Motetten und Chorarien, Heft 6 by Jacobus Gallus 4-Part - Sheet Music

By Jacobus Gallus

The final part from 1791 took on a new direction, as was reflected in the formulation of the title: "Four-part Latin and German choral settings for use by choirs in churches and schools. The first part, or the motet collection, part VI, from Johann Adam Hiller, Ducal Music Director of Kurland, Cantor of St. Thomas School and Music Director of both of the main churches in Leipzig." (additional parts were not published).The volume precedes a foreword, in which Hiller relates why he composed and published the present pieces. Of special interest is the great amount of information about church music and liturgical practice of this time, which he in part could shape, but in the face of whose traditions he also sometimes felt powerless. So this foreword belongs among the most important documents on the living practice of Protestant church music in the last years of the 18th century.

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Details

Instrument:
Choir Voice
Ensembles:
4-Part SATB
Genres:
Christian Classical
Composers:
Jacobus Gallus Johann Adam Hiller
Publishers:
Carus Verlag
ISBN:
9790007096090
Format:
Collection / Songbook
Item types:
Physical
Artist:
Jacobus Gallus
Usages:
Sacred
Size:
8.27 x 11.69 inches
Shipping Weight:
0.35 pounds

SATB chorus

SKU: CA.204160

Composed by Jacobus Gallus and Johann Adam Hiller. Edited by Uwe Wolf. This edition: Paperbound. Sacred vocal music, motets. Genres / texts frequently set to music: Sacred vocal music. Sacred vocal music, Motets. Collection. Carus Verlag #CV 02.041/60. Published by Carus Verlag (CA.204160).

ISBN 9790007096090. 8.27 x 11.69 inches.

The final part from 1791 took on a new direction, as was reflected in the formulation of the title: "Four-part Latin and German choral settings for use by choirs in churches and schools. The first part, or the motet collection, part VI, from Johann Adam Hiller, Ducal Music Director of Kurland, Cantor of St. Thomas School and Music Director of both of the main churches in Leipzig." (additional parts were not published).

The volume precedes a foreword, in which Hiller relates why he composed and published the present pieces. Of special interest is the great amount of information about church music and liturgical practice of this time, which he in part could shape, but in the face of whose traditions he also sometimes felt powerless. So this foreword belongs among the most important documents on the living practice of Protestant church music in the last years of the 18th century.