Composed by Johann Mattheson (1681-1764). Baroque Period, German. Recorder JP #3090. Published by Recorder JP

By Francesco Barsanti. For Alto Recorder and Basso Continuo. Baroque; Chamber. Intermediate. Booklet, including full score, part, and Play-Along CD. Published by Recorder JP

2 Alto Recorders - Intermediate

SKU: J1.3112

Composed by Robert Valentine. Baroque Period, British, Italian. Score and Parts, Accompaniment CD. Recorder JP #3112. Published by Recorder JP (J1.3112).

8.26 x 11.28 inches.

Composed by Jacques Paisible. Baroque Period, British, French. Recorder JP #3095. Published by Recorder JP

By Jean Baptiste Loeillet de Gant. For Alto Recorder and Basso Continuo. Baroque; Chamber. Intermediate. Booklet, including full score, part, and Play-Along CD. Published by Recorder JP

Organ Solo. By Felix Alexandre Guilmant. Schott. Size 9x12 inches. 31 pages. Published by Schott.

3 Alto Recorders - Intermediate Composed by Johann Mattheson (1681-1764). Baroque Period, German. Score and Parts, Accompaniment CD. Recorder JP #3104. Published by Recorder JP

Chorus (with soloists) and piano (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc)

SKU: BR.EB-32090

Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Choir; stapled. Edition Breitkopf. Cantata; Baroque; Renaissance/early Baroque. Piano/Vocal Score. 24 pages. Duration 12'. Breitkopf and Haertel #EB 32090. Published by Breitkopf and Haertel (BR.EB-32090).

ISBN 9790004186688. 7.5 x 10.5 inches.

The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013).