SKU: CA.3119213

ISBN 9790007210267. Text language: German/English.

The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and part available separately - see item CA.3119200.

SKU: CA.3119211

ISBN 9790007210243. Text language: German/English.

The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and part available separately - see item CA.3119200.

SKU: CA.3113014

ISBN 9790007207861. Text language: German/English.

As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and part available separately - see item CA.3113000.

SKU: CA.3113012

ISBN 9790007207847. Text language: German/English.

As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and part available separately - see item CA.3113000.

SKU: CA.3113049

ISBN 9790007207885. Language: German/English.

As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and part available separately - see item CA.3113000.

SKU: CA.3113005

ISBN 9790007170554. Language: German/English.

As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score available separately - see item CA.3113000.

SKU: CA.3910909

ISBN 9790007215422. Language: German/English.

Telemann's cantata Now thank we all our God cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation, Tempore Messis, which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the general nature of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable. Musically, the work is distinguished by two spirited choral movements reinforced by trumpets which frame a duet for tenor and bass and an aria for alto and transverse flute. Score and parts available separately - see item CA.3910900.

SKU: CA.3910949

ISBN 9790007215477. Language: German/English.

Telemann's cantata Now thank we all our God cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation, Tempore Messis, which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the general nature of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable. Musically, the work is distinguished by two spirited choral movements reinforced by trumpets which frame a duet for tenor and bass and an aria for alto and transverse flute. Score and part available separately - see item CA.3910900.

SKU: CA.3910919

ISBN 9790007139278. Language: German/English.

Telemann's cantata Now thank we all our God cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation, Tempore Messis, which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the general nature of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable. Musically, the work is distinguished by two spirited choral movements reinforced by trumpets which frame a duet for tenor and bass and an aria for alto and transverse flute. Score and parts available separately - see item CA.3910900.

SKU: CA.3910913

ISBN 9790007215453. Language: German/English.

Telemann's cantata Now thank we all our God cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation, Tempore Messis, which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the general nature of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable. Musically, the work is distinguished by two spirited choral movements reinforced by trumpets which frame a duet for tenor and bass and an aria for alto and transverse flute. Score and part available separately - see item CA.3910900.

SKU: CA.3114605

ISBN 9790007112479. Key: D minor. Language: German/English.

It is evident from the sources that the cantata was written for the 3rd Sunday after Easter. The text, the identity of whose author is unknown, is based on the comparison between sadness and joy prescribed in the Gospel for that Sunday. This cantata has survived only in copies made after 1750, but undoubtedly the cantata dates from Bachs's years in Leipzig. Score available separately - see item CA.3114600.

SKU: CA.3107609

ISBN 9790007044930. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and parts available separately - see item CA.3107600.