Felix Mendelssohn Bartholdy Like as the hart longs. Psalm 42

Arrangement for chamber orchestra (arr. Homolka) MWV A 15, 1837/2020

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Psalm texts inspired Mendelssohn throughout his composing career. In 1837 Robert Schumann judged Mendelssohn’s setting of Psalm 42 as the "highest level that he has achieved as a composer of church music, indeed the highest level that modern church music has ever reached".

With this arrangement of Mendelssohn’s cantata Wie der Hirsch schreit (As the hart longs) smaller choirs and choirs with more limited resources of space or finance can now perform this popular work. The original symphonic wind and brass forces have been reduced from 15 to 5 wind and brass forces. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal scores and chorus scores of that version can be used.

  • Can be performed by smaller choirs with smaller instrumental forces
  • Usable with the vocal scores and choral scores from the original version.
  • Complete performance material available on loan.
  • carus plus: the work (original version) is available in the carus music app, the Choir Coach, as well as in the Carus Choir Coach series (audio only).
Original versionArrangement for chamber orchestra
Soli STTBB, Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, Org
Soli STTBB, Coro SATB, Fl, Ob, Clt, Fg,  Cor, [Timp], 2 Vl, Va, Vc, Cb, Org
Recording:
ENCORE Kammerchor
Dirigent: Matthias Rajczyk
L'arpa festante München

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  • Like as the hart longs. Psalm 42
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  • Purchase additional material as a download product.
  • 1. Coro (SATB)

    As the hart longs for streams of water,
    O God, so my spirit longs for thee.

    2. Aria (Solo S)

    For my spirit thrists after God,
    my God, the Lord of all living.
    O when shall I come before him,
    so that mine own eyes may see him?

    3. Recitativo (Solo S)

    And my tears have been all my food both day and night,
    while they daily come and ask me: Where is now your God?
    These things I now remember,
    as I pour out my heart in prayer to him.

    Allegro assai (Solo S e Coro)

    For I would have gone out gladly with the people
    and with them would go up to God’s own temple
    with rejoicing and thanksgiving,
    with all the people on the feast day.

    ...
  • 1. Coro (SATB)

    Wie der Hirsch schreit nach frischem Wasser,
    so schreit meine Seele, Gott, zu dir.

    2. Aria (Solo S)

    Meine Seele dürstet nach Gott,
    nach dem lebendigen Gotte.
    Wann werde ich dahin kommen,
    dass ich Gottes Angesicht schaue?

    3. Recitativo (Solo S)

    Meine Tränen sind meine Speise Tag und Nacht,
    weil man täglich zu mir saget: Wo ist nun dein Gott?
    Wenn ich dess’ inne werde,
    so schütte ich mein Herz aus bei mir selbst.

    Allegro assai (Solo S e Coro)

    Denn ich wollte gern hingehen mit dem Haufen
    und mit ihnen wallen zum Hause Gottes,
    mit Frohlocken und mit Danken
    unter dem Haufen, die da feiern.

    4. Coro (SATB)

    Was betrübst du dich, meine Seele,
    ...
  • Texte du livret du CD Carus 83.202

    Thomas Schmidt-Beste
    Traduction (abrégé) : Jean Paul Ménière

    La musique spirituelle pour chœurs occupe une place importante dans la production de Felix Mendelssohn Bartholdy (1809–1847). Le catalogue de ses œuvres ne compte pas moins de 67 compositions, publiées ou non, qui vont de très simples et brèves pièces pour chœurs jusqu’aux deux oratorios monumenteaux Paulus et Elias. Il est facile de comprendre cet aspect de la production du compositeur lorsqu’on jette un bref regard sur sa biographie : Après l’abandon de la religion juive et la conversion de la famille Mendelssohn au christianisme en 1816 (d’abord les enfants, les parents en suivent 1822) le compositeur grandit dans le milieu culturel et musical de Berlin, fortement imprégné par le protestantisme. Son professeur, Carl Friedrich Zelter, jouait, en outre, en tant que directeur de la Singakademie, Berlin, à laquelle appartint également le jeune

    ...
  • Text from the CD Carus 83.202

    Thomas Schmidt-Beste
    Translation (abridged): John Coombs

    Sacred choral music occupies an important place among the works of Felix Mendelssohn Bartholdy (1809–1847); the catalogue of his sacred compositions includes no fewer than 67 published and unpublished works, ranging from brief and straightforward choruses to the two monumental oratorios St. Paul and Elijah. A glance at the biography of the composer makes this understandable: following conversion to Christianity of the originally Jewish Mendelssohn family (the children were converted in 1816 and the parents in 1822) the composer grew up in the Protestant-influenced musical culture of Berlin. His teacher Carl Friedrich Zelter, as director of the Berlin Singakademie (to which the young Mendelssohn belonged), was one of the leading figures in the movement of that period whose aim was to breathe new life into the “classical” art of the old

    ...
  • Booklet-Text der CD Carus 83.202

    Thomas Schmidt-Beste

    Im Schaffen Felix Mendelssohn Bartholdys (1809–1847) nimmt die geistliche Chormusik einen großen Stellenwert ein – das Werkverzeichnis führt nicht weniger als 67 veröffentlichte und unveröffentlichte Werke auf, die von kurzen, ganz einfachen Chorsätzen bis zu den beiden monumentalen Oratorien Paulus und Elias reichen. Ein Blick auf die Biographie des Komponisten macht dies verständlich: Nach dem Übertritt der ursprünglich jüdischen Familie Mendelssohn zum Christentum – im Jahr 1816 erst der Kinder und 1822 dann der Eltern – wuchs der Komponist in der protestantisch geprägten Musikkultur Berlins auf; sein Lehrer Carl Friedrich Zelter war zudem als Leiter der Berliner Singakademie (deren Mitglied auch der junge Mendelssohn war) eine der treibenden Kräfte im Bestreben, die „klassische“ Kunst der alten Meister der Kirchenmusik in der Praxis zu neuem Leben zu erwecken. An erster Stelle standen hier die Werke

    ...
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Purchase
full score, Foreword in German and English Carus 40.072/50, ISMN 979-0-007-24005-9 112 pages, paperback
available
63,95 € / copy
set of parts, complete orchestral parts, on loan Carus 40.072/69 23 x 32 cm, without cover
  • 1 x set of parts, harmony parts, on loan, flute, oboe, clarinet, bassoon, horn, timpani (40.072/59)
     
    3 x individual part, violin 1, on loan (40.072/61)
     
    3 x individual part, violin 2, on loan (40.072/62)
     
    2 x individual part, viola, on loan (40.072/63)
     
    2 x individual part, violoncello, on loan (40.072/64)
     
    1 x individual part, double bass, on loan (40.072/65)
     
    1 x individual part, organ, on loan (40.072/99)
     
text (without music) for download, html file, Introductory text, German Carus 40.072/00-310-000
available
25,00 € / copy
text (without music) for download, html file, Introductory text, English Carus 40.072/00-320-000
available
25,00 € / copy
text (without music) for download, html file, Introductory text, French Carus 40.072/00-330-000
available
25,00 € / copy
text (without music) for download, html file, Singing text, english translation Carus 40.072/00-360-000
available
5,00 € / copy
text (without music) for download, html file, Singing text, original Carus 40.072/00-380-000
available
3,00 € / copy
full score digital (download), pdf file Carus 40.072/50-010-000, ISMN 979-0-007-29943-9 112 pages
available
57,60 € / copy
set of parts (digital), zip file, pdf file, complete orchestral parts, on loan Carus 40.072/69-010-000
  • 1 x set of parts (digital), zip file, pdf file, harmony parts, on loan (40.072/59-010-000)
     
    1 x individual part, pdf file, violin 1, on loan (40.072/61-010-000)
     
    1 x individual part, pdf file, violin 2, on loan (40.072/62-010-000)
     
    1 x individual part, pdf file, viola, on loan (40.072/63-010-000)
     
    1 x individual part, pdf file, violoncello, on loan (40.072/64-010-000)
     
    1 x individual part, pdf file, double bass, on loan (40.072/65-010-000)
     

Reviews

... Mit der vorbildlichen, neuen Kammerorchester-Ausgabe …. Sie behält die originale Klanglichkeit bei, verkleinert aber aus Balancegründen die Bläserbesetzung.
Schweizer Musikzeitung, 06/2021

... Die Reduktion der Harmoniestimmen auf ein Bläserquintett vereinbart eine deutliche personelle und dynamische Reduktion mit einem Maximum an orchestralem Klang.
Württembergische Blätter für Kirchenmusik, 06/2021

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Frequent questions about this work

Can I also use the “normal” vocal score /03 and the choral score /05 from the full-scale version to sing the version presented here?

Yes, the vocal parts are absolutely identical, and therefore the vocal scores and choral scores are compatible with both versions.
Modern arrangements for smaller ensembles often require single instruments to take on multiple parts from the original version. This would be possible only to a very limited extent with historical instruments. This chamber music version should therefore be performed with modern wind instruments.
Yes, the string parts in the arrangement have been taken over unchanged from the original version. We also offer the string parts for this version on loan with article number Carus 40.072/69.
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