SKU: CA.3119813
ISBN 9790007210618. Text language: German/English.
Composed in 1727 for a eulogy and funeral oration for Electress Christiane Eberhardine in the Leipzig University church, the music for the funeral ode is well-known today above all through reconstructions of Bach's St Mark Passion, in which large parts of this cantata were probably re-used, but of which only the text survives. With the funeral ode we have one of Bach's strongest and most fascinating vocal compositions. Although Gottsched's text is associated with a particular occasion, it is distinguished in its literary quality from many secular cantatas and it is entirely appropriate to perform this impressive cantata in concerts. Score and part available separately - see item CA.3119800.
SKU: CA.3119814
ISBN 9790007210625. Text language: German/English.
SKU: CA.3119816
ISBN 9790007210649. Text language: German/English.
SKU: CA.3119849
ISBN 9790007210656. Language: German/English.
SKU: CA.3119809
ISBN 9790007210588. Text language: German/English.
Composed in 1727 for a eulogy and funeral oration for Electress Christiane Eberhardine in the Leipzig University church, the music for the funeral ode is well-known today above all through reconstructions of Bach's St Mark Passion, in which large parts of this cantata were probably re-used, but of which only the text survives. With the funeral ode we have one of Bach's strongest and most fascinating vocal compositions. Although Gottsched's text is associated with a particular occasion, it is distinguished in its literary quality from many secular cantatas and it is entirely appropriate to perform this impressive cantata in concerts. Score and parts available separately - see item CA.3119800.
SKU: CA.3119812
ISBN 9790007210601. Text language: German/English.
SKU: CA.3119815
ISBN 9790007210632. Text language: German/English.
SKU: CA.3119811
ISBN 9790007210595. Text language: German/English.
SKU: CA.1025000
ISBN 9790007251826. Key: D major. English.
â??Hail! bright Cecilia, hail to thee. Great patroness of us and harmony!â? â?? this exclamation opens the final chorus of Henry Purcellâ??s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Ceciliaâ??s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexanderâ??s Feast, HWV 75 (Carus 55.075), and his Ode for St. Ceciliaâ??s Day, HWV 76 (Carus 55.076).Purcellâ??s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the â??Orpheus Britannicusâ?, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century
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.
SKU: CA.3107611
ISBN 9790007044947. 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 part available separately - see item CA.3107600.
SKU: CA.3107612
ISBN 9790007044954. Key: C major / a minor. Language: German/English.
SKU: CA.3107613
ISBN 9790007044961. Key: C major / a minor. Language: German/English.
SKU: CA.3107619
ISBN 9790007134082. Key: C major / a minor. Language: German/English.
SKU: CA.3107605
ISBN 9790007044916. 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 available separately - see item CA.3107600.
SKU: CA.3107607
ISBN 9790007044923. Key: C major / a minor. Language: German/English.
SKU: CA.1025014
ISBN 9790007329792. Key: D major. English.
�Hail! bright Cecilia, hail to thee. Great patroness of us and harmony!� � this exclamation opens the final chorus of Henry Purcell�s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Cecilia�s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexander�s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia�s Day, HWV 76 (Carus 55.076).Purcell�s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the �Orpheus Britannicus�, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century. Score and part available separately - see item CA.1025000.
SKU: BA.BA10573-01
ISBN 9790260107922. 33.3 x 26.3 cm inches. Text Language: Czech. Preface: Wingfield, Paul.
The present volume of the Bohuslav Martinu Complete Edition (BMCE) contains two vocal-instrumental works. TheField Mass(1939) with a text by Jiri Mucha incorporating bible and liturgy quotes was created in reaction to the outbreak of the Second World War and intended for outdoor performances. The cantataThe Spectre's Bridewith a text by Karel Jaromir Erben was composed in 1932 as part of the balletSpalicek(meaningchapbook); the composer later took out the cantata, making it into a stand-alone concert piece.The autograph scores served as primary sources for both works. The edition of theField Mass(including its performance materials) also contains the original version of the ending with a quote from the Czech medieval hymnJezu Kriste, stedry kneze(Jesu Christ, bountiful priest) and a number of contemporary translations.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: TM.02054SC
Key of E. Contains just Musetta's Waltz. Begins 6 measures before rehearsal #21 and ends 19 bars after rehearsal #23. See #14163 for entire Finale to Act II, which begins from Quando me'n vo soletta (rehearsal #21) through end of Act (including Intermezzo and exit from Cafe). Sung by Musette, Mimi, Alcindoro, Rodolfo, and Marcello.
SKU: TM.02054SET
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