections and high-quality 

facsimiles of choral works. 

Sacred and Secular Works..........................................................................................4–41 

Popular Choral Music and Collections................................................................42–43 

Facsimiles.................................................................................................................... 44–47 

Abbreviations and key to figures 

Ed. Editor 

Review 

Bc/bc Basso continuo 

Performance material 

Cz Czech text 

° Bärenreiter-Verlag 

Eng English text 

• 

Fr 

Ger 

Ital 

Lat 

BA 

BE 

H 

PoD 

SM 

TP 

V.s. 

 

2 

French text 

German text 

Italian text 

Latin text 

Bärenreiter Edition 

Bosse Edition 

Bärenreiter Praha 

Print on Demand 

Süddeutscher Musikverlag 

Study score 

Vocal score (includes all 

solo voices, choral voices 

and a piano reduction) 

Contents 

available on sale 

Performance material 

available on hire 

Best Edition Prize awarded 

by the German Music 

Publishers Association 

Content valid as of April 2018. 

Errors excepted and delivery terms 

subject to change without notice. 

Artists' photos pages 1, 3: 

Marco Borggreve 

Design of pages 1, 3: 

Dave Warden Cre8tive 

Karl Vötterle GmbH & Co. KG 

International Department 

Heinrich-Schütz-Allee 35–37 

34131 Kassel · Germany 

www.baerenreiter.com 

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Printed in Germany 

5/1804/11,5 · SPA 30

Y o u r n e x t p e r f o r m a n c e 

i s w o r t h i t 

Sacred choral editions 

Musicologically sound … 

• Scholarly-critical editions 

• At the cutting edge of 

scholarship 

• Preface on the genesis 

and history 

• Include all source 

discrepancies and 

editorial decisions 

• With notes on 

performance practice 

• With a Critical Commentary 

and source descriptions 

… and practical 

• Spaciously laid out 

• Straightforward idiomatic 

piano part 

• Excellent print quality 

• High-quality paper and binding 


3

Sacred and Secular Works 

Bach, Carl Philipp Emanuel 

(1714–1788) 

Magnificat Wq 215 

Choir & Organ series → page 34 

BA 7517 Score 

Bach, Johann Sebastian 

(1685–1750) 

Cantatas 

BWV 1 

Wie schön leuchtet der 

Morgenstern / How bright and 

fair the morning star (Ger/Eng) 

Cantata for the Feast of 

Annunciation Day 

Urtext / Ed. M. Wendt 

Piano reduction by M. Focke 

BA 10 001-90 ° V.s. 

BA 10 001-91 Choral score 

TP 1001 Study score 

BWV 4 

Christ lag in Todes Banden / 

Christ lay by death enshrouded 

(Ger/Eng) 

Cantata for Easter Sunday 

Urtext / Ed. A. Dürr 

Piano reduction by E. R. Barthel 

BA 10 004-90 ° V.s. 


BWV 6 

Bleib bei uns, denn es will 

Abend werden (Ger) 

Cantata for Easter Monday 


Piano reduction by H. Ruf 

BA 10 006-90 ° V.s. 

BWV 10 

Meine Seele erhebt den Herrn / 

Now my soul exalts the Lord 

(Ger/Eng) 


Visitation B. V. M. 

Urtext / Ed. U. Wolf 

Piano reduction by M. Grünert 

BA 10010-90 ° V.s. 


BWV 12 

Weinen, Klagen, Sorgen, 

Zagen / Weeping, crying, 

sorrow, sighing (Ger/Eng) 

Cantata for the Sunday Jubilate 



BA 10 012-90 ° V.s. 


BWV 18 

Gleichwie der Regen und 

Schnee vom Himmel fällt / 

Like as the Raindrops and 

Snow from Heaven fall; 

Leipzig Version (Ger/Eng) 

Cantata for Sunday Sexagesimae 

Urtext / Ed. W. Neumann 

Piano reduction by 

W. Stockmeyer 

BA 10 018-90 ° V.s. 



BWV 21 

Ich hatte viel Bekümmernis / 

Lord my God, my heart and 

soul were sore distrest 

(Ger/Eng) 

Cantata for the 3 rd Sunday 

after Trinity 

Urtext / Ed. P. Brainard 


BA 10 021-90 ° V.s. 


BWV 31 

Der Himmel lacht! Die Erde 

jubilieret / The Heavens laugh, 

the earth exults in gladness 

(Ger/Eng) 

Cantata for the 1 st Easter Day 


Piano reduction by O. Kroupova 

BA 10 031-90 ° V.s. 


BWV 36 

Schwingt freudig euch empor 

(Ger) 

Cantata for the First of Advent 


Piano reduction by G. Müller 

BA 10 036-90 ° V.s. 

TP 1036 PoD Study score 

BWV 39 

Brich dem Hungrigen 

dein Brot / Break with hungry 

men thy bread (Ger/Eng) 

Cantata for the 1 st Sunday after 

Trinity 


Piano reduction by J. Eichhorn 

BA 10 039-90 V.s. 

TP 1039 Study Score 

BWV 45 

Es ist dir gesagt, Mensch, 

was gut ist (Ger) 

Cantata for the 8 th Sunday 

after Trinity 



W. Stockmeier 

BA 10 045-90 ° V.s. 


BWV 51 

Jauchzet Gott in allen Landen / 

Praise ye God thruout creation 

(Ger/Eng) 

Solo Cantata for the 15 th 

Sunday after Trinity 



BA 10 051-90 ° V.s. 


BWV 56 

Ich will den Kreuzstab gerne 

tragen / I will my cross-staff 

gladly carry (Ger/Eng) 


after Trinity 


Piano reduction by A. Kroupova 

BA 10 056-90 ° V.s. 


BWV 61 

Nun komm, der Heiden 

Heiland (Ger) 

Cantata for the First Sunday 

of Advent 

Urtext / A. Dürr 

Piano reduction by G. Raphael 

BA 10 061-90 ° V.s. 



BWV 62 

Nun komm, der Heiden 

Heiland (Ger) 

Cantata for the First Sunday 

of Advent 

Urtext / A. Dürr 


BA 10 062-90 ° V.s. 


4



(1685–1750) 

Cantatas 

BWV 68 

Also hat Gott die Welt geliebt 

(Ger) 

Cantata for Whit Monday 

Urtext / Eds. A. Dürr, A. Mendel 

Piano reduction by A. Dürr 

BA 10 068-90 ° V.s. 


BWV 78 

Jesu, der du meine Seele / 

Jesu, by Thy Cross and Passion 

(Ger/Eng) 


after Trinity 



W. H. Bernstein 

BA 10 078-90 ° V.s. 


BWV 80 

Ein feste Burg ist unser Gott / 

A Mighty Fortress is Our God 

(Ger/Eng) 


Reformation 

Urtext / Ed. F. Rempp 


BA 10 080-90 ° V.s. 


BWV 91 

Gelobet seist du, Jesu Christ 

(Ger) 

Cantata for Christmas Day 

Urtext / Eds. A. Dürr, G. Raphael 


BA 10 091-90 ° V.s. 



From: Bach, A Mighty Fortress is Our God BWV 80 · BA 10080-90 

BWV 106 

Gottes Zeit ist die allerbeste 

Zeit / Mighty God, His time 

is ever best (Actus tragicus) 

(Ger/Eng) 

Urtext / Ed. R. Higuchi 

Piano reduction by E. Wernhard 

BA 10 106-90 ° V.s. 


BWV 130 

Herr Gott, dich loben alle wir / 

Lord God, we praise Thee all 

of us (Ger/Eng) 

Cantata for the Feast 

of St. Michael 

Urtext / Ed. M. Helms 


BA 10 130-90 ° V.s. 


5



(1685–1750) 

Cantatas 

BWV 132 

Bereitet die Wege, bereitet 

die Bahn (Ger) 

Cantata for the 4 th Sunday of 

Advent 



BA 10 132-90 ° V.s. 


Johann Sebastian Bach 

The Complete Cantatas, Chorales 

and Motets 

BWV 134 

Ein Herz, das seinen Jesum 

lebend weiss (Ger) 

Cantata for Easter Tuesday; 

third version 



BA 10 134-90 ° V.s. 


BWV 140 

Wachet auf, ruft uns die 

Stimme / Wake ye maids! hark, 

strikes the hour (Ger/Eng) 


after Trinity 



BA 10 140-90 ° V.s. 


BWV 143 

Lobe den Herrn, meine Seele/ 

Praise thou the Lord, o my 

spirit (Ger/Eng) 

Urtext / Ed. A. Glöckner 

Piano reduction by A. Köhs 

Revised edition 

BA 10 143-90 ° V.s. 


BWV 147 

Herz und Mund und Tat und 

Leben / Heart and lips, thy 

whole behaviour (Ger/Eng) 

Cantata for the Feast 

of Visitation B.V.M. 


Piano reduction by O. Kroupová 

BA 10 147-90 ° V.s. 


BWV 158 

Der Friede sei mit dir (Ger) 

Cantata for Easter Tuesday 


Piano reduction by the editor 

BA 10 158-90 ° V.s. 


Now greatly 

reduced in price! 

19 study scores 

in paperback · TP 2004 

“Best Edition 2008” 

BWV 166 

Wo gehest du hin (Ger) 


after Easter 



BA 10 166-90 ° V.s. 


BWV 172 

Erschallet, ihr Lieder (Ger) 

Cantata for Whitsunday; 

C maj version 

Urtext / Ed. D. Kilian 

Piano reduction by D. Kilian 

BA 10 172-90 ° V.s. 



° = Performance material 


 

“… the set is well worth 

acquiring … and when you 

think about it, the cost 

relative to the number of 

pages is pretty good value 

for money!” (The Organ) 

BWV 175 

Er rufet seinen Schafen mit 

Namen / He calleth His own 

sheep each by name (Ger/Eng) 

Cantata for Whit Tuesday 



BA 10 175-90 ° V.s. 



BWV 176 

Es ist ein trotzig und verzagt 

Ding (Ger) 

Cantata for Trinity Sunday 

Urtext / Ed. R. Freeman 

BA 10 176-91 ° Choral score 


BWV 208 

Was mir behagt, ist nur 

die muntre Jagd 

“Congratulatory Cantata” (Ger) 



BA 10 208-90 ° V.s. 

6



(1685–1750) 

BWV 211 

Schweigt stille, plaudert 

nicht / Be quiet, chatter not 

“Coffee Cantata” (Ger/Eng) 




BA 10 211-90 ° V.s. 

TP 1211 

Study score 

BWV 212 

Mer hahn en neue Oberkeet/ 

The Chamberlain is now our 

Squire “Peasant Cantata” 

(Ger/Eng) 



BA 10 212-90 ° V.s. 


Festive Choral Settings from 

Cantatas 


BA 7527 Score 

Ascension Oratorio 

BWV 11 (Ger/Eng) 

Urtext / Ed. P. Brainard 

Piano reduction by J. Eichhorn 

BA 10011-90 ° V.s. 


Christmas Oratorio 

BWV 248 (Ger/Eng) 

Urtext / Eds. W. Blankenburg, 

A. Dürr 


BA 5014-90 ° V.s. 

Choral parts also available 

separately 


From: Bach, Christmas Oratorio BWV 248 · BA 5014-90 

Choral movements from the 

Christmas Oratorio Part I-III 

BWV 248 


BA 7525 Score 

Freut euch alle BWV 207a (Ger) 

Festive chorus for mixed choir 

(SATB) and piano; woodwind 

ad lib. 

Arranged by U. Zimmer, 

Piano part by R. Schweizer 

BA 6905 ° Score; 

Choral score 

Lutheran Masses 

BWV 233-236 (Lat) 

Urtext / Ed. E. Platen 

Piano reductions by A. Köhs 

- Mass in F maj BWV 233 

BA 5182-90 ° V.s. 

BA 5182-91 Choral score 

- Mass in A maj BWV 234 

BA 5183-90 ° V.s. 


- Mass in G min BWV 235 

BA 5184-90 ° V.s. 


- Mass in G maj BWV 236 

BA 5185-90 ° V.s. 


Magnificat in D maj 

2 nd version with the 4 inserts 

from the E-flat maj version 

(transposed) BWV 243 (Lat) 


Piano reduction by E. Müller 

BA 5103-90 ° V.s. 

New revised edition 

→ page 11 

BA 5103-91 

TP 2 

NEW 2018 


Study score 

7


“Uwe Wolf’s masterful treatment of the sources and problems presented in the 

Mass in B Minor should afford scholars and performers for generations to come many 

opportunities to carefully examine the diverse complexities of Bach’s masterpiece.” 

(Notes) 

J. S. Bach · Mass in B Minor BWV 232 

in a Revised Edition 

Mass in B min BWV 232 (Lat) 



BA 5935-90 ° Vocal score 


For the first time the “Dresden 

parts” of 1733 which were largely 

written by Bach are included as 

valuable additional source 

material. 

Also for the first time, annotations 

by J. S. Bach and C. P. E. Bach 

can be differentiated by using 

ink analysis (x-ray spectography 

of over 500 places in the score). 

This method also enables 

in-depth-analysis of areas which 

have been eroded to a large 

extent by iron ink gall erosion. 


(1685–1750) 

8 

Magnificat in E-flat maj 

BWV 243a (Lat) 


Piano reduction by E. Müller, 

C. Heimbucher 

BA 5208-90 ° V.s. 


Mass in B min BWV 232 

Facsimile edition 

ISBN 978-3-7618-2194-7 

→ page 44 

Still available: 

Mass in B min BWV 232 (Lat) 

Urtext / Ed. F. Smend 

Piano reduction by G. Müller 

BA 5102-92 ° V.s. 

Mass in B min, early versions 

Missa BWV 232I (version of 

1733). Credo in unum Deum 

BWV 233II/1 (early version in 

G maj). Sanctus BWV 232III 

(version of 1724) (Lat) 



BA 5293-90 ° V.s.


9



(1685–1750) 

Motets BWV 225-230 (Ger) 

Urtext / Ed. K. Ameln 


BA 5193-90 V.s. 

BA 5193 Choral score 

Separate editions: 

Singet dem Herrn ein neues 

Lied BWV 225 (Ger) 

Motet for two mixed choirs 

(SATB+SATB) 


BA 5129 ° Score; Choral score 

Der Geist hilft unser 

Schwachheit auf BWV 226 

(Ger) 


(SATB+SATB) 


BA 5130 ° Score 


Jesu, meine Freude BWV 227 

(Ger) 

Motet for mixed choir (SSATB) 



Fürchte dich nicht, ich bin bei 

dir BWV 228 (Ger) 


(SATB+SATB) 



Komm, Jesu komm BWV 229 

(Ger) 


(SATB+SATB) 



From: Bach, Motets BWV 225–230 · BA 5193 

Lobet den Herrn, alle Heiden 

BWV 230 (Ger) 

Motet for mixed choir (SATB) 

and bc 



Motets of Doubtful 

Authenticity 

Ich lasse dich nicht, du segnest 

mich denn BWV Anh. 159 / 

Jauchzet dem Herrn, alle Welt 

BWV Anh. 160 (Ger) 

Motets for two mixed choirs 

(SATB+SATB) 

Urtext / Ed. F. Rempp 

BA 5239 Score 

St. John Passion BWV 245 

(Ger/Eng) 

Urtext / Ed. A. Mendel 


W. H. Bernstein 

BA 5037-90 ° V.s. 


separately 


St. Mark Passion BWV 247 

A reconstruction (Ger) 

Ed. A. H. Gomme 


BA 5209-90 • V.s. 

I love 

singing 

with 

Bärenreiter 

blue 

St. Matthew Passion BWV 244 

(Ger/Eng) 

Urtext / Ed. after M. Schneider 

by A. Dürr 


BA 5038-90 ° V.s. 

New revised edition 

To appear in June 2018 

→ page 11 


separately 



ISBN 978-3-7618-2294-4 

→ page 44 


St. Matthew Passion 

Early version BWV 244b 

(Ger/Eng) 

Urtext / Ed. A. Glöckner 


BA 5099-90 ° V.s. 

10


Newly engraved with 

a generous layout 

Same pagination as 

previous editions 

This means that you can 

rehearse and perform these 

works with some singers 

using these new editions 

and some the old 

Bärenreiter editions. 

Fully compatible with all 

existing performance 

material 

These vocal scores can be 

used in line with the 

material of BA 5038 and 

BA 5103 respectively 

Include a new revised 

piano reduction 

The reliable Alfred Dürr 

piano reductions have been 

maintained but have been 

corrected and uncluttered; 

the new piano reductions 

are easier to read and to play. 

Improved legibility 

for singers 

A larger notation and 

improved spacing of 

underlaid words in the 

vocal parts has been 

provided. 

Vocal scores of Bach’s Magnificat 

and St. Matthew Passion NEW 2018 

From: Bach, St. Matthew Passion BWV 244 · BA 5039-90 

Magnificat in D maj 

2 nd version with the inserts 

with the 4 inserts from the 

E-flat maj version (transposed) 

BWV 243 (Lat) 

BA 5103-90 V.s. 

In preparation 

St. Matthew Passion 

BWV 244 

BA 5038-90 V.s. 

To appear in June 2018 

11


Beethoven, Ludwig van 

(1770–1827) 

Mass in C maj op. 86 (Lat) 

Urtext / Ed. B. Cooper 

Score with full realization 

of the organ part 

Piano reduction by A. Campora 

BA 9039-90 ° V.s. 

The Mass in C major, completed 

and premiered in 1808, is 

a self-contained and, for its 

time, decidedly modern piece 

of church music. 

Drawing on the rich body 

of sources, Beethoven 

specialist Barry Cooper 

suggests practical solutions 

to this work’s musical and 

interpretative problems. His 

deep study of the sources 

convinced him to include a 

fully realized organ part in 

the score, just as Beethoven 

envisioned it for the first 

printed edition. As stated in 

the sources, the parts for the 

soloists and choir are notated 

on joint staves to demonstrate 

that the soloists are also to 

sing the choral passages. 


Missa solemnis 

in D maj op. 123 (Lat) 

Urtext / Ed. B. Cooper 


A. Campora 

BA 9038-90 ° V.s. 



Symphony No. 9 in D min 

op. 125. Finale (Ger) 

Urtext / Ed. J. Del Mar 


BA 9009-90 ° V.s. 


Symphony No. 9 

op. 125. Facsimile of 

the autograph score in the 

Staatsbibliothek zu Berlin – 

Preußischer Kulturbesitz 

Bärenreiter Facsimile 

ISBN 978-3-7618-2169-5 

→ page 45 

Hector Berlioz 

Year 2019 

(1803–1869) 

La damnation de Faust (Fr/Ger) 

Urtext / Ed. J. Rushton 


BA 5448-90 • V.s. 

L’Enfance du Christ / 

The Childhood of Christ 

(Fr/Eng) Sacred Trilogy 

Urtext / Ed. D. Lloyd-Jones 


BA 5451-90 (Fr/Ger) • V.s. 

BA 5451-73 (Fr/Eng) • V.s. 

• Performance material on hire 

Grande messe des morts 

“Requiem” (Lat) 

Urtext / Ed. J. Kindermann 

Piano reduction by M. Töpel, 

D. Woodfull-Harris 

BA 5449-90 • V.s. 


Messe solennelle (Lat) 

Urtext / Ed. H. Macdonald 


BA 5463-90 • V.s. 


Roméo et Juliette (Fr) 

Symphonie dramatique 

Urtext / Ed. D. K. Holoman 


BA 5458-90 • V.s. 


Te Deum (Lat) 

Urtext / Ed. D. McCaldin 

Piano reduction by O. Taubmann 

BA 5782-90 • V.s. 

12


Brahms, Johannes 

(1833–1897) 

Ein deutsches Requiem op. 45 

(Ger) 

Urtext / Eds. P. Schmitz, 

M. Werthmann 


the composer 

BA 7600-90 ° V.s. 



Brahms, Johannes 

(1833–1897) 

Sacred Choral Music 

a cappella (Ger) 

Urtext / Ed. P. Schmitz 

BA 7575 

“This volume represents 

a competitively priced 

treasure trove of the finest 

German unaccompanied 

choral music … How 

monstrously fine music is this, 

and how well printed it is 

here.” (Choir & Organ) 

Bruckner, Anton 

(1824–1896) 

Sacred Songs (Lat/Ger) 

for mixed choir (SSAATTB, SATB 

and SSATB) 

SM 2815 Singing score 

Te Deum WAB 45 (Lat) 


BA 7524 Score 

Bunk, Gerard 

(1888–1958) 


Sacred Choral Works (Ger) 

Urtext / Eds. J. Boecker, K. E. Müller 

BA 7548 



I love 

singing 

with 

Bärenreiter 

blue 

Buxtehude, Dietrich 

(1637–1707) 

Befiehl dem Engel, dass er 

komm / Command the Angels 

BuxWV 10 (Ger/Eng) 

Choral cantata for mixed choir 

(SATB), strings and bc 

Ed. B. Grusnick 

BA 541 ° Score with parts 


Cantate Domino / 

Lobsinget Gott, dem Herrn 

BuxWV 12 (Lat/Ger) 

Motet for soloists (SB) ad lib., 

choir (SSB) and bc 


BA 542 Score 


Bärenreiter Study 

Score Reader 

For further information: 



(1637–1707) 

Der Herr ist mit mir 

BuxWV 15 (Ger) 

Cantata for mixed choir 

(SATB), strings and bc 




Erhalt uns Herr, bei deinem 

Wort BuxWV 127 (Ger) 

Chorale cantata for mixed 

choir (SATB) 



In dulci jubilo BuxWV 52 

(Lat/Ger/Eng) for mixed choir 

(SAB), two violins and bc 




Jesu, meine Freude / Jesu, 

my heart’s treasure BuxWV 60 

(Ger/Eng) 

Cantata for soloists (SSB), 

mixed choir (SSB), two violins, 

bassoon (violoncello) and bc 




Magnificat anima mea 

BuxWV-Anh. 1 (Lat/Ger/Eng) 

Motet for mixed choir (SSATB), 

strings and bc 




Missa brevis 

(Kyrie and Gloria) (Lat) 

for mixed choir (SSATB) and bc 

Ed. W. Gurlitt 

BA 265 Choral score, 

playing score 

Das neugebor‘ne Kindelein / 

The newborn babe, the 

heavenly child BuxWV 13 

(Ger/Eng) 

Cantata for mixed choir (SATB), 





13


Caldara, Antonio 

(1670–1736) 

Stabat Mater (Lat) 

for soloists (SATB), mixed choir 

and orchestra 


BA 8955-90° V.s. 

The Stabat Mater is the bestknown 

of Caldara’s smaller 

vocal works. This publication 

is based on E. Mandyczewski’s 

edition which has, until now, 

been the definitive edition. 

The notation and key 

signatures have been adapted 

to today’s standards. Any 

discrepancies between the 

score and vocal score have 

been corrected, and the work 

is presented in a modern, clear 

layout. The orchestral parts are 

available in computer print for 

the first time. 

Caldara, Antonio 

(1670–1736) 

Regina coeli laetare (Lat/Ger) 

for choir (SATB), piano (organ) 

ad lib. 

Ed. T. Kohlhase 


playing score 

Charpentier, Marc-Antoine 

(1643–1704) 

In nativitatem 

Domini canticum H 416 (Lat) 

Urtext / Ed. J. Schwindt 


BA 7673-90 ° V.s. 

Messe de Minuit pour Noël 

H 9 (Lat) 

Urtext / Ed. H. Schauerte- 

Maubouet 


BA 7592-90 ° V.s. 

Te Deum H 146 (Lat) 


Maubouet 


BA 7593-90 ° V.s. 

Te Deum H 148 (Lat) 

for mixed choir (SATB) and bc 


Maubouet 

BA 7591 

Score 

14


Cherubini, Luigi 

(1760–1842) 

Requiem in C minor (Lat) 

Missa pro defunctis 

Urtext / Ed. H. Schellevis 


BA 8961-90 ° V.s. 

Cherubini owes his fame as a 

church composer primarily to 

the Requiem in C minor of 1817. 

It was held in extraordinarily 

high esteem by such 

composers as Beethoven and 

Schumann and served as a 

model for early 19 th -century 

Requiem settings. Dispensing 

entirely with solo voices, it 

captivates with its rigorous 

formal concentration and 

its restrained use of musical 

resources in both choir and 

orchestra. 

This Urtext edition takes 

into account not only the 

autograph score with 

spartitino (additional 

instruments written in by 

hand) but also the first edition 

and a copyist's manuscript. 

Distler, Hugo 

(1908–1942) 

Choralpassion nach den vier 

Evangelien op. 7 (Ger) 

for soloists (TB), mixed choir 

(SSATB) 


Es ist ein Ros entsprungen 

(Ger) 

Chorale motet from the 

Weihnachtsgeschichte op. 10 

for mixed choir (SATB) 

BA 681 Singing score 

From: Cherubini, Requiem in C minor · BA 8961-90 

Distler, Hugo 

(1908–1942) 

Lobe den Herren, den 

mächtigen König der Ehren 

(Ger) 

Chorale-motet op. 6/2,1 


Gothic print 



Lied (Ger) 

Motet on Psalm 98/1, 4-9a 

op. 12/1 from Geistliche 

Chormusik op. 12 for mixed 

choir (SATB). Gothic print 


Totentanz (Ger) 

Motet no. 2 from Geistliche 

Chormusik op. 12 for mixed 

choir (SATB) and flute ad lib. 


Die Weihnachtsgeschichte 

(Ger) for soloists (SSTB) and 

choir (SATB) 

Gothic print 


Dvořák, Antonín 

(1841–1904) 

Mass in D maj op. 86 (Lat) 


BA 7511 Score 

Requiem op. 89 (Lat) 

Piano reduction by K. Šolc 

H 2924-90 V.s. 

Requiem op. 89 (B165) (Lat) 

Arrangement for Soloists, 

Choir and Chamber Orchestra 

by J. Linckelmann 


Instrumental parts available 

separately 

This edition is based on the 

full score from the Complete 

Edition of the Works by Antonín 

Dvořák. 

The edition is in keeping with 

the vocal score H 2924-90. 



15



(1841–1904) 

Six Moravian Duets (Cz/Ger) 

for mixed choir (SATB) and piano 

arranged by Leoš Janáček 

Ed. V. Nimec 

H 7718 Choral score 

Stabat Mater op. 58 (Lat) 

Version in ten movements 


H 1882 • V.s. 

Stabat Mater op. 58 (Lat) 

Version in ten movements 

Urtext / Eds. J. Kachlík, M. Srnka 

Vocal score based on Dvořák‘s 

original piano version 

H 7920 • V.s. 

Te Deum op. 103 (Lat) 


H 4523-90 V.s. 

The Spectre‘s Bride op. 69 

(Cz/Ger/Eng) 

Eds. F. Bartos, A. Cubr 


BA 9544-90 • V.s. 

Eben, Petr 

(1929–2007) 

Salve Regina 

Cantico della Creature / Canticle 

of the Sun of Francis of Assisi 

(Lat/Ital [Umbrian]) 



Ubi caritas et amor dei 

(Lat/Ital) 

for mixed choir (SSATBB) 


Fauré, Gabriel 

(1845–1924) 


Choir & Organ series 

BA 7513 Score 

→ page 34 

NEW 2017 


Bärenreiter Female Choir series 

BA 5695-90 ° V.s 

→ page 28 

Furrer, Beat 

(*1954) 

Enigma I-IV and VI (Ital) 

(2007) for mixed a cappella choir 

Texts by Leonardo da Vinci 

from Profezie (2006-13) 

BA 11052 

Urtext edition of Fauré’s Requiem 


(1845–1924) 


Urtext / Eds. C. M. Stahl, 

M. Stegemann 


BA 9461-90 ° V.s. 

BA 9461-91 

NEW 2017 


The Messe de Requiem is 

probably the internationally 

best-known and most 

frequently performed work by 

Gabriel Fauré. The composer’s 

first version was limited to just 

five movements and smallscale 

forces with low strings, 

harp and organ. The work was 

then expanded several times 

culminating in the version for 

large orchestra of 1900. This 

orchestral version forms the 

basis of this edition. 

Despite its comparatively 

long period of gestation, the 

Requiem forms a stylistic unity. 

Unlike other requiem settings, 

the composer foregoes any 

theatrical gestures in this work. 

A restrained dynamic range 

together with graceful melodic 

writing for both soloists and 

choir give the work a gentle and 

optimistic character. 

It is important to note that the 

vocal and choral scores are 

compatible with the first 

small-scale version as well as 

the second chamber orchestra 

version. 

High-quality Urtext based 

on the Complete Works 

of Gabriel Fauré 

First systematic evaluation 

of all sources 

Based on the large orchestral 

version of 1900 

Foreword (Ger/Eng) 

Vocal and choral scores 

suitable for all versions of 

the requiem 

 

“Of particular interest is 

the clear engraving and the 

well-presented layout with 

optimum page-turns - much 

more appealing than in earlier 

publications of this work.” 

(La Lettre du Musicien) 

16


Charles Gounod Year 2018 

(1818–1893) 

Messe solennelle 

(Ste Cécile) (Lat) 

for Soloists, Choir and 

Orchestra 



BA 8966-90 ° V.s. 


NEW 2017 

Today Charles Gounod is 

associated most of all with his 

opera Faust yet a large part of 

his œuvre is taken up by sacred 

music and it is the Messe 

solennelle en l'honneur de 

Sainte-Cécile which established 

his fame as a church composer. 

Its melodic invention and 

effective treatment of the 

orchestra bear witness to his 

close ties to opera. 

This new Urtext edition of 

Gounod's Mass is primarily 

based on the autograph score, 

which for unknown reasons 

was divided into two sections. 

The first section, preserved in 

the British Library, contains the 

Kyrie, Gloria, Offertory 

and Domine, salvum, fac. 

The second, with the Credo, 

Sanctus and Benedictus, is 

preserved in the library of 

Northwestern University, 

Chicago, and was consulted 

for the first time for our 

edition. As the Agnus Dei 

is missing entirely from the 

autograph, our edition draws 

on the original print in full 

score (1856), which was also 

consulted as an important 

source for the clarification of 

ambiguities. 

An extensive critical 

commentary clarifies the 

differences between the two 

main sources and provides 

an insightful introduction, 

thereby enabling choruses 

and orchestras to perform the 

Mass on a solid foundation. 

17


Handel, George Frideric 

(1685–1759) 

18 

Acis and Galatea HWV 49b 

Serenata in tre parti 

(2nd version) (Eng/Ital/Ger) 

Urtext / Ed. A. Heinrich 


BA 10700-90 V.s. 

Alexander’s Feast or The Power 

of Musick HWV 75 (Eng/Ger) 

Text by J. Dryden 




BA 4001-92 • V.s. 

Athalia HWV 52 

(Eng, partially Ital) 

Text by Samuel Humphreys 

after Jean Racine's Athalie 

Urtext / Ed. S. Blaut 


BA 4082-90 • V.s. 

Dixit Dominus HWV 232 (Lat) 

Psalm 109 

Urtext / J. H. Marx 



BA 10704-90 ° V.s. 


Esther HWV 50a (Eng) 

First Version 1720. Text by 

J. Arbuthnot and J. Pope 

Urtext / Ed. H. Server 


BA 4047-90 • V.s. 

Israel in Egypt HWV 54 (Eng/ 

Ger) 

Includes versions 1739 and 

1756-7 

Urtext / Ed. A. Landgraf 


BA 4063-90 • V.s. 

Anthems: 

Anthem for the Funeral of 

Queen Caroline HWV 264 

(Eng/Ital) Original unabridged 

version 

Urtext / Ed. A. Landgraf 


BA 4267-90 ° V.s. 

As pants the hart HWV 251e 

(Eng/Ger) 

Urtext / Ed. G. Hendrie 


BA 4265-90 ° V.s. 

I will magnify thee HWV 250b 

(Eng/Ger) 



BA 4264-90 ° V.s. 

Let God arise HWV 256b 

(Eng/Ger) 



BA 4266-90 ° V.s. 

Jephtha HWV 70 (Eng) 

Urtext / Ed. K. Nott 


BA 4014-90 • V.s. 

Messiah HWV 56 

Urtext / Ed. J. Tobin 


M. Schneider 

BA 4012-02 Score (soft-cover) 

→ page 27 

BA 4012-90 (Ger/Eng) ° V.s. 

BA 4012-73 (Eng) ° V.s. 



ISBN 978-3-7618-2109-1 

→ page 46 


Occasional Oratorio HWV 62 

(Eng). Text by N. Hamilton 

Urtext / Ed. M. Channon 


BA 4089-90 ° V.s. 

The Lord is my light HWV 255 

(Eng/Ger) 



BA 4268-90 ° V.s. 

My song shall be alway 

HWV 252 (Eng/Ger) 



BA 4292-90 ° V.s. 

O come let us sing HWV 253 

(Eng/Ger) 



BA 4293-90 ° V.s. 

O praise the Lord with one 

consent HWV 254 

(Eng/Ger) 



BA 4291-90 ° V.s. 

O sing unto the Lord HWV 249a 

(Eng/Ger) 



BA 4263-90 ° V.s. 

Ode for the Birthday of Queen 

Anne HWV 74 (Eng/Ger) 

Urtext / Ed. W. Siegmund- 

Schultze 


I. Chrysander, 

W. Siegmund-Schultze 

BA 4007-90 • V.s. 


La Resurrezione HWV 47 (Ital) 

Oratorio in two parts 

Urtext / Ed. T. Best 


BA 4096-90 • V.s. 

Samson HWV 57 (Eng) 

Text by N. Hamilton 

Urtext / Ed. H. D. Clausen 


BA 4099-90 • V.s. 

Saul HWV 53 (Eng/Ger) 

Oratorio in three acts 

Urtext / Ed. P. M. Young 

Piano reduction by H. Moehn, 

A. Köhs 

BA 4020-90 • V.s.


Zadok the Priest HWV 258 (Eng) 



BA 10258-90 ° V.s. 

The King shall rejoice 

HWV 260 (Eng) 



BA 10259-90 ° V.s. 

Zadok the Priest and The King 

shall rejoice are the best-known 

of the four coronation anthems 

that Handel wrote for the 

crowning of George II in London 

(1727). HWV 258 accompanied 

the king’s anointment, HWV 260 

his actual coronation. 

The present editions by the 

authoritative Handel scholar 

Stephan Blaut are the first to 

offer these two anthems based 

on the Urtext from the Halle 

Handel Edition. 

 

From: Handel, Zadok the Priest HWV 258 · BA 10258-90 

“The scholarly background to these editions is clear and convincingly laid out in the Prefaces […] 

and the clarity of the presentation of both vocal scores, excellently printed on noiseless (!) quality paper, 

are admirable” (The Organ) 

I love 

singing 

with 

Bärenreiter 

blue 


(1685–1759) 

Solomon HWV 67 (Eng) 

Oratorio in three acts HWV 67 

Urtext / Ed. H. D. Clausen 


BA 10709-90 • V.s. 

Te Deum for the Victory 

at the Battle of Dettingen 

HWV 283 (Lat) 

Urtext / Ed. A Babington 


BA 10706-90 ° V.s. 


Te Deum for Cannons 

in B-flat maj HWV 281 

(Chandos Te Deum) (Lat) 

Urtext / Ed. G. Beeks 


BA 10708-90 • V.s. 


Theodora HWV 68 (Eng) 

Text by T. Morrell after 

R. Boyle’s The Martyrdom 

of Theodora and Didymus 

(London, 1687) and the play 

Théodore, vierge et martyre 

by P. Corneille (1645). 

Urtext / Ed. C. Timms 

Piano reduction by M. Focke, 

A. Campora 


BA 4085-90 • V.s. 

Utrecht Te Deum HWV 278 

(Eng) 


Piano reduction by L. H. Nysten 

BA 4246-90 ° V.s. 



• = Performance material 


19


Haydn, Joseph 

(1732–1809) 

Die drei- und vierstimmigen 

Gesänge (Ger) 

No. 1 Hob. XXVb:3 for STB and 

piano, No. 2 Hob. XXVb:1 

for SAT and piano, Nos. 3-11 

Hob. XXVc:1-9 for SATB and piano 

Ed. P. Paumgartner 


playing score 

Missa brevis in F maj 

Hob. XXII:1 (Lat) 

Urtext / Eds. J. Dack, G. Feder 


BA 4644-90 ° V.s. 

Missa brevis Sancti Joannis 

de Deo “Little Organ Mass” 


Urtext / Eds. H. C. Robbins 

Landon, K. H. Füssl, C. Landon 

Piano reduction by H. Moehn 

BA 4653-90 ° V.s. 

Joseph Haydn: The Creation 

Missa brevis Sti Joannis 

de Deo "Little Organ Mass" 

(Hob. XXII:7) (Lat) 


BA 5694-90 ° V.s. → page 28 

Missa Cellensis in honorem 

Beatissimae Virginis Mariae 

“Cecilia Mass” 


Urtext / Eds. J. Dack, G. Feder 


BA 4643-90 ° V.s. 

Missa Cellensis “Mass for 

Mariazell” Hob. XXII:8 (Lat) 




BA 4654-90 • V.s. 


Missa in Angustiis “Nelson 

Mass” Hob. XXII:11 (Lat) 

Urtext / Ed. G. Thomas 


BA 4660-90 ° V.s. 

BA 4660-02 

→ page 27 

TP 98 


Score 

(soft-cover) 

Study score 

The Creation / Die Schöpfung 

Hob. XXI:2 (Ger/Eng) 

Libretto by Gottfried 

van Swieten. 

Urtext / Ed. A. Oppermann 


A. E. Müller, A. Köhs 

BA 4648-90 ° V.s. 



“Bärenreiter offers its 

usual high standard of scholarly 

precision married to musical 

accessibility and practicality, 

as well as affordability”. 

(The Organ) 

Based on the G. Henle 

Complete Edition of the 

Works of Joseph Haydn 

The contemporary piano 

reduction by A. E. Müller 

has been revised by 

A. Köhs 

The musical text of the 

full score is closely reflected 

in this piano reduction 

20


Haydn, Joseph 

(1732–1809) 

Missa in B-flat maj “Creation 


Urtext / Ed. I. Becker-Glauch 

Piano reduction by J. Sommer 

BA 4656-90 ° V.s. 


Missa in B-flat maj “Harmony 


Urtext / Ed. F. Lippmann 


BA 4659-90 ° V.s. 


Missa in B-flat maj “Theresa 




BA 4661-90 ° V.s. 




→ page 27 


Missa in E-flat maj in honorem 

Beatissimae Virginis mariae 

“Great Organ Mass” 


Urtext / Eds. J. Dack, M. Helms 

Piano reduction by O. Kroupova 

BA 4646-90 ° V.s. 

Missa in Tempore Belli 

“Mass in Time of War” 





BA 4652-90 ° V.s. 



Missa Sancti Bernardi von 

Offida “Heilig” Mass 





BA 4651-90 ° V.s. 


Missa Sancti Nicolai 

“Nicolai Mass” Hob. XXII:6 (Lat) 

Urtext / Eds. J. Dack, M. Helms 


BA 4645-90 ° V.s. 

Six Psalms 

Hob. XXIII: Anhang (Eng/Ger) 

Based on an English psalm 

adaptation by J. Merrick 

for mixed choir (SAB) 

Ed. U. Zimmer 


Stabat Mater Hob. XXbis (Lat) 

Urtext / Eds. M. Helms, 

F. Stoltzfus 


BA 4642-90 ° V.s. 

Haydn, Joseph 

(1732–1809) 

The Seasons / 

Die Jahreszeiten Hob. XXI:3 

(Ger/Eng/Fr) 

Libretto by G. van Swieten 

Urtext / Ed. A. Raab 

Piano reduction by A. E. Müller 

BA 4647-90 ° V.s. 

BA 4647-91 



Based on the G. Henle 

Complete Edition of the 

Works of Joseph Haydn 

New straightforward piano 

reduction 

Clear and uncluttered 

appearance on the page 

The Seven Last Words of our 

Saviour on the Cross 

Hob. XX:2 (Lat) Libretto by 

Gottfried van Swieten 

Urtext / Ed. H. Unverricht 


BA 4655-90 • V.s. 


Haydn, Michael 

(1737–1806) 

Laudate pueri Dominum (Lat) 

for female/boys’ choir (SSA), 


Ed. I. Sulyok 



Janáček, Leoš 

(1854–1928) 

Three Pieces (Cz/Ger) 


Ed. J. Trojan 


Mša glagolskaja / Glagolitic 

Mass 

Final authorised version 

(Old Church Slavonic) 

Urtext / Eds. J. Zahrádka, 

L. Faltus 

Piano reduction by M. Zehn 

BA 6862-90 V.s. 


The Lord’s Prayer (Cz/Ger) 


and ensemble 

Ed. B. Štĕdroň 

H 3712 Score 

Mass in E-flat maj 

“Unfinished Mass” (Lat) 

for soloists (SATB), choir (SATB) 

and organ 

Ed. V. Petrzelka 

BA 5421 Score 

True Love (Folk Poetry) 

(Ger/Eng) for male choir (TTBB) 

H 3026 Choral score 

Jansson, Mårten 

(*1965) 

Sacred Choral Works 

à page 22-23 

Krenek, Ernst 

(1900–1991) 

Six Motets op. 169 (1959) (Ger) 

after words by F. Kafka 


BA 3945 Score 

21


“My music is my own and I have never tried to be original. That has 

always been my motto and I have only tried to use music to express all 

the feelings which life has to offer. This has led people to describe my 

music as “so sad that it sounds like birds who have lost their wings” but 

also as “the happiest classical music that we have ever heard”. 

“My compositions are almost all sacred. They express not only my own 

faith but also my appreciation and respect for the timeless texts that 

have been used for centuries and centuries.” 

Cantate Domino 

Psalm 96: 1-3 (SSAATTBB) (Lat) 


Cantate Domino 

Psalm 96: 1-3 (TTBB) (Lat) 


De sancto Pelagio et sancto 

Theodolo 

(SATB) and Organ (Lat) 

BA 8523 Organ reduction 

Es ist ein Ros entsprungen 

Arrangement for SSAATTBB 

(Ger/Eng/Swed) 


Fear Thou Not 

(SSMezAA) (Eng) 


God Rest Ye Merry, Gentlemen 

Arrangement for SATB (Eng) 


I Never Saw a Moor 

(SSMezMezAA) (Eng) 


Ingenting utanför / 

Nothing Beyond 

(SSMezAA) (Swed/Eng) 


In The Light Of God 

(SMezATB) (Swed/Eng) 


Sample score for download: 


Maria (IV) 

(SATB) (Swed/Eng) 


22


Sacred Choral Works by 

Mårten Jansson 

NEW 

2018 

Tonight I Dance Alone 

Libretto by C. A. Silvestri 

(SATBSATB) (Eng) 


This work for double 

choir a cappella deals 

with three poignant 

episodes from the life 

of an old man; before 

his wedding, before 

celebrating his wedding 

anniversary and now as 

a widower talking to his 

grandson. 

The libretto together 

with the descriptive 

music are deeply moving 

and constitute an ideal 

partnership. This is 

Mårten Jansson's first 

collaboration with the 

well-known librettist 

Charles Anthony Silvestri. 

The piece provides a 

well-worth challenge 

for ambitious choirs. 

Missa brevis in E-flat minor 

(SATB) (Lat) 


Missa Popularis 

(SS[TB ad lib.]) and String quartet 

(Lat) 

BA 7420 Score 

BA 7420-90 Vocal score 

BA 7420-22 Parts in slipcover 

The Choirmaster’s Burial 

(SSATBB [Lat SSA/Eng TBB]) 


Two Poems 

(SATB) (Swed/Eng) 


Video 

samples on 

Order our flyer (SPA 50_64) and 

sample score (SPA 227). Both are 

available for download at: 

www.baerenreiter.com. 

From: Jansson, Missa Popularis · BA 7420-90 

23


Liszt, Franz 

(1811–1886) 

Christus (Lat) 

Oratorio on passages from 

the Holy Bible and the 

Catholic liturgy 

Urtext / Ed. D. Friddle 

Piano reduction by the composer 

BA 7680-90 • V.s. 

Loewe, Carl 

(1796–1869) 

Das Sühnopfer des neuen 

Bundes (Ger) 

Libretto based on the Holy 

Scriptures by William Telschow. 

Urtext / Ed. C. Mücke 

Piano reduction by the 

composer 

BA 7678-90 ° V.s. 

Martin, Frank 

(1890–1974) 

Ode à la Musique (Fr/Ger) 

for baritone, mixed choir 

(SATB) and orchestra 

BA 6725-90 ° V.s. 


“… excellent new edition of this masterwork.” (Choir & Organ) 

Martin, Frank 

(1890–1974) 

Mass for Double Choir 

a cappella (Lat) 

Urtext / Ed. A. Wissemann 

BA 7594 Performing score 

Martin's style of composition 

is characterized by elements 

of French Impressionism, 

modern tonality and 

expressive musical language. 

His double choir a cappella 

mass was composed between 

1922 and 1926 but it was not 

performed until 1963 in 

Hamburg. It has been a great 

favourite with capable choirs 

since its first publication by 

Bärenreiter in 1972 (BA 5419). 

It can be performed equally 

well in the concert hall and 

the church. 

First Urtext edition of 

Frank Martin’s masterwork 

based on the autograph 

and preliminary studies 

Newly engraved in a larger 

format (23 x 30 cm) 

Preface (Ger/Eng) and 

Critical Commentary (Eng) 

24


Martinů, Bohuslav 

(1890–1959) 

Otvírání Studánek/ Opening 

the Wells (Cz/Eng/Ger) 

for speaker, soloists (SAB), 

female choir (SSA) 

Ed. J. Berkovec 

H 2122 Score, set of parts 

Mendelssohn Bartholdy, Felix 

(1809–1847) 

Denn er hat seinen Engeln 

befohlen / For He shall give 

His angels charge (Ger/Eng) 

for mixed choir a cappella 

(SSAATTBB) 

Urtext / Ed. C. Heimbucher 

BA 8933 Score 

Die erste Walpurgisnacht / 

The First Walpurgis Night 

op. 60 (Ger/Eng) 

Text by Johann W. von Goethe 

Urtext / Ed. J. M. Cooper 


composer 

BA 9072-90 • V.s. 

Elijah op. 70 (Ger/Eng) 

Oratorio. Text compiled 

by the composer from the 

Old and New Testaments 

Urtext / Ed. D. Seaton 


composer, partially adjusted 

by A. Köhs 

BA 9070-90 ° V.s. 

“The production is well 

up to the high standards 

we have come to expect 

from Bärenreiter”. 

(Organists’ Review) 

Lobgesang op. 52 

(Ger/Eng) 



composer 

BA 9092-90 ° V.s. 


in preparation 

St. Paul op. 36 (Ger/Eng) 



composer, partially adjusted 

by A. Köhs 

BA 9071-90 ° V.s. 

BA 9071-91 




The first great orchestral psalm 


(1809–1847) 

NEW 2017 

Psalm "Non nobis Domine" / 

"Nicht unserm Namen, Herr" 

op. 31 MWV A9 (Lat/Ger) 

Urtext / Ed. J.M. Cooper 


composer 

BA 9079-90 ° V.s. 

Psalm 2 

Why rage fiercely the Heathen / 

Warum toben die Heiden 

(Ger/Eng) 

for mixed choir (SSAATTBB) 


Psalm 22 

My God, why hast Thou 

forsaken me / 

Mein Gott, warum hast du 

mich verlassen 

(Ger/Eng) 



Psalm 42 

As the Hart pants / 

Wie der Hirsch schreit op. 42 

(Ger/Eng) 

for mixed choir (SATB) and 

soloists (STTBB) 


composer 


BA 9074-90 ° V.s. 

Mendelssohn’s first great 

orchestral psalm took almost 

six years to complete, from the 

initial sketches and the first 

version of 1830 to the final 

version of 1835. Its premiere did 

not take place until 1838. 

Unlike his other orchestral 

psalms, Mendelssohn took the 

Latin words from the Vulgate 

as his principal text which 

stems from Psalm 113. When he 

later prepared his own German 

translation, he made use of 

Psalm 115 from the Luther 

Bible. 

This edition by the leading 

Mendelssohn authority John 

Michael Cooper incorporates 

all the relevant sources. In 

accordance with the work's 

genesis, the vocal parts are 

underlaid with the Latin text, 

and the German text appears 

underneath. 

Psalm 43 

Judge me, O God / 

Richte mich, Gott und führe 

meine Sache 

(Ger/Eng) 


BA 8939 


Psalm 98 

Sing to the Lord a new made 

Song / Singet dem Herrn ein 

neues Lied MWV A 23 / 

op. posth. 91 (Ger/Eng) 

for soloists (SATB) and two 

mixed choirs (SATB[2]) 


Piano reduction based 

on first edition. Anonymus 

BA 9076-90 ° V.s. 





25



(1809–1847) 

Three Motets op. 69 (Ger/Eng) 




New musical and performing insights 

Separate editions from op. 69 

(without introduction 

and critical commentary): 

Lord now lettest Thou Thy 

servant depart in peace / 

Herr, nun lässest du deinen 

Diener in Frieden fahren 

(Ger/Eng) for mixed choir 

(SATB) 


My soul doth magnify the 

Lord / Mein Herz erhebet Gott, 

den Herrn (Ger/Eng) 



O be joyful in the Lord / 

Jauchzet dem Herrn, alle Welt 

(Ger/Eng) 



Wer nur den lieben Gott lässt 

walten (Ger) 

Cantata for solo soprano, 

mixed choir (SATB) and strings 

(organ) 

Ed. B. Oswald 

BA 6380 Score 



(1809–1847) 


(1685–1750) 


(Ger). Oratorio by J. S. Bach 

in the arrangement by 

F. Mendelssohn Bartholdy 

Urtext / Ed. K. Winkler 


BA 9088-90 • V.s. 

Monteverdi, Claudio 

(1567–1643) 

Canzonetten (Ital/Ger) 

For female choir (SSA) 

German text in Gothic print 


Monteverdi, Claudio 

(1567–1643) 

Vespro della Beata Vergine (Lat) 

Urtext / Ed. H. Schulze et al. 

BA 8794-90 ° V.s. 

Scholarly-critical Urtext 

edition orientated towards 

performance practice 

Detailed Critical 

Commentary (Eng) in the 

full score 

Movements 10, 13 and 14 are 

included in their original 

high clef in the appendix of 

the full score. 

These movements are also 

available with piano 

reduction as print-ondemand. 

“What a monumental 

publication! The comprehensive 

and remarkably documented 

foreword ... is musicologically, 

historically and liturgically of 

great significance for the 

understanding of the work and 

its interpretation. Regarding the 

score, it presents the optimum 

in layout and readability.” 

(L’Education musicale) 

26


Full scores now in affordable 

soft-cover editions 


How practical! Towering masterpieces of choral music history are now appearing 

in handy and affordable full scores to complement the substantial linen-bound 

complete edition volumes. The tried-and-tested musical text remains the same, 

whilst the Forewords have been revised and supplemented by an English translation. 

Soft-cover 

Soft-cover 

Soft-cover 

Soft-cover 

Mozart, Wolfgang Amadeus 

(1756–1791) 

Requiem K. 626 

Mozart’s fragment completed 

by Franz Xaver Süssmayr 

Urtext / Ed. L. Nowak 

BA 4538-02 Score 


(1685–1759) 


Urtext / Ed. J. Tobin 


Haydn, Joseph 

(1732–1809) 

Missa in Angustiis “Nelson 




Missa in B-flat maj “Theresa 





From: Haydn, Missa in Angustiis 

“Nelson Mass” Hob. XXII:11, 

BA 4660-02 

s 

27

Bärenreiter Female Choir Series 

The choral scene is in a state of change! More and more choirs are lacking in male voices and 

at the same time, more and more female choirs are looking for high-quality literature beyond 

folksong arrangements. The Bärenreiter Female Choir series responds to these trends by presenting 

arrangements for female choir (mostly SMezA) of well-known, frequently-performed works. 


(1845–1924) 

NEW 2017 

Messe de Requiem op. 48 (Lat) 

Arranged for female soloists/ 

choir (SSAA) by M. Bruno / 

I. Bredenbach 

BA 5695-90 ° V.s. 

The vocal score is compatible 

with the performance material 

of the original work (BA 9461). 

In this arrangement of Fauré’s 

Requiem for female voices and 

organ, the tenor and bass parts 

are distributed among the 

altos which has necessitated 

some judicious adaptations in 

the part-writing. The second 

soprano replicates the original 

alto part largely unchanged, 

while the original baritone solo 

now resounds in the alto. 

The organ arrangement 

takes all three versions of the 

Requiem into consideration but 

primarily follows the second 

version of 1893 in terms of the 

rhythmic presentation of the 

instrumental parts. 

However, the organ part is 

tailored to the arrangement 

rather than trying to imitate 

the sound of the orchestra. 

From: Fauré, Messe de Requiem op. 48 · BA 5695-90 

Haydn, Joseph 

(1732–1809) 

Missa brevis Sti Joannis de Deo 

“Little Organ Mass” 

(Hob. XXII:7) (Lat) 

Arranged for female choir 

(SMezAA) by H. Breuer 

BA 5694-90 ° V.s. 



of the original work BA 4653. 


(1756–1791) 

Missa brevis in D maj K. 194 

(186 h ) (Lat) 


(SMezA) by H. Breuer 

BA 5690-90 ° V.s. 




28



(1756–1791) 

Missa in C maj “Coronation 

Mass” K. 317 (Lat) 



BA 5691 

Score 

BA 5691-90 ° V.s. 



of the original work BA 4880 

(arranged without trombones). 

Missa in C maj “Sparrow Mass” 

K. 220 (196 b ) (Lat) 



BA 5693 Score 

BA 5693-90 ° V.s 




Pergolesi, Giovanni Battista 

(1710–1736) 



(SMezA) by M. Bruno 

BA 5692 Score 

BA 5692-90 ° V.s. 




Vivaldi, Antonio 

(1678–1741) 

Gloria RV 589 (Lat) 


(SSAA) by M. Bruno 

BA 8953 Score 

BA 8953-90 ° V.s. 




Kyrie RV 587 (Lat) 


(SSAA) by M. Bruno 

BA 8954 Score 

BA 8954-90 ° V.s. 




“The Bärenreiter edition 

is flawless”. (Kirchenmusik 

im Bistum Aachen) 


(1756–1791) 

Alma Dei creatoris 

K. 277 (272a) (Lat) 

Urtext / Ed. H. Federhofer 


BA 4889-90 ° V.s. 


Ave verum corpus K. 618 (Lat) 



C. Heimbucher 

BA 4946-90 V.s. 

BA 4946 Playing score 

Benedictus sit Deus 

K. 117 (66a=47b) (Lat) 



BA 4884-90 ° V.s. 


Betulia liberata K. 118 (Ital/Ger) 

Text by P. Metastasio / 

E. Schmidt 

Urtext / Ed. F. Tagliavini 

Piano reduction by H. G. Kluge 

BA 4521-90 • V.s. 

Dixit et Magnificat 

K. 193 (186g) (Lat) 

Urtext / Eds. K. G. Fellerer, 

F. Schroeder 


BA 5340-90 ° V.s. 


Exsultate, jubilate 

K. 165 (158a) (Lat) 

with additional material 

from the Salzburg version 

Urtext / Eds. H. Federhofer, 

R. Münster 


BA 4897-90 ° V.s. 

Hosanna in G maj 

K. 223 (166e) (Lat) 

Urtext / Ed. M. Holl 


BA 5347-90 V.s. 

Inter natos mulierum 

K. 72 (74f) (Lat) 



BA 4788-90 ° V.s. 


Kyrie in D min K. 90 (Lat) 



BA 5346-90 ° V.s. 

Kyrie in D min K. 341 (368a) (Lat) 

Urtext / Ed. W. Senn 


BA 4702-90 ° V.s. 

Kyrie in F maj K. 33 (Lat) 



BA 5345-90 ° V.s. 

Laudate Dominum 

from the Vesperae solennes 

de Confessore K. 339 (Lat) 


F. Schroeder 


BA 5339-90 ° V.s. 

Litaniae Lauretanae B.M.V. 

in B-flat maj K. 109 (74 e ) (Lat) 


R. Federhofer-Königs 


BA 4890-90 ° V.s. 


29



(1756–1791) 

30 

Litaniae Lauretanae B.M.V. 

in D maj K. 195 (186d) (Lat) 




BA 4891-90 ° V.s. 

Litaniae de venerabili altaris 

Sacramento in B-flat maj 

K. 125 (Lat) 




BA 4763-90 ° V.s. 


Litaniae de venerabili altaris 

Sacramento in E-flat maj 

K. 243 (Lat) 




BA 4892-90 ° V.s. 


Misericordias Domini 

K. 222 (205a) (Lat) 



BA 4789-90 ° V.s. 


Missa brevis in G maj 

K. 49 (47d) (Lat) 



BA 4769-90 ° V.s. 


Missa brevis in D min 

K. 65 (61a) (Lat) 



BA 5341-90 ° V.s. 

Missa in C maj “Dominicus 




BA 4791-90 ° V.s. 


Missa in C min “Waisenhaus 

Mass” K. 139 (47a) (Lat) 



BA 4858-90 ° V.s. 



Mass” K. 139 (47a) (Lat) 


BA 7521 Score 

Missa brevis in G maj 

K. 140 (Anh. 235d) (Lat) 



BA 4736-90 ° V.s. 


Missa in C maj “Trinity 

Sunday Mass” K. 167 (Lat) 



BA 4783-90 ° V.s. 

Missa brevis in F maj 

K. 192 (186f) (Lat) 



BA 4770-90 ° V.s. 






Missa brevis in D maj 

K. 194 (186 h ) (Lat) 



BA 5342-90 ° V.s. 


Missa brevis in D maj 

K. 194 (186 h ) (Lat) 


BA 5690-90 ° V.s. → page 28 

Missa in C maj “Sparrow 

Mass” K. 220 (196 b ) (Lat) 



BA 5343-90 ° V.s. 



K. 220 (196 b ) (Lat) 


BA 7522 Score 


K. 220 (196 b ) (Lat) 


BA 5693-90 ° V.s. → page 28 

Missa brevis in C maj 

“Credo Mass” K. 257 (Lat) 



BA 4859-90 ° V.s. 




BA 7520 

Score



(1756–1791) 

Missa in C maj K. 258 (Lat) 



BA 4851-90 ° V.s. 


I love 

singing 

with 

Bärenreiter 

blue 

Missa in C maj 

“Missa solemnis” K. 337 (Lat) 



BA 4881-90 ° V.s. 

Missa in C maj “Organ 

Solo Mass” K. 259 (Lat) 



BA 4852-90 ° V.s. 


Bärenreiter Study 

Score Reader 

For further information: 


Missa longa in C maj K. 262 

(246a) (Lat) 



BA 4853-90 ° V.s. 

Missa brevis in B-flat maj 

K. 275 (272b) (Lat) 



BA 5344-90 ° V.s. 






BA 4880-90 ° V.s. 






BA 7519 Score 




BA 5691-90 ° V.s. → page 28 


Missa in C min 

K. 427 (Lat) 

Credo in unum, Et incarnatus 

est, Sanctus with Hosanna, 

Benedictus with Hosanna. 

Reconstruction and 

stylistically appropriate 

completion by U. Leisinger 

Urtext / Ed. U. Leisinger 


H. Schellevis 

BA 9188-90 ° V.s. 




Missa in C min K. 427 (417 a ) 

(Lat) 

Credo in unum Deum, 

Et incarnatus est, Sanctus, 

Hosanna. Reconstructed and 

completed by Helmut Eder 



BA 4846-90 w V.s. 


Regina coeli in C maj 

K. 108 (74d) (Lat) 



BA 4886-90 ° V.s. 


31



(1756–1791) 

Regina coeli in B-flat maj 

K. 127 (Lat) 



BA 4887-90 ° V.s. 


Regina coeli in C maj 

K. 276 (321b) (Lat) 



BA 4888-90 ° V.s. 


Sancta Maria, mater Dei 

K. 273 (Lat) 



BA 4751-90 ° V.s. 


Scande coeli limina K. 34 (Lat) 



BA 4882-90 ° V.s. 


Shorter Sacred Works 


BA 7523 Score 

Tantum ergo K. 142 

(Anh. 186d) (Lat) 

Mozart’s arrangement 

of Friedrich Zachow’s 

Tantum Ergo with 

newly composed Amen 



BA 4752-90 ° V.s. 


Tantum ergo K. 197 (Anh. 186e) 

(Lat) 



BA 4753-90 ° V.s. 


Venite populi K. 260 (248a) 

(Lat) 



BA 4899-90 ° V.s. 


Vesperae solennes 

de Confessore K. 339 (Lat) 


F. Schroeder 


BA 4894-90 ° V.s. 


Vesperae solennes 

de Dominica K. 321 (Lat) 


F. Schroeder 


BA 4893-90 ° V.s. 


32 

Requiem K. 626 (Lat) 

Mozart’s fragment in the 

version completed by 

Franz Xaver Süssmayr 

Urtext / Ed. L. Nowak 


(Reviewed and revised 

by A. Wissemann) 



→ page 27 

BA 4538-90 ° V.s. → page 33 




BA 7518 Score → page 34 


Facsimile of the autograph 

score held in the Austrian 

National Library 

ISBN 978-3-7618-2346-0 

→ page 47 

Te Deum laudamus 

K. 141 (66b) (Lat) 



BA 4885-90 ° V.s. 

Veni Sancte Spiritus K. 47 

(Lat) 



BA 4883-90 ° V.s. 



(1756–1791) / 


(1685–1759) 

The Messiah K. 572 (Ger) 

Urtext / Ed. A. Holschneider 

Oratorio by G. F. Handel in the 

arrangement by W. A. Mozart 

Piano reduction by E. Barthel 

BA 4529-90 • V.s. 

Das Alexander-Fest / 

Alexander’s Feast K. 591 (Ger) 

Cantata in two parts 

by G. F. Handel in the 

arrangement by W. A. Mozart 

Urtext / Ed. A. Holschneider 


K. Ameln and A. Wissemann 

BA 4527-90 • V.s.


Mozart's “Requiem” 

Piano reduction now revised ... 

... and compatible with all 

existing performance material 

BA 4538-90 ° 

V.s. 

• Larger notation in the 

vocal parts 

• Larger typeface 

This vocal score now 

includes a revised piano 

reduction: The old Moehn 

piano reduction has been 

maintained, but corrected 

and uncluttered. 

A more exact spacing of 

underlaid words has been 

included in the vocal parts. 

Apart from corrections the 

musical text remains 

unchanged. 

• Revised musical text 

• Improved readability 

A Foreword (Ger/Eng) by 

authoritative Requiem 

connoisseur Christoph Wolff is 

included, describing the work’s 

genesis and its musical features. 

33


Bärenreiter Choir & Organ Series 

“Choir & Organ presents a great opportunity for all choirs to sing the great 

choral repertoire without the need for an orchestra – these versions will help 

to keep these works alive and in the hearts of all lovers of choral music.” 

From: Fauré, Requiem op. 48 · BA 7513 

(Bob Chilcott) 

● Ideal for choral conductors 

and choirs who wish to 

perform well-known choral 

works without the 

expense of an orchestra 

● Only one edition needed 

for soloists, singers and 

organists 

● Choir and solo parts remain 

true to the original: 

original orchestral parts 

are transcribed into 

easy-to-play organ parts 

● Scoring mostly for soloists 

(SATB), mixed choir (SATB) 

and organ 

Bach, Carl Philipp Emanuel 

Magnificat Wq 215 

Arranged by A. Köhs 

BA 7517 Score 


Festive Choral Settings 

from Cantatas 

Arranged by I. Bredenbach 


and organ 

BA 7527 Score 

Separate organ part 

BA 7527-67 PoD 

Choral movements from the 

Christmas Oratorio Part I-III 

BWV 248 

Arranged by H. Gehring 


and organ 

BA 7525 Score 

Bruckner, Anton 

Te Deum WAB 45 (Lat) 


BA 7524 Score 


Mass in D maj op. 86 (Lat) 

Urtext / Eds. J. Burghauser, 

A. Čubr 

BA 7511 Score 



Arranged by I. Bredenbach 

BA 7513 Score 



Mass” K. 139 (47a) (Lat) 

Arranged by M. Focke 

BA 7521 Score 


K. 220 (196 b ) (Lat) 


BA 7522 Score 




BA 7520 Score 




BA 7519 Score 




BA 7518 Score 

Shorter Sacred Works 


BA 7523 Score 

Saint-Saëns, Camille 

Oratorio de Noël op. 12 

“Christmas Oratorio” (Lat) 


BA 7514 Score 

Schubert, Franz 

Missa in G maj D 167 (Lat) 

Arranged by M. Gerisch 

BA 7512 Score 


Introduzione al Gloria. 

Gloria in D maj 

RV 642, 589 (Lat) 


BA 7515 Score 

Magnificat RV 610/611 (Lat) 


BA 7516 Score 

34


Pachelbel, Johann 

(1653–1706) 

Christ lag in Todesbanden / 

Christ lay in grim death’s prison 

(Ger/Eng). Easter Cantata for 

soloists (SATB), choir (SATB), 

strings, bassoon and bc 

Ed. H. H. Eggebrecht 



Magnificat anima mea (Lat) 

Motet for mixed choir (SATB) 

and bc 



Nun danket alle Gott / Now 

thank we all our God (Ger/Eng) 

Motet for mixed choir 

(SATB+SATB) and bc 


BA 2873 Singing score, 

playing score 


(1710–1736) 

Vespro della Beata Vergine / 

Vespers (Lat) 

A reconstruction. Eds. M. Bruno, 

E. Higginbottom, R. Ross 

Piano reduction by M. Bruno 

BA 7675-90 • V.s. 


(1710–1736) 

Mass in F major 

“Missa Romana” (Lat) 

Urtext / Eds. M. Bruno, C. Ritchie 


BA 8958-90 ° V.s. 

This Urtext edition presents 

the work for the first time in 

the four-choir version that 

Pergolesi wrote for a 

performance in Rome. 

Choirs III and IV are reproduced 

in smaller type and are added 

to the version for double choir 

in order to intensify the overall 

sound. 

This allows the work to be 

performed not only with two 

choirs but also in the delightful 

enlarged version for four choirs. 

“For this luminous showpiece, 

it would be hard to 

imagine a better edition.” 

(Organists’ Review) 

Puccini, Giacomo 

(1858–1924) 


Messa a 4 voci (Lat) 



BA 8965-90 ° V.s. 



35



(1710–1736) 

Stabat Mater 

for Soprano, Alto, Strings and 

Basso continuo (Lat) 

Urtext / Eds. M. Bruno, C. Ritchie 


BA 7679-90 ° V.s. 



BA 5692-90 ° V.s. → page 28 

Purcell, Henry 

(1659–1695) 

Evening Service 

Magnificat and Nunc dimittis 

(Ger/Eng) for soloists (SSATB or 

small choir) and choir (SATB) 

Ed. J. Just 


O, sing unto the Lord / Singt, 

o singt dem Herrn (Ger/Eng) 

Anthem for soloists (SATB), 

choir (SATB) and strings 

Ed. J. Just 



Reger, Max 

(1873–1916) 


a cappella (Ger) 

Urtext / Ed. M. Chizzali 

BA 7549 

Tantum ergo (1895), Maria 

Himmelsfreud (1899-1900), 

Acht Grabgesänge (ca. 1900), 

Acht Marienlieder op. 61D 

(1901), Sechs Trauergesänge 

op. 61G (1901), 

Palmsonntagmorgen (1902), 

Vier Kirchengesänge (1904), 

Easter motet: Lasset uns 

den Herren preisen (1911), 

Abschiedslied (1914), Acht 

geistliche Gesänge op. 138 

(1914) 

Rossini, Gioachino 

(1792–1868) 

Petite Messe solennelle 

BA 10501-90 → page 37 



I love 

singing 

with 

Bärenreiter 

blue 

Ryba, Jakub Jan 

(1765–1815) 

Czech Christmas Mass (Cz/Ger) 

for soloists (SATB) and mixed 

choir (SATB) 

H 5572 V.s. 

Saint-Saëns, Camille 

(1835–1921) 

Oratorio de Noël op. 12 

“Christmas Oratorio” (Lat) 


BA 7514 Score 

Schein, Johann Hermann 

(1586–1630) 

Die mit Tränen säen 

Motet no. 3 from 

“Israelsbrünnlein” for mixed 

choir (SSATB) and bc 


playing score 

Ich freue mich im Herren (Ger) 

Motet no. 14 from 

"Israelsbrünnlein" for mixed 

choir (SSATB) and bc 


playing score 

Schubert, Franz 

(1797–1828) 

German Mass D 872 (Ger) 

Second definitive version 

Urtext / Ed. M. Kube 

Piano reduction by M. Kube 

BA 7599-90 ° V.s. 



Magnificat 

in C maj D 486 (Lat) 

Urtext / Ed. R. Faber 


BA 5657-90 ° V.s. 


Missa in A-flat maj D 678 (Lat) 

(Second version) 

Urtext / Ed. D. Finke-Hecklinger 


BA 5623-90 ° V.s. 

Missa in B-flat maj op. post. 141 

D 324 (Lat) 

Urtext / Ed. R. Dalmonte 


BA 5621-90 ° V.s. 


Missa in C maj op. 48 

D 452 (Lat) 

Urtext / Ed. P. P. Scattolin 



BA 5622-90 ° V.s. 


Missa in F maj D 105 (Lat) 

Urtext / Ed. T. Pecker Berio 


BA 5624-90 ° V.s. 


Missa in G maj D 167 (Lat) 


BA 7512 Score 

Die schöne Müllerin 

arranged for mixed choir 

a cappella (SATB) 



Stabat Mater 

in G min D 175 (Lat) 

Urtext / Ed. R. Faber 


BA 5656-90 ° V.s. 


36


An award-winning edition 

The Claude Palisca 

Prize 2010 

Rossini, Gioachino 

(1792–1868) 

Petite Messe solennelle (Lat) 

Urtext / Eds. P. B. Brauner, 

P. Gossett 


BA 10501-90 ° V.s. 

BA 10501-91 

NEW 2017 


Winner of the Claude Palisca 

Prize 2010 awarded by the 

American Musicological 

Society for Best Musical 

Edition 

This edition presents Rossini‘s 

original chamber music 

setting of the Petite Messe 

solennelle for two pianos and 

harmonium. 

This unusual instrumentation 

is entirely in keeping with 

the Neapolitean keyboard 

tradition of the 18 th century 

which was cultivated in 

France during Rossini‘s day. It 

forms a distinct contrast to 

the style of large-scale sacred 

compositions as written 

by, for example Liszt and 

Bruckner. 

Based on the Urtext of the 

series Works of Gioachino 

Rossini 

Foreword (Eng/Ital/Ger) 

With a separate 

harmonium part and one 

part for pianos I and II 

“… it is very difficult to 

imagine anyone arriving at a 

more scholarly, accurate, and 

practically useful text than this.” 

(Classics today) 

“This edition … is the 

definitive version” 

(The American Organist) 

37


Revised edition of “Geistliche Chor-Music” 

Schütz, Heinrich 

(1585–1672) 


Urtext / Based on Werner 

Breig’s edition published 

in The New Schütz Edition 

The five-part motets 

(Nos. 1-12, SWV 369-380) (Ger) 

BA 5901 ° Choral score 

The six and seven-part motets 

(Nos. 13-29, SWV 381-397) (Ger) 

BA 5902 ° Choral score 

Selected motets available 

in individual octavo editions: 

With modern notation and 

layout, retention of the 

original keys and an 

integrated figured bass 

realisation 

The ‘choral’ parts can be 

performed by instruments 

as well as voices. For purely 

instrumental performances - 

order parts under BA 5901 and 

BA 5902 

Verleih uns Frieden genädiglich 

SWV 372 (No. 4) 


Gib unsern Fürsten und aller 

Obrigkeit SWV 373 (No. 5) 


Unser keiner lebet ihm selber 

SWV 374 (No. 6) 


Herr, auf dich traue ich 

SWV 377 (No. 9) 


Die mit Tränen säen, werden mit 

Freuden ernten SWV 378 (No. 10) 


So fahr ich hin zu Jesu Christ 

SWV 379 (No. 11) 


Also hat Gott die Welt geliebt 

SWV 380 (No. 12) 


O lieber Herre Gott, wecke uns 

auf SWV 381 (No. 13) 


Das Wort ward Fleisch 

SWV 385 (No. 17) 


Die Himmel erzählen die Ehre 

Gottes SWV 386 (No. 18) 


Das ist je gewisslich wahr 

SWV 388 (No. 20) 


Ich bin ein rechter Weinstock 

SWV 389 (No. 21) 


Selig sind die Toten 

SWV 391 (No. 23) 


Schütz, Heinrich 

(1585–1672) 

Deutsches Magnificat 1671 

“Meine Seele erhebt den 

Herrn” SWV 494 (Ger) 

from Der Schwanengesang 

for two mixed choirs (SATB+ 

SATB). Transposed a whole 

tone higher. Ed. K. Ameln 


Die sieben Worte Jesu 

Christi am Kreuz SWV 478 (Ger) 

for soloists (SATTB), mixed 

choir (SATTB), strings and bc 

Solo voices / instrumental 

parts available separately 


Gothic print 



I love 

singing 

with 

Bärenreiter 

blue 

Historia der Geburt Jesu 

Christi SWV 435 (Ger) 

Urtext/ Ed. F. Schöneich 




Magnificat SWV 468 (Ger) 

for favoritchoir (SATB[solo)], 

2 capellchoirs (SATB [tutti)], 

2 instrumental choirs and bc 

BA 4334-91 ° Choral score 




Lied SWV 35 (Ger) 

Psalm no. 98 for two mixed 

choirs (SATB+SATB) 

Ed. W. Ehmann 


Zwölf Geistliche Gesänge (Ger) 

for mixed choir (SATB) and bc 

ad lib. 


38

Sacred a Secular Works 

Seither, Charlotte 

(*1965) 

Guarda in giù for 12-part choir 

(Ger) (2012). For mixed choir 

(SSSAAATTTBBB) 



Oculi. (Ger) (2017) 

Three easy sacred pieces for 

female choir (3-5 parts) 



Telemann, Georg Philipp 

(1681–1767) 

Die Auferstehung und 

Himmelfahrt Jesu TVWV 6:6 (Ger) 

Urtext / Ed. R.J. Reipsch 


BA 5851-90 • V.s. 

Christus, der ist 

mein Leben TVWV 1:138 (Ger) 

Urtext / Ed. U. Poetzsch 


BA 5897-90 ° V.s. 

This is the first scholarlycritical 

edition of the highly 

successful chorale setting 

(1754) of the church hymn 

Christus, der ist mein Leben, 

based on M. Vulpius’s melody 

from the Hamburg Hymnal. 

The work is especially wellsuited 

to display Telemann’s 

mastery in depicting the words 

of the chorale. The so-called 

‘Ausfüllungsbass’ (a vocal bass 

added to the principal bass in 

tutti passages) was probably 

necessitated by the acoustical 

properties of Hamburg’s 

churches. 

Donnerode TVWV 6:3 (Ger) 

Oratorio in two parts 

Urtext / Ed. W. Hobohm 


BA 5900-90 • V.s. 

Du aber, Daniel, gehe hin (Ger) 

Funeral cantata for soloists 

(SB), mixed choir (SATB), flute, 

oboe, strings and organ 

Ed. G. Fock 


Gelobet sei der Herr 

TVWV 1:602/1216 (Ger) 

Oratorio for St John's Day 

Urtext / Ed. U. Poetzsch 


BA 5899-90 • V.s 


Telemann’s two-part oratorio 

appeared as part of the “great 

oratorio year” of 1730/31. 

Richly scored hitherto 

unknown work 

Interesting addition to the 

repertoire for church as well 

as concert choirs 

Gelobet seist du, Jesu Christ / 

We praise your name 

TVWV 1:612 (Ger/Eng). 

Cantata for the Second Day of 

Christmas 

Urtext / Ed. U. Poetzsch-Seban 


BA 7676-90 ° V.s. 

“All in all high-quality 

music which has been evaluated 

“in the field” for performers.” 

(Journal Kirchenmusik) 

Gott der Hoffnung erfülle 

euch TVWV 1:634 (Ger). 

Cantata for the first day of 

Whitsun 

Urtext / Ed. M. Richter 


BA 5898-90 ° V.s 

In 1717 Telemann composed 

this cantata based on a text 

by Erdmann Neumeister. It 

forms part of the Concerten- 

Jahrgang, also known as 

Das Harmonische Zion or 

Italienischer Jahrgang and has 

been colourfully scored. Vocal 

soloists, choir and instruments 

have equal musical standing in 

this festive cantata. 

Die Hirten bei der Krippe zu 

Bethlehem TVWV 1:797 (Ger) 

Sacred Cantata 



BA 5852-90 ° V.s. 

Der jüngste Tag wird bald sein 

Ziel erreichen / The Last of Days 

shall reach its destination 

TVWV 1:301 (Ger/Eng) 

Cantata for the Second Advent 



BA 7671-90 ° V.s. 

Laudate Jehovam 

“Auf! Lobet den Herren” (Lat/ 

Ger). Psalm no. 117 for mixed 

choir (SATB), two violins and bc 

Ed. E. Valentin 


Nun komm der Heiden Heiland / 

Come thou of man the Saviour 

TVWV 1:1174 (Ger/Eng). Cantata 

for the First Sunday of Advent 



BA 7677-90 ° V.s. 

Johannespassion (1745) 

“Ein Lämmlein geht und trägt 

die Schuld” TVWV 5:30 (Ger) 

Urtext / Ed. W. Hirschmann 


BA 5310-90 • V.s. 

Matthäus-Passion (1746) 

for mixed choir (SATB) (Ger) 

SM 2349-91 • Choral score 

Der Tod Jesu TVWV 5:6 (Ger) 



BA 5853-90 • V.s. 

Trojahn, Manfred 

(*1949) 

Ungewisses Licht (Ger) (2014) 

4 fragments for 8-part choir 



Verdi, Giuseppe 

(1813–1901) 

Messa da Requiem (Lat) 

BA 7590-90 → page 40 





39


“… Obviously, this is the latest and most comprehensive edition and 

the one that should supplant all others on music library shelves.” 

(The American Organist) 

The genesis of some 

misunderstandings included 

in the 1913 and 1964 Ricordi 

editions is traced. The first 

version of the Liber scriptus 

for chorus is included in the 

appendix while the later 

version for mezzosoprano solo 

is to be found in the main part 

of the edition. 

Verdi's monumental work in 

a Bärenreiter Urtext edition 

Trilingual preface in the 

score (Ital/Eng/Ger) 

Detailed Critical 

Commentary (Eng) 

Idiomatic well-presented 

piano reduction 

Verdi, Giuseppe 

(1813–1901) 

Messa da Requiem (Lat) 

Urtext / Ed. M. Uvietta 

Piano reduction by A. Campora 

BA 7590-90 ° V.s. 

For this scholarly-critical 

edition, the editor has 

consulted no less than 16 

sources, many more than were 

ever used for any other edition 

of the Requiem; some of these 

sources were never evaluated 

before and one source, a 

hand-written vocal score, 

particularly relevant to the 

evaluation of the Liber scriptus, 

was newly discovered. 

As such, this edition offers 

new philological and editorial 

decisions regarding phrasing, 

articulation and dynamics 

and succeeds in presenting 

practical suggestions to solve 

musical problems and those 

concerning the interpretation 

of this famous work. 

This edition comprises a 

concise Critical Commentary in 

the score as well as a detailed 

one on the Bärenreiter website. 

The most important editions 

published in the 19 th century 

are compared with regard to 

musicological questions in the 

work. 

40



(1678–1741) 


Urtext / Ed. M. Bruno 


BA 7674-90 ° V.s. 




BA 8953-90° V.s. 

→ page 28 

Introduzione al Gloria. 

Gloria in D maj 

RV 642, 589 (Lat) 


→ page 34 

BA 7515 Score 


Urtext / Ed. M. Bruno 


BA 8950-90 ° V.s. 



(SSAA) 


BA 8954-90° V.s. → page 28 

Magnificat RV 610/611 (Lat) 


→ page 34 

BA 7516 Score 





Zelenka, Jan Dismas 

(1679–1745) 

Missa Divi Xaverii ZWV 12 (Lat) 

for soloists, mixed choir and 

orchestra 

Urtext / Ed. V. Luks 

Piano reduction by P. Kornfeld 

BA 9594-90 • V.s. 

The Missa Divi Xaverii ZWV 12, 

an expansive and unusually 

richly scored work, marks 

a highlight in the œuvre of 

Zelenka. It was composed in 

1729 while he was working at 

the Dresden court. 

The principal source of this 

first edition is the damaged 

autograph score which had 

long been kept under lock and 

key. Passages missing because 

of its damaged condition 

have been supplemented 

using secondary sources or 

reconstructed by Václav Luks, 

clearly marked as such in the 

musical text. 

“It is good that Zelenka’s 

work is now receiving its due 

through to scholarly editions as 

this.” (Organists’ Review) 

41

Popular Choral Music and Collections 

Major opera choruses 

Bärenreiter Album 

of Opera Choruses 

for Mixed Choir 

BA 6924 V.s. 

NEW 2017 

This album for mixed choir 

and piano contains a selection 

of richly varied choruses 

from Italian, French, German, 

English and Russian operas 

from the 17th to 19th centuries, 

illuminating the great diversity 

of the genre. 

A foreword (Ger/Eng) places 

the choruses in their dramatic 

context and includes 

suggestions for study and 

interpretation. 

Monteverdi, Claudio: "Vieni Imeneo - Lasciate i monti, lasciate 

i fonti” (L'Orfeo) / Handel, George Frideric: "Smiling Venus, queen 

of love" (Acis and Galatea HWV 49b) / Gluck, Christoph Willibald: 

"Regna a noi con lieta sorte" (Alceste [Vienna Version 1767]) / 

Mozart, Wolfgang Amadeus: "Placido è il mar, andiamo" 

(Idomeneo K. 366) / Schubert, Franz: "Lasst Friede in die Hallen des 

Fürstensitzes ziehn" (Fierabras D 796) / Bellini, Vincenzo: "Guerra, 

guerra!" (Norma) / Saint-Saëns, Camille: "L'aube qui blanchit déjà 

les coteaux" (Samson et Dalila) / Bizet, Georges: "Les voici, voici la 

quadrille !" (Carmen) / Tchaikovsky, Peter: "Bolijat moi skory 

nožen'ki“ (Eugene Onegin) (Cyrillic text with transliteration) 

This edition contains the most 

attractive and frequently sung 

pieces from the series Jazz im 

Chor. The pieces include jazz 

standards, ballads and gospel 

numbers. 

Chor aktuell Female Voices 

(SSAA/SMA) 

Ed. K. Suttner, S. Kalmer, 

K. Ehmer, M. Frey 

BE 2498 

Christmas a cappella 


Ed. G. Buckland 

BA 7573 

“The greatest strength of 

this collection is its sheer 

scope, containing over 170 

carols many of which are the 

traditional favourites. For this 

fact alone, many choirs will 

find this book excellent value 

for money.” 

(Church Music Quarterly) 

Christmas for female voices 


BA 7598 

This collection includes 

many well-known Christmas 

melodies in traditional as well 

as more popular settings from 

many countries around the 

world. All pieces are arranged 

for two female voice parts 

with a piano accompaniment 

but a third optional voice part 

is also included in many cases. 

Best of Jazz im Chor 

(Eng) 

for mixed choir (mostly SATB) 

Ed. C. Schönherr 

BE 488 Choral score 

Chor aktuell Female Voices 

contains more than 70 choral 

arrangements of sacred as well 

as secular songs from all over 

the world which cover musical 

styles such as pop, gospel, 

avant-garde and folk. 

Distribution rights for Europe 

and Japan 

A selection: A child this 

day is born / Es ist ein Ros 

entsprungen / Entre le bœuf / 

Joy to the world / Les anges de 

nos campagnes / O Heiland, 

reiß die Himmel auf / Orientis 

partibus / Quando nascette 

ninno / The Carol of the 

Drum / The first Nowell 

42

Popular Choral Music and Collections 

Groove Sisters 

(Eng) for female voices (SSAA) 

and piano 

Ed. M. Carbow 


Groove Sisters brings together 

rock-jazz songs and gospel 

numbers in a selection 

for female voices. The 

arrangements come with a 

piano accompaniment but 

can also be sung a cappella. 

A selection: 

He Is Always Close To You / 

He Is The Lord / I Set My Sail / 

He Is Making Us Sing / 

Free Your Soul / A Rainy Day / 

Lift Your Head Up High 

Hits from Jesus Christ Superstar 

(Eng) 

4 pieces for mixed choir (SATB) 

a cappella 

Ed. S. Kalmer 


Everything’s alright / 

I Don’t Know How to Love 

Him / The Last Supper / 

King Herod’s Song 

Worldwide distribution rights 

excluding the USA and Canada 

Let's Get Singing 

for mixed choir (mostly SATB) 

Ed. K. Suttner, S. Kalmer, 

B. G. Mettke, M. Frey 

BE 2439-01 

Over 100 pieces from 

more than 30 countries 

Includes sacred as well 

as secular pieces and 

Christmas music 

Of moderate difficulty 

Audio CD 

Contains spoken texts to 

assist in the pronunciation 

of the foreign languages used. 

99 tracks, approx. 70 minutes 

ISBN 978-3-7649-2437-9 

Münden, Gerd-Peter 

(*1966) 

Six Motets for Christmas 

for mixed choir (SSATBB), 

children’s choir, youth choir 

(SSA), organ ad. lib. (Ger/Eng) 

BA 8957 Full score 


for mixed choir 


for children’s choir, equal-voice 

choir (SSA) 

This collection by Gerd-Peter 

Münden presents carols in new 

settings as a welcome addition 

to the Christmas literature and 

will enrich the repertoire of an 

adults’ or children’s choir. 

There comes a galley, laden / 

O Saviour, open heaven’s gate / 

O Lord, how shall I meet you / 

Angels, from the realms of glory / 

As I was watching o’er my Sheep / 

Good Christian men, rejoice 

64 Spirituals a cappella 

(Eng) for mixed choir 

(SATB to 10 parts) 


BA 7574 

This collection offers a treasure 

trove of the most beautiful 

gospel and spiritual numbers 

which every choir will want to 

sing over and over again. 

A selection: Go down 

Moses / Amen / Michael row 

the boat ashore / Rock my soul / 

This little light of mine / 

The Gospel train 

33 Spirituals for Upper Voices 

(Eng) for female choir or 

children's choir (SMezA) and 

piano. Ed. G. Buckland 

BA 7572 

This edition offers exciting 

original arrangements that have 

never before appeared in print, 

written in an authentic idiom 

for three women’s or girls’ 

voices with piano accompaniment. 

All the arrangements can be 

combined with the already 

published edition 64 Spirituals 

(BA 7574) which is for SATB. To 

give you an example: a children’s 

choir working with our new 

edition can appear with a 

mixed chorus that has already 

mastered the settings of 

BA 7574. In addition twelve of the 

arrangements can be enhanced 

by instrumental accompaniments. 

These are to be found in the 

ComboCom series Spirituals 

edition (BA 6699) which offers 

flexible instrumental settings. 

Stevens, Cat 

Wild World (Eng) 


Ed. S. Kalmer 

BE 727 

Weltmusik für Chor / 

World Music for Choir 


Ed. R. Dost 

BE 468 with audio CD 

This edition contains nine 

specially chosen pieces from 

countries all over the world in 

vibrant arrangements which 

should appeal particularly to the 

younger choir singer. 

The accompanying CD includes 

complete performances of all 

the pieces, recordings of the 

individual vocal parts as well as 

instructive information on the 

background, interpretation and 

pronunciation. 

43

Facsimiles 


(1685–1750) 

“Allein zu dir, Herr Jesu Christ” 

BWV 33 


after Trinity. Edited by 

Christoph Wolff and Peter 

Wollny. Autograph score, 

original parts, text from 1724. 

Facsimile series Bachscher 

Werke und Schriftstücke, 

New Series, Volume V 

Boxed set of 24 pages (score), 

54 pages (parts), 16 pages (text) 

and 16 pages (commentary) 

ISBN 978-3-7618-2201-2 

Mass in B min BWV 232 


score in the Staatsbibliothek 

zu Berlin. 

Edited by Christoph Wolff. 

218 pages of facsimile and a 

36 page introduction 

(Eng/Ger/Jap); Linen-bound 

with silver embossing 

Documenta Musicologica II/35 


ISBN 978-3-7618-2194-7 

“This facsimile edition is 

a model for the presentation 

of musical sources, both in 

appearance and in 

documentation. 

Wolff’s facsimile will serve 

as foundational tools”. 

(Notes, December) 




Facsimile of the autograph score 

in the Staatsbibliothek zu Berlin 

– Preußischer Kulturbesitz 

With a commentary by Christoph 

Wolff, Martina Rebmann and 

Barbara Schneider-Kempf (Eng/Ger) 

Documenta musicologica II,47 

168 pages facsimile and 

26 pages of commentary 


Half-leather binding, hardback 

ISBN 978-3-7618-2294-4 


Autograph score and original parts reunited 

Limited edition 


(1685–1750) 

“O Ewigkeit, du Donnerwort” 

BWV 20 

Cantata for the 1 st Sunday 

after Trinity 

Autograph score and original 

parts: Two 4-colour facsimile 

fascicles (24 + 64 pages, 

each in a facsimile cover) 

and a Commentary booklet 

(Ger/Eng, 16 pp) in a slipcase 

Faksimile-Reihe Bach’scher Werke 

und Schriftstücke. 

Neue Folge, edited by the Bach 

Archive Leipzig (Peter Wollny), 

Volume IX 

Documenta musicological II/52, 

ISBN978-3-7618-2447-4 

Limited edition of 

250 copies 

With a Commentary by 

Peter Wollny 

44

Facsimiles 

“One of the most grandiose artistic working processes 

ever documented in the history of music” Hans-Joachim Hinrichsen 

Ludwig van Beethoven 

Missa solemnis op. 123 


score held in the 

Staatsbibliothek zu Berlin 

- Preussischer Kulturbesitz 

With a commentary by 

Hans-Joachim Hinrichsen and 

Martina Rebmann 

Documenta musicologica II, 51 

340 pp. of facsimile and 29 pp. 

of Commentary (Eng/Ger); 


Half-leather binding, hardback 

ISBN 978-3-7618-2395-8 

With fold-out pages 

glued in by hand 

NEW 2017 

Beethoven struggled with 

the Missa solemnis for years. 

How difficult and intense this 

work process was, is clearly 

reflected in the autograph. 

Apart from the many 

corrections there are several 

torn-out pages. Sometimes 

Beethoven could only proceed 

by stitching replacement pages 

into the manuscript. 

Beethoven authority Hans- 

Joachim Hinrichsen unveils 

the stages of its genesis in an 

understandable and rather 

detective-like manner. In 

addition Martina Rebmann, 

head of the music department, 

explains how this and other 

autographs were gradually 

acquired for the Beethoven 

collection in the Berlin 

Staatsbibliothek. 

Reproduced in high-quality 

four-colour printing, the 

facsimile replicates the page 

stubs and fold-out pages, 

thereby emulating the feel of 

the original source. Judicious 

inscriptions with movement 

headings, continuous 

pagination, scholarly foliation 

and measure numbers help 

readers to find their way more 

easily in the manuscript. 

“A wonderful jewel for all 

Beethoven lovers” (VEKÖ) 

Beethoven, Ludwig van 

(1770–1827) 

Symphony No. 9 

op. 125. Facsimile of 

the autograph score in the 

Staatsbibliothek zu Berlin – 

Preußischer Kulturbesitz, the 

Beethoven-Haus Bonn and 

the Bibliothèque nationale 

de France. 422 + 11 pages 

of facsimile and 40 pages 

introduction (Eng/Ger/Jap); 

half-linen, hardback 



ISBN 978-3-7618-2169-5 

“Best Edition 2008” 

“What a joy for all of us 

to have a readily available 

facsimile of Beethoven 9 at 

last. Del Mar’s work on the 

symphonies has become the 

gold standard of contemporary 

editing for us all, an astonishing 

work of scholarship which is 

miraculously practical. These 

two virtues are not often 

bedfellows … I welcome his 

guiding hand on this new 

project, and look forward to 

a fascinating exploration.” 

(Sir Simon Rattle) 

45

Facsimiles 

George Frideric Handel 



(1637–1707) 

Herr, ich lasse dich nicht 

BuxWV 36 


set of parts in the Uppsala 

University Library including 

a new full score critical edition. 

Edited by P. Wollny with a 

foreword (Ger/Eng). 


ISBN 978-3-7618-1958-6 

Our facsimile edition, in 

four-color reproduction, 

is preceded by a brief 

commentary in German and 

English in which Peter Wollny 

discusses notation, textual 

transmission and performance 

practice. 

Please see 

the website 


for more detailed 

information on 

individual editions. 


Facsimile of the autograph score 

in the British Library, London. 

Edited by Donald Burrows. 

284 pages of facsimile and 

a 56 page introduction 

(Eng/Ger/Jap); half-linen 



ISBN 978-3-7618-2109-1 

No distribution rights 

for the UK 

The first performance of 

George Frideric Handel’s 

oratorio Messiah on 13 April 

1742 in Dublin aroused 

unqualified rapture. A 

newspaper report a few days 

later declared that it combined 

“the Sublime, the Grand, and 

the Tender”. Its success has 

remained undiminished ever 

since, and the Messiah has 

taken its place in musical life. 

In 2009, to mark the 250 th 

anniversary of Handel’s 

death, the British Library and 

Bärenreiter joined forces and 

made the autograph score of 

the Messiah available to the 

public in a meticulously 

reproduced, lavishly published 

facsimile. 

The renowned Handel scholar 

Donald Burrows introduces 

the characteristics of Handel’s 

manuscript, describes 

the history of the work’s 

composition, and explains 

the differences between later 

versions of the Messiah, as 

reflected in the conducting 

scores. A two-page sketch 

from the Fitzwilliam Museum 

Cambridge completes the 

publication. 

46

Facsimiles 

Mozart’s Requiem · Truth and Legend 

Wolfgang Amadeus Mozart 


Facsimile of the autograph score held in the Austrian National Library. With a commentary 

by Christoph Wolff and Günter Brosche. 200 pp. of facsimile and 35 pp. of Commentary (Eng/Ger), 

half-leather binding, pages individually trimmed. 

Bärenreiter Facsimile ISBN 978-3-7618-2346-0 

Mozart’s Requiem is fraught with questions and emotions: the expressive depth of its music, sorrow 

at the great composer’s early death, truth and legend, fragments and attempts to complete the work. 

Bärenreiter 

NOTES 

NEW 2017 


Notes 

Notes 

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The Musicians’ Choice 

• A student lesson book 

• A general notebook 

• A gift 

Format: A 6 (10.5 cm x 14.8 cm / 

4.1 inches x 5.8 inches) 

32 pages · binding stapled 

BA 8100 Mozart red 

BA 8100-24 Telemann green 

BA 8100-27 Debussy blue 

BA 8100-29 Bach blue 

47

Beethoven 

fauré 

verdi 

Your Music Dealer: 

Bärenreiter-Verlag 48 

Karl Vötterle GmbH & Co. KG · Heinrich-Schütz-Allee 35–37 · 34131 Kassel · Germany 

info@baerenreiter.com · www.baerenreiter.com · SPA 30

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