Besetzung: Soli (SABarB), 4-st. gem. Chor, 2.2.2.2.-0.1.0.0., Schlgw., Pk, Str (Posaunenchor ad lib.) Dauer: 60 Minuten Schwierigkeitsgrad: mittelschwer Klavierauszug (N 4631) Das plattdeutsche Weihnachtsoratorium für Soli, gemischten Chor, Orchester und Orgel erblickt im Dezember 2024 das Licht der Welt. Mit" De hillige Nacht" schafft Claus Woschenko (* 1979) ein eindrucksvolles Vokalwerk, das traditionelle Weihnachtsklänge mit der besonderen Schönheit der plattdeutschen Sprache verbindet. Das Werk folgt der traditionellen Dramaturgie eines Weihnachtsoratoriums: Soli, Rezitative und Choräle stehen im Wechselspiel und erzählen die Weihnachtsgeschichte in eindrucksvoller musikalischer Form. Dabei erklingen bekannte Choräle wie „Makt hoch de Döör (Macht hoch die Tür)“, „Kümmet, ji Harders (Kommet, ihr Hirten)“ uvm. und verleihen der Komposition dadurch einen vertrauten, festlichen Charakter. Claus Woschenkos Komposition zeichnet sich durch eine farbenreiche, harmonische Klangwelt aus, die modern daherkommt und gleichzeitig zugänglich bleibt. Seine Musik verbindet zeitgenössische Ausdrucksformen mit einer emotionalen Wärme des Weihnachtsfestes. Durch raffinierte Instrumentation und klangliche Nuancen schafft er eine Atmosphäre, die festlich, aber nicht überladen wirkt – modern, ohne dabei dissonant zu sein. Die Musik strahlt eine behagliche Tiefe aus, die sowohl den Texten als auch der festlichen Stimmung gerecht wird. Der Komponist nutzt zudem die klangvolle, vokalreiche Schönheit der plattdeutschen Sprache, die Zeugnis eines grenzübergreifenden Kulturraums im nördlichen Europa ist. Diese Sprache, die sich hervorragend vertonen und singen lässt, verleiht dem Oratorium eine besondere Ausdruckskraft. Das Weihnachtsoratorium lässt sich von Laien- und Profimusikern gleichermaßen realisieren. Uraufführung: 22.12.2024 in der Plöner Kirche.

This work was written for the 3rd Bach Week 1977 of the Collegium musicum Regensburg and premiered by Hermann Baumann in Regensburg Cathedral. The selection includes original horn parts from Bach's rich cantata oeuvre, as well as vocal parts that are suitable in terms of melodic style and timbre. In addition to concert performances, the work is also intended for use in liturgy. Content: 1. Come, Jesus, come to your church (BWV 61) 2. I will not forsake my Jesus (BWV 124) 3. Thus God loved the world (BWV 68) 4. Reach out and grasp salvation (BWV 174) This edition is published in a practical ring binder format.

From ‘Solomon’, Act 3, HWV 67 George Frideric Handel's (1685-1759) festive and lively sinfonia ‘ The Arrival of the Queen of Sheba ’ from the oratorio Solomon is one of his best-known and most popular works. The characteristic blend of Baroque splendour, dance-like lightness and melodic clarity makes the piece a highlight in concerts and church services. In the arrangement by Arvid Gast (organ) and Joachim Pliquett (trumpet), the work is given an impressive sonic transformation for two instruments. The trumpet takes on the radiant upper voices, while the organ fills the orchestral part with baroque splendour and rhythmic precision. This version is ideal for festive occasions, church celebrations and as an effective concert opener. A classical work of the Baroque period – newly interpreted in a playful and audience-friendly arrangement. Content: 1. Allegro

Johann Sebastian Bach (1685–1750) is considered one of the most important composers in the history of church music. His chorales remain a cornerstone of liturgical music practice to this day. Three expressive chorales from Bach's cantatas ‘ Ich armer Mensch ’ (BWV 55), ‘ Wachet auf ’ (BWV 140) and ‘ Der Friede sei mit dir ’ (BWV 158) in easy to moderately difficult arrangements by Eberhard Kraus (1931-2003) for trombone (C) and organ. In addition to concert performances, these pieces are also intended for use in liturgy and are equally suitable for beginners and advanced brass players and organists. Content: 1. Erbarme dich, erbarme dich ( BWV 55- Have mercy, have mercy) 2. Zion hört die Wächter singen (BWV 140 - Zion hears the watchmen singing) 3. Welt ade, ich bin dein müde (BWV 158 - Farewell, world, I am weary of you)

Johann Sebastian Bach probably composed the six trio sonatas BWV 525-530 ‘á 2 Claviers e Pedal’ between 1727 and 1729 for his eldest son Wilhelm Friedemann, although individual pieces date back to earlier years (1722-1723). These are undoubtedly organ sonatas, whose three independent voices combine to create an extremely charming musical work of art . The aim of this arrangement of the first trio sonata was to make this beautiful work accessible to recorder players. Lambertus Johannes Drop transposed the trio sonata from its original key of E flat major to F major.

Johann Sebastian Bach (1685–1750) is one of the most important composers in music history. His chorales are musical gems of profound spiritual meaning and artful clarity. In the collection ‘ Jesus bleibet meine Freude ’ (Jesus remains my joy), Arvid Gast and Joachim Pliquett have arranged four selected chorales for trumpet and organ in a stylish, moderately difficult arrangement that is also suitable for short-term programme expansion. Content: – BWV 147 ‘ Jesus bleibet meine Freude ’ (Jesus remains my joy) – playing time approx. 4'30'' – BWV 721 ‘ Erbarm dich mein, o Herre Gott ’ (Have mercy on me, O Lord God) - playing time approx. 1'30'' – BWV 668a ‘ Wenn wir in höchsten Nöten sein ’ (When we are in greatest need) (early version of ‘Vor deinen Thron tret ich hiermit’ (I hereby step before your throne)) - playing time approx. 1'30'' – BWV 12 ‘ What God does is well done ’ (final chorale from ‘Weinen, Klagen, Sorgen, Zagen’) – playing time approx. 0'40'' These arrangements combine the vocal character of the trumpet with the rich sound of the organ and showcase Bach's choral art in an expressive setting that can be used both liturgically and in concert. Their moderate level of difficulty makes them particularly suitable for advanced pupils, students and ensembles active in church music. An inspiring choral programme – musically profound, beautiful in sound and practical.

Jean-Siegfried Blumann (1887–1965) was a German conductor and composer. He graduated from the Hamburg Conservatory's conducting class and continued his studies at the Vienna Conservatory. During his artistic career, he worked as a Kapellmeister at several German-language theatres, including in Schwerin, Lübeck, Magdeburg, Braunschweig, Breslau and at the Kroll Opera in Berlin. As a composer, Jean S. Blumann also wrote entertaining works in addition to concert pieces, études and plays. The present piece for trumpet and piano (alternatively organ) is an example of his light compositional style.

Max Baumann (1917–1999) ranks among the most important composers of the 20th century. His compositional output is wide-ranging and encompasses almost all genres of music, from simple songs and instrumental works to chamber music, stage works and small and large orchestral works. Sacred choral music occupies another important place among his compositions. The present edition of Alma Redemptoris Mater is a testament to his vocal work. The setting of the ancient Marian hymn ‘ Alma Redemptoris Mater ’ (Mother of the Redeemer) combines sacred musical language with a modern, emotionally dense sound language. The piece is suitable for both liturgical performances and concert programmes.

The ‘ Little Marian Mass ’ Op. 59 for two soprano voices and organ was written in 1958 for the pupils of St. Ursula's Grammar School in Duderstadt. This was reported to the Max Baumann Society on 3 March 2009 by Ms Helene Dießner, a former music teacher at the school who still lives in Duderstadt. She had asked Max Baumann for a ‘practical work for equal voices’, ‘because simple masses were rare at that time’. Ms Dießner rehearsed the work for the festive service on the occasion of the golden jubilee (1961) of the Venerable Mother Augustina. Since then, boys' and women's choirs have also sung this mass often and with pleasure in church services, certainly also because of its interesting rhythms and appealing, novel harmonies. Contents: Kyrie (approx. 3 minutes) Gloria (approx. 3 minutes 30 seconds) Sanctus (approx. 2 minutes 30 seconds) Benedictus (approx. 1 minute 40 seconds) Agnus Dei (approx. 4 minutes 30 seconds) The vocal score is available under order number N 8135.

Eberhard Kraus selected original oboe parts from Johann Sebastian Bach's rich cantata oeuvre and arranged them in a style appropriate for oboe and organ. This work was written in 1992 for the Regensburg Cathedral Concerts. With its moderate level of difficulty, it is suitable: for the development of chamber music with a liturgical reference as a programme extension for ensembles and soloists of wind and organ works for church musicians as practical and demanding literature for concert and liturgical occasions Content: - Seufzer, Tränen, Kummer, Not (BWV 21) - Sighs, tears, sorrow, distress (BWV 21) - Endlich wird mein Joch wieder von mir weichen müssen ( BWV 56) - At last my yoke will have to be lifted from me (BWV 56) - Ich will auf den Herren schaun ( BWV 93) - I will look to the Lord (BWV 93) - Sinfonia (Kantate BWV 12) - Sinfonia (Cantata BWV 12) - Christen müssen auf der Erden (BWV 44) - Christians must on earth (BWV 44) - Was Gott tut, das ist wohlgetan (BWV 12) - What God does is well done (BWV 12)

Das vorliegende Concerto ist eine Bearbeitung des Concerto B-Dur für Oboe, Violino concertante, Streicher und Continuo (RV 548) von Antonio Vivaldi. Es wurde Wert darauf gelegt, möglichst eng am Vivaldi'schen Original zu bleiben und dabei das Wesen der Originalkomposition mit auf die neue Instrumentierung zu übertragen. Es ergibt sich damit ein interessantes Abwechseln der beiden konzertierenden Instrumente Orgel und Trompete.