Ad Unum

Msza h-moll BWV 232 zaliczana jest do najdoskonalszych dzieł muzyki religijnej Jana Sebastiana Bacha. Ma ona także istotne znaczenie historyczne, gdyż powstawała podczas podziału między Kościołem katolickim i protestanckim w dwuwyznaniowych Niemczech. Dlatego też Msza h-moll posiada charakter zarówno protestancki jak i katolicki i przez to nigdy nie została wykonana za życia kompozytora. Msza składa się z 26 wokalno - instrumentalnych ogniw (17 chórów, 3 duetów i 6 arii) i obejmuje pięć głównych części mszy: Kyrie, Gloria, Credo, Sanctus, Agnus Dei. Publikacja zawiera partyturę dzieła w opracowaniu na głosy wokalne, chór SSATB i fortepian.

This volume features timeless songs from the pen of one of the most important Jewish composers. The sacred and secular music of Jack Gottlieb in this monumental collection for solo voice and duet has found its way into synagogues, churches and concert halls throughout the world. Comprised of works written between 1970-2004, these pieces range from settings of folk songs to excerpts from musical theater pieces, from simple tunes to complex art songs. Now, for the first time, Jack Gottlieb's sacred songs are made available for a wider range of artists and listeners.

This volume features timeless songs from the pen of one of the most important Jewish composers. The sacred and secular music of Jack Gottlieb in this monumental collection for solo voice and duet has found its way into synagogues, churches and concert halls throughout the world. Comprised of works written between 1970-2004, these pieces range from settings of folk songs to excerpts from musical theater pieces, from simple tunes to complex art songs. Now, for the first time, Jack Gottlieb's sacred songs are made available for a wider range of artists and listeners.

The Crucifixion was first performed in St. Marylebone Parish Church on 24 February 1887, and published by Novello the same year. In 1915 Novello issued a 'revised edition' in which 'the only alterations made are the substitution of the word 'plead' for 'pray' on pages 34 and 39 and the insertion of a new line in the hymn on page 39. Metronomic indications of the tempi have also been placed at the head of each number'. The alteration of 'woe' to 'pain' in the last bar of page 5 is not mentioned, but is clearly a correction of an error in the rhyme scheme. The new line on page 39 avoids an alteration of metre which would have caused problems in a congregational hymn. There is no obvious verbal or theological reason for changing 'pray' to 'plead'. However, these verbal alterations may have been made by the librettist, and have been retained here, with the 1887 words as footnotes. Since Stainer died in 1901 the authority for the metronome marks in uncertain; they are given here in square brackets, as are the few dynamic markings added in 1915.

Lista utworów:
Recitative: "And they came to a place named Gethsemane" (Stainer John)
The Agony (Stainer John)
Processional to Calvary (Stainer John)
Recitative: "And when they were come" (Stainer John)
The Mystery of the Divine Humiliation (Stainer John)
Recitative: "And as Moses lifted up the serpent" (Stainer John)
Quarter or Chorus (unaccompanied): "God so loved the world" (Stainer John)
Litany of the Passion (Stainer John)
Recitative: "Jesus said, 'Father, forgive them' " (Stainer John)
"So Thou liftest Thy divine petition" (Stainer John)
The Mystery of Intercession (Stainer John)
Recitative: "And one of the malefactors" (Stainer John)
The Adoration of the Crucified (Stainer John)
Recitative: "When Jesus therefore saw his mother" (Stainer John)
Recitative: "Is it nothing to you" (Stainer John)
The Appeal of the Crucified (Stainer John)
"After this, Jesus knowing that all things were now accomplished" (Stainer John)
For the love of Jesus (Stainer John)