Mendelssohn Bartholdy: Hymn of Praise - CD, Choir Coach, multimedia | Carus-Verlag

Felix Mendelssohn Bartholdy Hymn of Praise

Symphony cantata MWV A 18, 1840

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Mendelssohn described his 1840 work as "a symphony for chorus and orchestra". The development from darkness to light forms the most important poetic image in it. In several numbers the biblical message is initially expounded by a soloist, then taken up by the chorus, repeated and expanded. The important role played by the chorus is also reflected in the difficulty of some passages. Above all, in the crowning final movement, there should be no trace of tiredness ...

The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a separate Audio CD or MP3 and download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions: 

  • Original recording
  • Coach: each part is accompanied by the piano, with the original recording sounding in the background
  • Coach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.

Performers: Maria Bernius, Christiane Karg (soprano), Werner Güra (tenore) – Kammerchor Stuttgart, Deutsche Kammerphilharmonie Bremen – Frieder Bernius

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Listen (12)
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  • 1. Sinfonia – Maestoso con moto
  • 1. Sinfonia - Allegretto un poco agitato
  • 1. Sinfonia - Adagio religioso
  • 3. Recitativo: Saget es, die ihr erlöst seid, Arie: Er zählet unsre Tränen (Tenore solo)
  • 6. Stricke des Todes (Tenore solo)
  • 9. Drum sing‘ ich mit meinem Liede (Soprano e Tenore solo)
  • 2. Alles, was Odem hat (Coro e Soprano solo)
  • 4. Sagt es, die ihr erlöst seid (Coro)
  • 5. Ich harrete des Herrn (Soprano I e II solo e Coro)
  • 7. Die Nacht ist vergangen (Coro)
  • 8. Choral: Nun danket alle Gott
  • 10. Ihr Völker, bringet her (Coro)
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Practise
  • carus music, the Choir Coach Üben mit carus music
    • 2. Alles, was Odem hat (Coro e Soprano solo) (Choir Coach)
    • 2. Alles, was Odem hat (Coro e Soprano solo) (Choir Coach, Slow mode)
    • 4. Sagt es, die ihr erlöst seid (Coro) (Choir Coach)
    • 4. Sagt es, die ihr erlöst seid (Coro) (Choir Coach, Slow mode)
    • 5. Ich harrete des Herrn (Soprano I e II solo e Coro) (Choir Coach)
    • 5. Ich harrete des Herrn (Soprano I e II solo e Coro) (Choir Coach, Slow mode)
    • 7. Die Nacht ist vergangen (Coro) (Choir Coach)
    • 7. Die Nacht ist vergangen (Coro) (Choir Coach, Slow mode)
    • 8. Choral: Nun danket alle Gott (Choir Coach)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Slow mode)
    • 10. Ihr Völker, bringet her (Coro) (Choir Coach)
    • 10. Ihr Völker, bringet her (Coro) (Choir Coach, Slow mode)
    • 2. Alles, was Odem hat (Coro e Soprano solo) (Choir Coach)
    • 2. Alles, was Odem hat (Coro e Soprano solo) (Choir Coach, Slow mode)
    • 4. Sagt es, die ihr erlöst seid (Coro) (Choir Coach)
    • 4. Sagt es, die ihr erlöst seid (Coro) (Choir Coach, Slow mode)
    • 5. Ich harrete des Herrn (Soprano I e II solo e Coro) (Choir Coach)
    • 5. Ich harrete des Herrn (Soprano I e II solo e Coro) (Choir Coach, Slow mode)
    • 7. Die Nacht ist vergangen (Coro) (Choir Coach)
    • 7. Die Nacht ist vergangen (Coro) (Choir Coach, Slow mode)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Tenore 1)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Slow mode, Tenore 1)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Tenore 2)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Slow mode, Tenore 2)
    • 10. Ihr Völker, bringet her (Coro) (Choir Coach)
    • 10. Ihr Völker, bringet her (Coro) (Choir Coach, Slow mode)
    • 2. Alles, was Odem hat (Coro e Soprano solo) (Choir Coach)
    • 2. Alles, was Odem hat (Coro e Soprano solo) (Choir Coach, Slow mode)
    • 4. Sagt es, die ihr erlöst seid (Coro) (Choir Coach)
    • 4. Sagt es, die ihr erlöst seid (Coro) (Choir Coach, Slow mode)
    • 5. Ich harrete des Herrn (Soprano I e II solo e Coro) (Choir Coach)
    • 5. Ich harrete des Herrn (Soprano I e II solo e Coro) (Choir Coach, Slow mode)
    • 7. Die Nacht ist vergangen (Coro) (Choir Coach)
    • 7. Die Nacht ist vergangen (Coro) (Choir Coach, Slow mode)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Basso 1)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Slow mode, Basso 1)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Basso 2)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Slow mode, Basso 2)
    • 10. Ihr Völker, bringet her (Coro) (Choir Coach)
    • 10. Ihr Völker, bringet her (Coro) (Choir Coach, Slow mode)
    • 2. Alles, was Odem hat (Coro e Soprano solo) (Choir Coach)
    • 2. Alles, was Odem hat (Coro e Soprano solo) (Choir Coach, Slow mode)
    • 4. Sagt es, die ihr erlöst seid (Coro) (Choir Coach)
    • 4. Sagt es, die ihr erlöst seid (Coro) (Choir Coach, Slow mode)
    • 5. Ich harrete des Herrn (Soprano I e II solo e Coro) (Choir Coach)
    • 5. Ich harrete des Herrn (Soprano I e II solo e Coro) (Choir Coach, Slow mode)
    • 7. Die Nacht ist vergangen (Coro) (Choir Coach)
    • 7. Die Nacht ist vergangen (Coro) (Choir Coach, Slow mode)
    • 8. Choral: Nun danket alle Gott (Choir Coach, soprano 1)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Slow mode, soprano 1)
    • 8. Choral: Nun danket alle Gott (Choir Coach, soprano 2)
    • 8. Choral: Nun danket alle Gott (Choir Coach, Slow mode, soprano 2)
    • 10. Ihr Völker, bringet her (Coro) (Choir Coach)
    • 10. Ihr Völker, bringet her (Coro) (Choir Coach, Slow mode)
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Additional material
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  • 1. Sinfonia 2. Coro (e Soprano solo)

    All men, all things, all that has life and breath
    sing to the Lord! Hallelujah.
    Praise the Lord with lute and harp,
    in joyful song extol him!
    And let all flesh magnify his might and his glory!
    Praise thou the Lord, o my spirit,
    all my soul declare, praise his great loving kindness,
    and forget thou not all his benefits.

    3. Recitativo (Tenore solo)

    Sing ye praise, all ye redeemed of the Lord,
    redeemed from the hand of the foe,
    from your distresses, from deep affliction,
    who sat in the shadow of death and darkness,
    all ye that cried in trouble unto the Lord,
    sing ye praise! Give ye thanks,
    proclaim aloud his goodness!
    He counteth all your sorrows in the time of need,
    he comforts the bereaved with his regard.

    ...

  • 1. Sinfonia 2. Coro (e Soprano solo)

    Alles, was Odem hat,
    lobe den Herrn! Halleluja!
    Lobt den Herrn mit Saitenspiel,
    lobt ihn mit eurem Liede!
    Und alles Fleisch lobe seinen heiligen Namen!
    Lobe den Herrn, meine Seele,
    und was in mir ist seinen heiligen Namen,
    und vergiss es nicht, was er dir Gutes getan.

    3. Recitativo (Tenore solo)

    Saget es, die ihr erlöst seid durch den Herrn, die er aus der Not errettet hat aus schwerer Trübsal, aus Schmach und Banden, die ihr gefangen im Dunkel waret, alle, die er erlöst hat aus der Not, saget es! Danket ihm und rühmet seine Güte! Er zählet unsre Tränen in der Zeit der Not, er tröstet die Betrübten mit seinem Wort,

    ...

  • Texte du livret du CD Carus 83.213

    R. Larry Todd
    Traduction : Sylvie Coquillat

    En tant que compositeur de symphonies, Félix Mendelssohn Bartholdy n’était pas lui non plus exempt de la redoutée « crainte d’influence » (« anxiety of influence » selon Harold Bloom) qui habitait plus d’un compositeur du 19ème siècle travaillant dans l’ombre de Beethoven. Pourtant, entre 1821 et 1842, Mendelssohn se montre lui-même très productif dans ce genre ; encore élève, il achève 12 symphonies pour cordes et compose 5 symphonies dans sa maturité. Il existe en outre des ébauches prometteuses des années 1840 annonçant une sixième symphonie en ut majeur. En dépit de cette puissance créatrice, les symphonies pour cordes, avec leur synthèse unique de chromatisme et de technique fuguée puisés chez Bach, une sensibilité évoquant Carl Philipp Emanuel Bach et la réserve classique de Mozart, sont normalement

    ...

  • Text from the CD Carus 83.213

    R. Larry Todd(R. Larry Todd is the author of Mendelssohn: A Life in Music, New York, 2003)

    As a symphonist, Felix Mendelssohn Bartholdy was not immune to the notorious “anxiety of influence” that affected many nineteenth-century composers working in Beethoven’s shadow. Still, Mendelssohn contributed productively to the genre: between 1821 and 1842, he completed twelve student string sinfonie and five mature symphonies, not to mention some tantalizing sketches recorded in the 1840s for what would have been a sixth symphony in C major. Despite this output, the string symphonies, with their distinctive synthesis of Bachian chromaticism and fugal writing, Empfindsamkeit reminiscent of Carl Philipp Emanuel Bach, and Mozartean classical restraint, are usually regarded as retrospective juvenilia, if also remarkably precocious efforts of a twelve and thirteen-year-old musician. Similarly, the Symphony No. 1 in C minor op. 11 (1824), despite its craft and effective orchestration,

    ...

  • Booklet-Text der CD Carus 83.213

    R. Larry Todd
    Übersetzung: Helga Beste

    Als Komponist von Sinfonien war auch Felix Mendelssohn Bartholdy nicht immun gegen die von Harold Bloom so benannte berüchtigte „anxiety of influence“, die so manchen im Schatten Beethovens arbeitenden Komponisten des 19. Jahrhunderts heimsuchte. Dennoch trug Mendelssohn zwischen 1821 und 1842 produktiv zur Gattung bei; er vollendete noch als Schüler 12 Streichersinfonien und komponierte in reiferen Jahren 5 Sinfonien. Darüber hinaus existieren vielversprechende Skizzen aus den 1840er Jahren, die auf eine sechste Sinfonie in C-Dur vorausweisen. Trotz dieser Schaffenskraft werden die Streichersinfonien mit ihrer unverkennbaren Synthese aus Bach’scher Chromatik und Fugentechnik, einer an Carl Philipp Emanuel Bach erinnernden Empfindsamkeit und der klassischen Zurückhaltung Mozarts in der Rückschau normalerweise als Jugendwerke betrachtet, wenn auch als bemerkenswert reife Anstrengungen eines zwölf bzw. dreizehn Jahre alten Komponisten. Auf ähnliche Art und Weise dokumentiert auch die erste Sinfonie in c-Moll op. 11 (1824) trotz ihres handwerklichen Könnens und effektiver Orchestrierung in einigen schwach kaschierten Anspielungen auf Beethovens Fünfte Sinfonie und

    ...

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  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
  • The Deutsche Kammerphilharmonie Bremen is one of the world's leading orchestras, captivating audiences everywhere with its unique style of music-making. The Estonian conductor Paavo Järvi has been the orchestra's Artistic Director since 2004.


    One of the many highlights of the collaboration with Paavo Järvi has been their Beethoven Project, on which conductor and orchestra concentrated for six years. Their Beethoven interpretations have been acclaimed worldwide by audiences and critics alike as benchmark performances. Following the Beethoven Project The Deutsche Kammerphilharmonie Bremen and Paavo Järvi focused on Robert Schumann's symphonic works with equal success.
    The latest project of the orchestra and its conductor is the German composer Johannes Brahms. The first CD (Sony/RCA) of the project – Symphony No. 2, Tragic Ouverture and the Academic Festi-val Ouverture – was released in autumn 2017 and received the Opus Klassik in October 2018. The second CD, including Symphony No. 1 and the Haydn-Variations, followed in autumn 2018. With the third and fourth Symphony, released in March 2019, the symphony cycle has come to completion.
    Highlight of the project was the internationally acclaimed performance of ›A German Requiem‹ on the 10th of April 2018 at Bremen Cathedral, 150 years after the first performance. The recording has now been released on DVD and Blu-ray by C-Major. In October 2019, ›The Brahms Code‹ – an excit-ing TV/DVD documentary about the Brahms Project produced by Deutsche Welle/Unitel – was re-leased and is the current German Record Critics' Award winner in the category music film (listed 1/20).


    The Deutsche Kammerphilharmonie Bremen has been honoured with countless prizes such as Echo, Opus and Diapason d'Or for its recordings and the unique education project with the Gesamtschule Bremen-Ost in Osterholz-Tenever, the Zukunftslabor. For years, the orchestra has cultivated close musical friendships with international soloists such as Christian Tetzlaff, Maria João Pires, Janine Jansen, Igor Levit, Hilary Hahn and Martin Grubinger.


    The Deutsche Kammerphilharmonie Bremen is permanent guest orchestra at the Elbphilharmonie Hamburg and Festival Orchestra of Kissinger Sommer. Personal details
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
  • Christiane Karg studied at the Mozarteum Salzburg. She was awarded the Lilli Lehmann Medal of the International Mozarteum Foundation for her final diploma. As well as lieder recitals at the Heidelberger Frühling and Schleswig-Holstein music festivals, she has sung in opera at the Salzburg Festival, Theater an der Wien and Komische Oper Berlin. For the 2008/09 season, she has moved from the International Opera Studio at the Hamburg State Opera, which she joined in 2007, to join the company at the Frankfurt Opera. Christiane Karg has won prizes at several international singing competitions. In 2008 she was awarded a prize for the most promising artist by the Walter and Charlotte Hamel Foundation. Personal details
  • Werner Güra studied at the Salzburg Mozarteum. He continued his vocal training with Kurt Widmer in Basle and Margreet Honig in Amsterdam. He has appeared as a guest singer in operas in Frankfurt, Basle, Dresden, Paris and Brussels, and has sung regularly at the Staatsoper in Berlin since 1999. As a concert and oratorio singer he frequently appears with leading orchestras and renowned conductors. He has made a number of tours to Japan. Werner Güra also has a reputation as a Lied interpreter, which is reflected in concerts for international promoters and in his numerous recordings, which have won prestigious awards like the “Diapason d’Or.” Personal details

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