| +++ Choral music for the Christmas season +++ |
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| Bärenreiter News – (July 2025) |
Dear musicians
Christmas may still be six months away, but gingerbread will be back on supermarket shelves before you know it — which means it’s the perfect time to start planning your choir’s Christmas program!
Still unsure what to perform?
We've put together a carefully curated selection for you on our website, and you'll find a first overview in this newsletter. Perhaps you’ll use the summer break to begin preparing — either way, we hope you enjoy exploring the repertoire.
You’ll find detailed information and music samples for each edition on our website, and all titles are available to order directly through our webstore.
We look forward to receiving your orders!
Best regards
Your international sales and marketing team
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| Christmas Music for Mixed Choir |
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| | Famous choral movements arranged for choir and organ
Magnificent sound maintained for this smaller ensemble arrangement |
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| Bach, Johann Sebastian | | Choral settings from the Christmas Oratorio Part I-III | Arranger: Gehring, Holger
| | BA 07525 | EUR 16,50 | Organ reduction | 9790006541508 | The movement “Jauchzet, frohlocket, auf, preiset die Tage” (Shout ye exultant this Day of Salvation) is an essential part of the Christmas music repertoire, but for many parishes a lack of instrumentalists and finances makes the performance of the work in its original orchestration very difficult.
This new “Choir & Organ” arrangement of the popular choral movements from parts I-III of Bach’s Christmas Oratorio responds to precisely this need for a smaller orchestration. | | |
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| Bach, Johann Sebastian | | Christmas Oratorio BWV 248 | BÄRENREITER URTEXT
Editors: Blankenburg, Walter / Dürr, Alfred | | BA 05014-90 | EUR 18,95 | Vocal Score | 9790006461660 | The “Christmas Oratorio” is one of Johann Sebastian Bach’s most important works. Contrary to what the term “oratorio” might suggest, it is actually a series of six Christmas cantatas based on biblical accounts of the birth of Jesus—the Annunciation by the angel, the Adoration of the Shepherds, the Naming of Jesus, and the visit of the Wise Men from the East. Although each part was written for a specific Sunday or feast day during the Christmas season, together they form a unified whole. The work is often performed in two parts: Cantatas I–III and IV–VI.
This vocal score includes all six cantatas in a single volume. It is based on the Urtext of the New Bach Edition, edited by Alfred Dürr. The editor’s piano part is arranged to be easily playable, and the new engraving of the edition is modern, clear, and comfortable to read. | | | | |
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| Bach, Johann Sebastian | | Gelobet seist du, Jesu Christ BWV 91 | BÄRENREITER URTEXT
Editors: Dürr,Alfred / Raphael, Günter | | BA 10091-90 | EUR 9,95 | Vocal Score | 9790006490783 | The cantata Gelobet seist du, Jesu Christ was composed by J. S. Bach for the Christmas Day 1724. It belongs to that yearly set of “chorale cantatas” the texts of which were mostly derived from a single chorale.
The anonymous author of the text used to retain literally the first and last verses of the selected chorale, but paraphrased the middle verses more or less freely in the form of recitatives, arias and ariosi. | | |
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| Bach, Johann Sebastian | | Bereitet die Wege, bereitet die Bahn BWV 132 | BÄRENREITER URTEXT
Editor: Dürr, Alfred | | BA 10132-90 | EUR 9,25 | Vocal Score | 9790006491063 | | The cantata "Bereitet die Wege" is one of the few works by Johann Sebastian Bach of which we know fairly well how it came into being. The autograph full score bears the date 1715; Bach therefore composed the piece for the church service given by the Weimar court orchestra (of which he was the concert master) on 22 December, the fourth Sunday in Advent, in the year 1715. We even know the author of the words: it was the High Ecclesiastical Secretary in Weimar, Salomon Franck, who wrote the poem especially for that occasion and had it printed in his annual cycle of cantata texts entitled "Evangelisches Andachtsopfer". | | |
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| Bach, Johann Sebastian | | Nun komm, der Heiden Heiland BWV 61 | BÄRENREITER URTEXT
Editor: Dürr, Alfred | | BA 10061-90 | EUR 8,50 | Vocal Score | 9790006490318 | Bach began two of his cantatas with Martin Luther`s Advent hymn “Nun komm, der Heiden Heiland”, a German version of the early church hymn “Veni redemptor gentium”.
One of the most gripping solo parts; (following the pattern recitative – aria – recitative – aria) is the bass recitative on the words of the Revelation, with its highly expressive declamation of the vocal line and the naive graphicness of the pounding string accompaniment.
Equally captivating is the following soprano aria, which “opens its heart” upon the Savior`s “knocking” in a melody full of the cheerful tidings of Advent. The cantata ends brilliantly with a lovely figurative chorale movement enhanced by the interplay of a lively, bustling violin part, which ultimately soars upward to breathtaking heights. | | |
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| Bach, Johann Sebastian | | Magnificat in D major BWV 243 | BÄRENREITER URTEXT
Editor: Dürr, Alfred | | BA 05103-90 | EUR 10,25 | Vocal Score | 9790006464272 | Johann Sebastian Bach’s setting of the “Magnificat”, the Canticle of Mary, is undoubtedly one of the highlights of his oeuvre and holds a firm place in Christmas season concert programs.
Originally composed in E-flat major in 1723, the “Magnificat” was later revised and reached its final form in 1732. In this better-known version, now in D major, the inclusion of transverse flutes enriches the overall sound of the winds. The renowned Bach scholar Alfred Dürr set new standards with his edition of the work.
The piano reduction, based on the Urtext of the New Bach Edition, is easily playable and presented in a clear, modern layout. The appendix includes the four interpolated movements from the original version, transposed into the main key. Their intended positions within the work are clearly marked by cross-references. | | | | |
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| Buxtehude, Dietrich | | In dulci jubilo for three-part Chorus, two Violins and Basso continuo BuxWV 52 | | Editor: Grusnick, Bruno | | BA 00620 | EUR 17,95 | Score and Set of parts | 9790006403974 | Dietrich Buxtehude’s „Christmas Music“ is suited remarkably well for the numerous Advent and Christmas services as well as the general religious services which choruses take part in every year.
Although characterized by an extreme economy and simplicity of means, this nevertheless opulent-sounding work possesses its own special Christmas magic. It is a piece which can rightly claim its place in the choral repertoire of today. The score with enclosed instrumental parts is available as well as the choral score and instrumental parts separately. | | |
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| Buxtehude, Dietrich | | Praise him, Christians BuxWV 68 | Editor: Grusnick, Bruno
| | BA 00481 | EUR 15,95 | Score and Set of parts | 9790006402755 | | |
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| | First Urtext edition of this work
An important addition to the repertoire for Christmas
Straightforward, clear piano reduction
Foreword (Ger/Eng) and critical commentary (Eng) |
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| Charpentier, Marc-Antoine | | In nativitatem Domini canticum H. 416 | BÄRENREITER URTEXT
Editor: Schwindt, Joel | | BA 07673-90 | EUR 19,50 | Vocal Score | 9790006540006 | Charpentier composed “ In nativitatem Domini canticum ” during his period as maître de musique at the church of St Louis in Paris (around 1690). It is in the tradition of the oratorios of Carissimi and his contemporaries, but is more easily described as a “Grand Motet” or “Histoire sacrée ”, a genre in which Charpentier excelled. The work was probably intended for performance during mass on Christmas Day and thus had a liturgical function as was customary during the period of Louis XIV in Paris.
The text presents the Christmas story in three sections: the chorus of the faithful, the actual story of the birth of Jesus and the adoration of the shepherds in the fields. The music reveals a subtle mixture of French and Italian styles with dramatic elements.
For the first time this work, prepared by the acknowledged Charpentier expert Joel Schwindt , is presented in a scholarly-critical edition where all sources have been consulted.
A detailed foreword and critical commentary provide detailed information which fulfil all the criteria of an Urtext edition. | | | | |
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| Händel, Georg Friedrich | | Messiah HWV 56 | BÄRENREITER URTEXT
Editor: Tobin, John | | BA 04012-73 | EUR 21,50 | Vocal Score | 9790006442843 | “Messiah“ occupies a unique position in Handel’s work. Its strongly universal character and directness of expression, which appeal to men of all creeds, make it the most renowned work in the whole of the composer’s monumental output.
Passion, cantata, opera, instrumental music – that is, all the important musical genres of the time – these formed the basis of Handel’s new art-form, which developed with ever increasing impetus from the end of 1738 onwards and found a particularly complex realization in “Messiah“.
It is often been said that Handel composed “Messiah” for his visit in Ireland, wither he had been onvited by the Lord Lieutenant, William Cavendish, Duke of Devonshire, to perform his music for the benefit of charity. The first performance took place on 13 April 1742 in Neale’s Music Hall, Dublin. After Handel’s return from Ireland “Messiah” received fifty-six performances in England during his lifetime. | | | | |
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| Jansson, Mårten | | God Rest Ye Merry, Gentlemen | |
| BA 07419 | EUR 5,75 | Choral score | 9790006561483 | This wonderful carol melody is sung by the altos and is accompanied by an ostinato “motor” in the male voices.
The soprano part moves independently and comments, so to speak, on the melodic happenings.
“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.”
Mårten Jansson (b. 1965), elected member of the Föreningen svenska tonsättare (the Society of Swedish Composers), graduated from the Royal College of Music, Stockholm (KHM) with an MFA degree in Music Education, Dalcroze Eurhythmics and Voice. For more than ten years he was the music director and conductor of “Carmen”, one of the most prominent womens’ vocal ensembles in Sweden. He currently teaches choral conducting and music theory as well as giving vocal tuition at the Bolandgymnasiet and Musikskolan in his home town of Uppsala. | | |
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| Jansson, Mårten | | Es ist ein Ros entsprungen (Lo, How a Rose E'er Blooming / Det är en ros utsprungen) | |
| BA 07418 | EUR 9,50 | Choral score | 9790006561476 | “I have embedded this internationally well-known melody in a harmonic room of bells which is rendered by the male voices.
To enhance the feeling of two independent entities, the melody and the bell ostinato are performed in different metres.
Tension increases in the second verse when the melody is performed in a canon but dissipates at the end of the piece.” (Marten Jansson)
“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.”
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| | New edition for the Saint-Saëns Anniversary Year 2021
Piano reduction by Saint-Saëns’ pupil Eugène Gigout
Notes on Gallican pronunciation of the Latin text |
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| Saint-Saëns, Camille | | Oratorio de Noël op. 12 | BÄRENREITER URTEXT
Editor: Stahl, Christina M. | | BA 11304-90 | EUR 16,50 | Vocal Score | 9790006566150 | Saint-Saëns was just 23 years old when he composed his “Oratorio de Noël” in 1858 in only twelve days. Edited by Christina M. Stahl, this choral masterpiece is now available in a comprehensive scholarly-critical Urtext edition.
In the Foreword (Ger/Eng/Fr), the editor explains the background to the premiere, explains the expansion of the work from six to ten movements as well as the composer’s multiple revisions. The Critical Commentary (Eng) meticulously records these revisions.
For the first time, valuable tips are provided for the Gallican pronunciation of the Latin text, customary in France until 1903.
The piano reduction is based on the contemporary arrangement by Saint-Saëns’ student Eugène Gigout. | | | | |
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| | A “discovery” for Christmas and Advent concerts
Relatively simple choral writing
Sensitive organ arrangement |
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| Saint-Saëns, Camille | | Oratorio de Noël op. 12 "Christmas Oratorio" | Choir & Organ
Arranger: Köhs, Andreas | | BA 07514 | EUR 20,50 | Organ reduction | 9790006521661 | Owing to its Latin text, Saint-Saëns’ Christmas Oratorio has found admirers all over the world. Saint-Saëns avoids theatrical effects in his church music and relies almost entirely on homophonic choral writing. Here the operatic allusions so popular in his day have given way to a mixture of romantic élan and reminiscences of the Baroque. The subtitle reads “ dans le style de J. S. Bach” although the composer was unaware of Bach’s Christmas Oratorio.
In this unusual form the oratorio, of which the final movement is already a hit with many choruses, is well-suited for performance during the Advent and Christmas seasons, providing a welcome change from Bach. | | |
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| | Urtext based on the latest scholarly research
Straightforward and easy-to-play keyboard reduction
Duration: approx. 15 minutes
Singing translation in English |
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| Telemann, Georg Philipp | | Come thou of man the Saviour TWV 1:1174 | BÄRENREITER URTEXT
Editor: Poetzsch, Ute | | BA 07677-90 | EUR 10,75 | Vocal Score | 9790006526253 | The cantata Nun komm der Heiden Heiland (TWV 1:1174) is taken from Telemann’s cantata cycle of 1717-18. Though festively scored for two oboes, two trumpets, kettledrums, strings and basso continuo, it will not overly strain the financial resources of today’s ensembles.
The well-known chorale tune features prominantly in all choruses. Telemann gives one aria each to the three soloists (SAB). Thanks to the relatively small instrumental ensemble, the choral passages can be taken one to a part. The vocal score appears with a singing translation in English. | | | | |
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| | Festive Christmas composition
Urtext from the Telemann Edition
Can be combined with another Christmas cantata |
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| Telemann, Georg Philipp | | Die Hirten bei der Krippe zu Bethlehem TWV 1:797 | BÄRENREITER URTEXT
Editor: Hobohm, Wolfgang | | BA 05852-90 | EUR 20,50 | Vocal Score | 9790006521579 | In the words of Karl Wilhelm Ramler, this cantata is one of the most beautiful Christmas compositions of the 18th century. Written for a performance in 1759, it combines festive trumpet sounds with moving chorale settings.
Telemann has used his musical resources with moderation and restraint, allowing the chorus to appear at the central passages in both sections and painting an unobtrusive pastoral background for the Christmas setting. A worthy alternative in any Christmas concert.
Our edition contains an English translation of the German text in an appendix and follows the Urtext of the Telemann Edition (vol. 30), thereby providing a reliable text reflecting the latest findings of scholarship. | | | | |
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| | Attractive choral pieces which can be combined to form a short mass
Choral score available for the “Gloria”
Informative foreword (Ger/Eng) |
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| Vivaldi, Antonio | | Gloria RV 589 | Editors: Bruno, Malcolm / Ritchie, Caroline
| | BA 07674-90 | EUR 10,95 | Vocal Score | 9790006538850 | Today the “ Gloria” RV 589 is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period. Vivaldi wrote the “ Gloria” as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period at the Ospedale della Pietà, around 1716. In the twelve movements of the “ Gloria” , Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scored solo passages.
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| Christmas Music for Female Choir |
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| | Collection of international Christmas songs for female voices
For two to three parts with piano accompaniment
Traditional as well as more popular settings
All song texts in German and English |
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| Christmas for female voices | | Editor: Buckland, Graham | | BA 07598 | EUR 26,95 | Choral score | 9790006538713 | This collection includes popular Christmas melodies in traditional as well as more popular settings from many countries around the world including USA, UK, France, Germany, Austria, Poland and the Czech Republic.
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. This edition presents one of the most comprehensive collections of Christmas choral settings for female voices.
Graham Buckland is a conductor and composer and studied in Cambridge, London and Brno. He is now university music director in Regensburg. | | |
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| | Effective arrangement for female choir
Forewords in English and German
Straightforward, idiomatic piano reductions |
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| Vivaldi, Antonio | | Gloria RV 589 | | Editor: Bruno, Malcolm | | BA 08953-90 | EUR 12,95 | Vocal Score | 9790006541676 | The “Gloria” RV 589 is one of Vivaldi’s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was, in all probability, composed around 1716 during Vivaldi’s time at the Ospedale della Pietà, an orphanage for girls in Venice.
Although Vivaldi’s “Gloria” was written for solo voices and mixed choir, it is likely that it was performed at the girls’ orphanage with female voices only. Taking this into account, Malcolm Bruno’s careful arrangement for choir SSAA is of some relevance. The work, when set for female voices or children’s choir, remains a true masterpiece. | | | | |
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