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Robert Schumann
Mixed choir
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Mixed choir

Missa sacra in c-Moll op. 147
Soli SATB, Coro SATB, Org
arr. Zsigmond Szathmáry
Carus 40.687/45, full score

According to statements by the composer, the Missa sacra is suitable for both “worship services, as well as for concerts,” and at the same time it is “not difficult to perform.” The expressive harmonies, precise use of counterpoint and its concise themes show that the Missa sacra is a highly romantic work which belongs among the great masterpieces of 19th century sacred music. Following a performance in 1861 Clara Schumann wrote to Johannes Brahms: “The Kyrie is deeply moving, and as if cast from one mold; in the Sanctus individual movements had such a wonderful sonorous effect that chills ran down my spine.” For the present edition Zsigmond Szathmáry has made a new arrangement for organ of the original orchestra accompaniment.

aus: Drei Gedichte op. 29
– Zigeunerleben op. 29,3 (nach E. Geibel) Soli SSATTB, Coro SATB, Pfte, [Triangel, Tamburin]
Carus 40.280/10

Fünf Lieder nach Robert Burns op. 55
for mixed choir (SATB) (1846)
1. Das Hochlandmädchen
in Carus 40.277/10
2. Zahnweh
Carus 40.277/20,
3. Mich zieht es nach dem Dörfchen hin
in Carus 40.277/30
4. Die gute, alte Zeit
in Carus 40.277/30
5. Hochlandbursch
in Carus 40.277/10

Vier Gesänge op. 59 for mixed choir (SATB)
Carus 40.271, in prep.
1. Nord oder Süd (Lappe)
Carus 40.277/40
2. Am Bodensee (Platen)
in Carus 40.277/50
3. Jägerlied (Mörike)
in Carus 40.277/50
4. Gute Nacht (Rückert)
in Carus 40.279/70
Anhang: Hirtenknaben-Gesang (Droste-Hülshoff)
Carus 40.277/60

The Fünf Lieder op. 55 and the Fünf Gesänge op. 59 date from the early days of Schumann’s compositions in this genre. Already in this collections there is a fascinating contrast between pieces of a simple, popular style and a more advanced, strongly expressive style.

aus: Spanisches Liederspiel op. 74 (1849)
translated by Geibel for mixed Choir (SATB) and Piano
5. Es ist verraten
Carus 40.280/20
9. Ich bin geliebt op. 74,9
Carus 40.280/30

aus: Spanische Liebeslieder op. 138 (1849)
10. Dunkler Lichtglanz / Coro SATB, Pfte
Carus 40.280/70

Bei Schenkung eines Flügels an Clara
Coro SATB, Pfte / 2 min
Carus 40.280/80

Beim Abschied zu singen op. 84 (1847)
Soli SATB, Coro SATB, Pfte
Carus 40.280/60

aus: Minnespiel op. 101
for mixed choir (SATB) and Piano (Rückert)
5. Schön ist das Fest des Lenzes
Coro SATB, Pfte
Carus 40.280/40
8. So wahr die Sonne scheinet
Coro SATB, Pfte
Carus 40.280/50

Vier doppelchörige Gesänge op. 141
für größere Gesangsvereine / Coro SATB/SATB
– An die Sterne (Rückert)
Carus 40.278/50
– Ungewisses Licht (Zedlitz)
Carus 40.278/60
– Zuversicht (Zedlitz)
Carus 40.278/70
– Talismane (Goethe)
Carus 40.278/80

The Vier doppelchörige Gesänge op. 141 were written in 1849 expressly for “larger choral societies.” Their scoring for eight voices gives these choruses particular tonal and structural richness.

Romanzen und Balladen I op. 67
for mixed choir (SATB) (1849)
1. Der König von Thule (Goethe)
in Carus 40.277/70
2. Schön-Rohtraut (Mörike)
Carus 40.277/80
3. Heidenröslein (Goethe)
in Carus 40.277/70
4. Ungewitter (Chamisso)
Carus 40.277/90
5. John Anderson I (Burns)
in Carus 40.279/20

Romanzen und Balladen II op. 75
for mixed choir (SATB) (1849)
6. Schnitter Tod (Des Knaben Wunderhorn)
Carus 40.278/10
7. Im Walde (Eichendorff)
Soli SATB, Coro SATB
Carus 40.278/20
8. Der traurige Jäger (Eichendorff)
in Carus 40.278/30
9. Der Rekrut (Burns)
in Carus 40.278/30
10. Vom verwundeten Knaben (Herder)
Solo A, Coro SATB
Carus 40.278/40

Romanzen und Balladen III op. 145
for mixed choir (SATB) (1849)
Carus 40.275
11. Der Schmid (Uhland)
Carus 40.279/10
12. Die Nonne (Anonymus)
in Carus 40.279/20
13. Der Sänger (Uhland)
in Carus 40.279/30
14. John Anderson II (Burns)
in Carus 40.279/20
15. Romanze vom Gänsebuben (Malsburg)
Carus 40.279/40

Romanzen und Balladen IV op. 146
for mixed choir (SATB) (1849)
Carus 40.276
16. Brautgesang (Uhland)
Carus 40.279/50
17. Der Bänkelsänger Willi (Burns)
Carus 40.279/60
18. Der Traum (Uhland)
in Carus 40.279/30
19. Sommerlied (Rückert)
in Carus 40.279/70
20. Das Schifflein (Uhland)
Carus 40.279/80

Schumann composed the Romances and Ballads, collected in four volumes (op. 67, 75, 145 and 146), for his own use in Dresden. Here the choral style which Schumann envisaged (he once wrote that the Ballads sounded “peculiar”) is realized in its purest form: Schumann unfolds the possibilities of choral form in its utmost diversity. The declamatory, harmonic and interpretative features of these scores are certainly a rewarding challenge for choirs with varying degrees of ability.


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