Liebeslieder. Chorbuch für gemischten Chor - Sheet music | Carus-Verlag

Liebeslieder. Chorbuch für gemischten Chor

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In every century, love is probably the most frequently-celebrated theme. The choral anthology for the LIEDERPROJEKT installment brings together 40 love songs from all eras in well-known and new, easy-to-sing settings. The collection contains a wide range of settings from the 16th and 17th centuries, the Romantic period, arrangements of popular music as well as settings of well-known and contemporary love songs specially arranged for this choral collection. 
  •  ideal for concerts and weddings
  •  4–6 part settings, some with piano accompaniment
  • settings mainly in German, English, and French
  • contains popular and well-known compositions by composers including Brahms, Dowland, Gluck, Mendelssohn, Monteverdi, Morley, Purcell, Ravel, Tallis, and Tchaikovsky
  • with numerous new choral movements
  • with chansons, jazz standards and pop classics such as Autumn leaves, La vie en rose, Sehnsucht and many more
  • easy to medium difficulty
  • a CD with selected songs is included with the conductor’s volume.
 


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  • Da unten im Tale
  • Innsbruck, ich muß dich lassen
  • Es geht ein dunkle Wolk herein
  • Ade zur guten Nacht
  • In einem kühlen Grunde
  • Dat du min Leevsten büst
  • Uti vår hage
  • Kume, kum, Geselle min
  • Ich hab die Nacht geträumet
  • Danny Boy
  • C'est si bon
  • Rosmarin
  • Es waren zwei Königskinder
  • Es fiel ein Reif
  • Sehnsucht
  • The moonlight gleams round me
  • Trois beaux oiseaux du Paradis
more
Practise
    • Uti vår hage
    • Nocevala Tucka Zolotaja
Purchase
choral collection, with CD Carus 2.212/00, ISBN 978-3-89948-267-6, ISMN 979-0-007-17077-6 128 pages, paperback
available
29,50 € / copy
  • 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
  • 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
  • DRESDNER KAMMERCHOR Radiant, transparent, homogeneous and flexible: the Dresdner Kammerchor is internationally esteemed for its unique culture of sonority. Its artistic director Hans-Christoph Rademann has shaped this distinctive sound since the choir was founded in 1985, leading it to worldwide renown. The choir’s diverse repertoire has its foundation in Baroque music, with a special focus on Saxon court music. As a cultural ambassador for Dresden and Saxony, the choir keeps the musical heritage of its homeland alive and makes it known to an international audience. A prominent example of this is the world’s first complete Heinrich Schütz recording, which was concluded in 2019, published by Carus-Verlag, and has won several awards: among others, the St. John Passion was awarded the Annual Prize of the German Record Critics in 2016, and the last installment of the edition containing “Psalms and Peace Music” was honored with the Opus Klassik 2020. The choir has also rediscovered, performed anew and recorded on CD numerous works by other Central German masters such as Johann Adolf Hasse, Johann David Heinichen and Jan Dismas Zelenka in collaboration with the Dresden Baroque Orchestra and other musical partners. In addition to symphonic choral works from the Classical and Romantic periods, a further repertoire focus is on challenging a cappella works of the 19th and 20th centuries. This includes music by Johannes Brahms, Max Reger, Olivier Messiaen, Francis Poulenc, Arnold Schoenberg and Herman Berlinski. For years, the Dresdner Kammerchor has been intensively dedicated to modern and contemporary music, with world premieres, first performances and its own commissioned works. This commitment is deepened further by diverse music education and youth projects. In 2009, Hans-Christoph Rademann and the Dresdner Kammerchor initiated the Dresden Choral Workshop for New Music, which took place for the 4th time in 2018. For its services to contemporary choral music, the choir was awarded a Sponsorship Prize by the Ernst von Siemens Music Foundation. The Dresdner Kammerchor gives guest performances in centers of music and at festivals throughout Europe. Tours have taken the singers to Israel, India, Taiwan, China, Mexico, South America, South Africa and the USA. Musical partners to date have included René Jacobs, Sir Roger Norrington, Ádám Fischer, Václav Luks, Stefan Parkman, Trevor Pinnock, Christoph Prégardien, Jos van Immerseel, Herbert Blomstedt, Omer Meir Wellber, Christian Thielemann, Riccardo Chailly and Reinhard Goebel, as well as the Sächsische Staatskapelle Dresden, the Gewandhausorchester Leipzig, the BBC Philharmonic Orchestra, Anima Eterna Brugge, the Akademie für Alte Musik Berlin, and the Bamberg Symphony Orchestra. The choir regularly collaborates with the Wroc"naw Baroque Orchestra. By means of a cooperation with the Dresden University of Music, the Dresdner Kammerchor keeps the connection to its roots alive. Personal details
  • Alongside its dedication to a core repertoire of composers such as Monteverdi, Schütz, Bach, Mozart, Haydn, Schumann, and Brahms, the Vocalensemble Rastatt & Les Favorites frequently explore new terrain with premiere performances. On the heels of its successes in national and international choir competitions, the ensemble has taken part in numerous internationally acclaimed CD recordings as well as radio, and television productions for SWR, Radio France, Deutschlandradio Kultur, and Deutschlandfunk. The Vocalensemble Rastatt & Les Favorites have performed in the Festspielhaus Baden-Baden, the Musikfest Bremen, the Kölner Philharmonie, the SWR RheinVokal Festival, the Europäisches Musikfest Stuttgart, the Schwetzinger Festspiele, the Deutschlandradio Kultur Wartburgkonzerte, the Internationale Musiktage im Dom zu Speyer, the Philharmonie in Mulhouse, and the Centre de Musique “Les Dominicains” in Guebwiller, France, among other venues. The flexible choir does not shy away from excursions into the world of opera, having performed Donizetti’s Lucia di Lammermoor and Bellini’s Norma with Edita Gruberova, and Mozart’s Don Giovanni and Così fan tutte with Rolando Villazón. Together with Klaus Maria Brandauer and the Chamber Orchestra of Europe, the choir also performed Mendelssohn’s Sommernachtstraum at the Musikfest Bremen. The ensemble is sponsored by the German state of Baden-Württemberg in co-operation with its “Kunst 2020” program, as well as by its home city of Rastatt. Personal details
  • The Norddeutsche Figuralchor was founded by Jörg Straube in 1981 and rapidly developed into one of the leading chamber choirs in the German Federal Republic. In 1985 the mixed choir of ca. 35 trained singers won third prize in the German Choral Competition (specialist category), and five years later they were awarded first prize for their outstanding performance at the same competition. The Norddeutsche Figuralchor were also winners of the 1992 international chamber choir competition in Takarazuka (Japan), where a German choir was participating for the first time, and in the 1997 Brahms Competition in Hamburg. At the 31st International Choral Competition in Tolosa (Spain, 1999), the choir won first prize in the category of polyphony and second prize in the folk music section. The group’s repertoire extends from 16th-century works to contemporary music, with particular emphasis on the exploration and performance of the romantic choral literature as well as so-called early music. The ensemble’s high artistic and technical standards are documented on numerous recordings – including radio productions with North German Radio, West German Radio, SFB and Radio Bremen – and confirmed by prestigious awards: the German Record Critics’ Prize for Peter Cornelius’s Choral Works (1988) and Frank Martin’s Mass and Ariel choruses (1996), and the ECHO Klassik Record Prize in 1998 and 1999 for Max Reger’s Sacred Choral Music (1998) and Brahms’s Complete Sacred Works (1998), respectively. In addition to a-cappella projects, the choir regularly collaborates with such notable ensembles as Musica Alta Ripa, Musica florea (Prague), Concerto Palatino, or with the renowned harpsichord player Andreas Staier as soloist. The Norddeutsche Figuralchor has undertaken concert tours in Europe and has returned to Japan, partly at the invitation of the Ministry for External Affairs and the German Music Council. Personal details
  • Die Kölner Kantorei erarbeitet seit mehr als 35 Jahren vielfältige anspruchsvolle Chorliteratur, vornehmlich A-cappella-Werke der Romantik und des 20./21. Jahrhunderts sowie regelmäßig auch größere Chorwerke vom Barock bis in die Gegenwart. In seiner Programmgestaltung hat sich der Chor in den letzten Jahren auf die Interpretation inhaltlich verknüpfter Werke konzentriert. Zum Markenzeichen der Kantorei wurden so Programme wie „Das Buch der Psalmen“, „Lux Aeterna – das Himmlische in der Musik des 20. Jahrhunderts“ oder „Mit Menschen- und mit Engelszungen“. Die Kölner Kantorei nahm mehrfach erfolgreich an internationalen Chorwettbewerben teil. Neben etlichen Auftritten in den verschiedenen Regionen Deutschlands führten Konzertreisen den Chor in zahlreiche europäische Länder, nach Russland, Israel und in die USA. Im Dezember 1999 wirkte die Kölner Kantorei zusammen mit acht weiteren Chören aus aller Welt beim Festival „Bethlehem 2000“ mit. Im Jahr 2002 folgte sie mit der Messe von Frank Martin der Einladung zum renommierten Festival „Voci d’Europa“ in Porto Torres, Sardinien. Sie ist zudem regelmäßig in der Kölner Philharmonie zu hören – zuletzt im Frühjahr 2004 und im März 2006 mit Bachs Johannespassion sowie Mozarts Requiem und c-moll-Messe in historischer Aufführungspraxis. Zahlreiche Schallplatten, CD- und Rundfunkproduktionen dokumentieren die Arbeit des Chores. Personal details
  • The vocal ensemble sirventes berlin is totally dedicated to early music for small forces and new a cappella music. The group is committed to neglected works from Germany’s rich musical heritage. At the same time the musicians offer a platform for new compositions and engage in interdisciplinary projects. The ensemble comprises soloists from the Berlin Radio Choir, the RIAS Kammerchor and freelance singers. For almost five years sirventes berlin, in a double quartet formation, has presented “NoonSong” concerts every Saturday at 12:00 noon in the Church at Hohenzollernplatz in Berlin- Wilmersdorf – a musical hour of prayer based on the model of Anglican evensong. These performances have resulted in a repertoire of over 200 a cappella motets, including ten premieres. Since then NoonSong has gone on to become more than just an insiders’ tip; every week 150 to 200 visitors listen to the polyphonic liturgy. As supporters of a living tradition, Berlin being the only place where it can be heard in this form in Germany, sirventes berlin made a very successful guest appearance at the Abu Gosh Vocal Festival in Israel in the summer of 2013. 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
  • In recent years Peter Neumann, born in Karlsruhe, has made a name for himself particularly as a conductor of Handel’s music. This is demonstrated both by the concert series “250 Years Handel Oratorios” which he initiated – performing nine music dramas in accordance with Handel’s concert schedule of 1749–1752 – and by his numerous CD recordings. He has performed masterworks from vocal and orchestral music in the European musical capitals and at many renowned festivals, ranging from Monteverdi’s L’Orfeo and Vespers for the Blessed Virgin (Palais Garnier, Paris) through J. S. Bach’s passions (last in Moscow, Oslo and Versailles) and Mass in B minor (BBC Proms) to Debussy’s Le Martyre de Saint Sébastien at the MusikTriennale in Cologne. 2010, Peter Neumann and his ensembles Kolner Kammerchor and Collegium Cartusianum were guests at the Rheingau Music Festival with Schumann’s Das Paradies und die Peri and at the Schumann Festival in Dusseldorf as well as the Leipzig Bach Festival in 2011. In June 2012 he made his highly acclaimed debut at the Cologne Opera with Handel’s Alcina. As a guest conductor, Neumann has collaborated with, among others, ChorWerkRuhr, the Netherlands Chamber Choir, the SWR Vokalensemble Stuttgart, the NDR Choir, the Schola Cantorum Tokyo, the Concertgebouw Orchestra Amsterdam, the Jerusalem Symphony Orchestra, the Junge Deutsche Philharmonie and Concerto Koln. Highlights of his extensive discography include the complete recording of Mozart’s masses (Gramophone “Crown of Crowns”), Schutz’s Musical Vesper, Schumann’s Missa sacra (Diapason d’Or) and recordings of Bach’s St. John Passion and Handel’s Alexander’s Feast and Brockes Passion (Carus). Personal details
  • Conductor Hans-Christoph Rademann is an immensely versatile artist with a broad repertoire who devotes himself with equal passion and expertise both to the performance and rediscovery of early music and to the first performances and cultivation of Contemporary Music. Born in Dresden and raised in the Erzgebirge mountains, he was influenced at an early age by the great Central German kantorial and musical tradition. He was a student at the traditional Kreuzgymnasium, a member of the famous Kreuzchor, and studied choral and orchestral conducting at the Carl Maria von Weber University of Music in Dresden. During his studies, he founded the Dresdner Kammerchor and formed it into a top international choir which is still under his direction today. Since 2013, Hans-Christoph Rademann has been the academy director of the International Bach Academy Stuttgart. He regularly collaborates with leading choirs and ensembles of the international music scene. From 1999 to 2004 he was chief conductor of the NDR Choir and from 2007 to 2015 chief conductor of the RIAS Chamber Choir. Guest conducting engagements have led and continue to lead him to the Nederlandse Bachvereniging, the Collegium Vocale Gent, the Akademie für Alte Musik, the Freiburger Barockorchester, the Deutsche Radiophilharmonie Saarbrücken Kaiserslautern, the Sinfonieorchester Basel, the Orchestre Philharmonique de Luxembourg, among others. Hans-Christoph Rademann has been awarded prizes and honors for his artistic work, including the Johann Walter Plaque of the Saxon Music Council (2014), the Saxon Constitutional Medal (2008), the Sponsorship Prize as well as the Art Prize of the state capital Dresden (1994 and 2014 respectively). He received the Preis der Deutschen Schallplattenkritik several times for his numerous CD recordings (most recently in 2016), as well as the Grand Prix du Disque (2002), the Diapason d’Or (2006 & 2011), the CHOC de l’année 2011 and the Best Baroque Vocal Award 2014. In 2016 he was awarded the European Church Music Prize of the city of Schwäbisch Gmünd. His exemplary interpretation and recording of the complete works of Heinrich Schütz with the Dresdner Kammerchor in the Stuttgart Carus-Verlag, which was completed in 2019, was awarded the newly endowed Heinrich Schütz Prize as well as the OPUS KLASSIK 2020 in the same year. Hans-Christoph Rademann is professor of choral conducting at the Carl Maria von Weber University of Music in Dresden. He is also artistic director of the Musikfest Erzgebirge, ambassador of the Erzgebirge and patron of the Christian Hospice Service Dresden. Personal details
  • Holger Speck is founder and artistic director of the Vocalensemble Rastatt & Les Favorites. He has developed a distinguished international reputation as a charismatic musician who is capable of bringing to life the aesthetic details of the sound particular to different periods, while communicating emotive content to the listener. His keen sense of sound assures the unmistakable tonal quality of his ensembles. His compelling, lively, and profound interpretations are regularly praised in specialist publications. He has conducted at famous festivals and concert halls such as the Festspielhaus Baden-Baden, the Philharmonie Mulhouse, the Händelfestspiele Karlsruhe, the Europäische Musikfest Stuttgart, the Schwetzinger Festspiele, the Festival Europäische Kirchenmusik Schwäbisch Gmünd, and the SWR RheinVokal Festival. Holger Speck has won prizes at both national and international competitions with the Vocalensemble Rastatt. His CD recordings have met with international acclaim (Gramophone Magazine, American Record Guide, Fanfare, Fono Forum, L’Orfeo, Pizzicato, Diapason, Classicstoday etc.). He frequently collaborates with artists such as Anne Le Bozec (Piano), Reinhold Friedrich (Trumpet), Wolfgang Meyer (Clarinet), and Veronika Skuplik (Violin). Holger Speck is also in demand as a singer, as a guest conductor, and as a lecturer at seminars for conducting and interpretation. He teaches at the Hochschule für Musik in Karlsruhe. Personal details
  • Volker Hempfling, 1944 im Saarland geboren, studierte zunächst Kirchenmusik, Orgel, Orchesterleitung und Gesang in Herford und Köln. Im Jahr 1968 rief er die Kölner Kantorei ins Leben. Von 1972 bis 1985 war er Domorganist und Kantor am Altenberger Dom und wirkte dort bis 1997 als Kirchenmusikdirektor und Leiter der Domkantorei. Parallel dazu leitete er in den Jahren 1983 bis 1994 den Gürzenich-Chor Köln. 1984/85 war Volker Hempfling Stipendiat des Deutschen Musikrats und wurde anschließend als Professor für Chorleitung an die Musikhochschule des Saarlandes berufen. Im Jahr 1993 folgte der Ruf an die Robert-Schumann-Hochschule in Düsseldorf, wo er bis zu seiner Emeritierung im Jahr 2003 auch die Abteilung Evangelische Kirchenmusik und den Kammerchor der Hochschule leitete. Neben seiner intensiven Chorarbeit ist Volker Hempfling ein international gefragter Dirigent und Dozent. Zahlreiche Konzerteinladungen führten ihn ins In- und Ausland. Zudem wird er regelmäßig als Juror zu bedeutenden Chorwettbewerben gerufen. Personal details
  • For almost twenty years Klaus Brecht was a lecturer, music teacher, choir director and vocal coach at the Landesakademie für die musizierende Jugend in Baden-Württemberg, and he has remained involved in various music education projects there since his retirement. He is the editor of several songbooks and textbooks and is active as a lecturer, choirmaster and adjudicator for various music associations, including the AMJ, IAM and BMU. Personal details

Reviews

Zeitlich schlägt die leicht- bis mittelschwere Liedersammlung einen Bogen über fünf Jahrhunderte, deren Palette an melodischen, harmonischen, rhythmischen und stimmungsgestaltenden Elementen äußerst farbig ist. ... eine reizvolle Herausforderung.
Friedegard Hürter zum Chrobuch LIEBESLIEDER, Chorzeit, Januar 2017

... achtzig der schönsten Liebeslieder aus aller Welt, allen Genres, allen Epochen hat die Herausgeberin ... gesammelt, bearbeitet und für das Spielen und Singen aufbereitet.
Eleonore Büning zum LIEBESLIEDER-Liederbuch (Carus 2.408), Frankfurter Allgemeine Zeitung, 14.11.2016

Liebeszauber ... in diesem Herbst sind nun die „Liebeslieder” erschienen ... in einer glanzvollen Kollektion von Gemälden und Zeichnungen von Gustav Klimt.
Dr. Dietrich Klose zum LIEBESLIEDER-Liederbuch (Carus 2.408), Vaihinger Kreiszeitung, 25.10.2016

So klingt die Liebe. Das Liederprojekt des Carus-Verlag geht weiter und widmet sich jetzt den großen Gefühlen ... herrlich illustriert mit Werken Gustav Klimts.
Südwestpresse zum LIEBESLIEDER-Liederbuch (Carus 2.408), 18.10.2016

Diesmal bereichert Gustav Klimt die äußerst liebeswürdige Ausstattung der Editionen. ... Das alles ist wieder mit viel Herzblut und Können gemacht ... Diesmal werden eher Erwachsene Gefallen an den Liedern haben, besonders Verliebte. Toll.
Armin Kaumanns zum LIEBESLIEDER-Liederbuch (Carus 2.408), Aachener Nachrichten, 14.10.2016

Lieder von Liebesfreud und Liebesleid. ... [Alljährlich] bringen der Carus-Verlag und Reclam eine neue Liederedition heraus. Wiegenlieder, Kinderlieder, Volkslieder, Weihnachtslieder. Und in diesem Jahr: Liebeslieder. Wieder einmal ein wunderbares Projekt.
Frank Pommer zum LIEBESLIEDER-Liederbuch (Carus 2.408), Die Rheinpfalz, 13.10.2016

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