As a calendar for the Advent season, this book of songs and readings is designed to appeal to both the eye and the ear. Each day of the Christmas season is introduced with a verse and illustrated with a picture. Inhalt: - Alle Jahre wieder - Schneeflöckchen - Lasst uns froh und munter sein - Was soll das bedeuten? - Aba heidschi bumbeidschi - Jingle Bells - Kling, Glöckchen - O du fröhliche - Freu dich, Erd und Sternenzelt - Maria durch ein Dornwald ging - Morgen kommt der Weihnachtsmann - Ihr Hirten erwacht - Tochter Zion (aus "Judas Maccabäus") - Knecht Rupprecht aus dem Walde - O Tannenbaum - Lieb Nachtigall, wach auf - Herbergsuche - Auf dem Berge, da wehet der Wind - Kommet, ihr Hirten - In dulci jubilo - Ihr Kinderlein kommet - Still, still, still - Inmitten der Nacht - Stille Nacht - Fröhliche Weihnacht - Hirtenmusik Enclosed is the ‘Weihnachtliche Hauspostille’: tear-off calendar with 26 verses by O. Haën

25 old Christmas carols from the 14th to 17th century This collection of Christmas carols includes songs from the Middle Ages, the Renaissance, the early Baroque period and various German landscapes. Composition, poetry or compositional style often link them to great names in German cultural history such as Martin Luther, Friedrich von Spee, Angelus Silesius, Paul Gerhardt, Bartholomäus Gesius, Andreas Hammerschmidt, Johann Crüger and Johann Sebastian Bach. However, many of the songs are also based on adaptations of Latin hymns or are of anonymous origin, belonging to different landscapes. Content: - Christnachtigall - Den geboren hat eine Magd - Der Heiland ist geboren - Der Menschen Heil, ein kleines Kind - Der Spiegel der Dreifaltigkeit - Der Tag, der ist so freudenreich - Es ist ein Ros' entsprungen - Freu' dich, Erd und Sternenzelt - Freut euch, ihr Hirten all - Fröhlich soll mein Herze springen - Gelobet seist, du Jesu Christ - Grünet, Felder, grünet, Wiesen - In dulci jubilo - Kommet, ihr Hirten - Lasst uns das Kindlein wiegen - Lobt Gott, ihr Christen, allzugleich - O Jesulein zart - O laufet, ihr Hirten - Sei willkommen Jesulein - Singt und klingt - Uns kommt ein Schiff gefahren - Unserer Lieben Frauen Traum - Vom Himmel hoch ihr Englein kommt - Was soll das bedeuten - Zu Bethlehem geboren

The ‘Music for a nativity play’ can be performed completely independently of a scenic play. The entire movement can also be performed by a four-part choir. The music was originally intended for recorder quartet. However, it can also be performed by a string or fiddle quartet. The coupled or alternating use of these instruments is particularly appealing. Contents: - Prelude - Lullaby - Song of the angels - Shepherd's Dance - March of the Kings - Adoration The parts are also available separately.

Content: - Wohin gehen diese frohen Hirten? | Wither go the merry shepperds? - Ob es um das Leben geht? | And if it is lose this life? - Michael verursacht diesen großen Lärm | Michael it is who thunders so - Oh Gott, daß ich damals nicht lebte | Oh Lord, had I been living then - Weihnachtslied | Carol - Aus Liebe zu Maria | Christians who bow unto their Curch - Weihnachtslied | Carol - Dieser Tage haben wir gesungen | We have sung these Christmas days - Noch schlief Josef | Joseph still lay sleeping - Weihnachtslied | Carol - Weihnachtslied | Carol - Ich habe mich erhoben | Then did I rise - Sag an Maria | Tell us sweet virgin - Guter Josef, höre mich | Good Joseph, hearken - Lasset eure Tiere weiden | Le4ave your flocks a-grazing - Josef ist wohl verheiratet | Joseph is wedded

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)