SKU: CA.3116214
ISBN 9790007208936. Text language: German/English.
The cantata for the 20th Sunday after Trinity. Ah! I see now, as I to the wedding bidden, BWV 162 was first performed on 25 October 1716 in the Castle church at Weimar. During the first year in his position as Thomaskantor, Bach made a revival performance of the cantata on 10 October 1723. For this Leipzig version he added an additional obbligato voice in the first movement and in the final chorale he added a Corno da tirarsi, which played colla-parte with the soprano. However, we do not know what this mysterious instrument looked like. For performances today we recommend using a trumpet or a slide trumpet. The cantata begins not with an introductory chorus, but rather with a sonorous bass aria with a string accompaniment and obbligato trumpet. The following movements, movement 2 through 5, are also performed by vocal soloists. The third movement, a soprano aria, presents a peculiarity: the obbligato wind parts were not contained in the original version of this cantata. Our edition offers a reconstruction for the flute, made by the famous Bach interpreter and expert, Masaaki Suzuki. Score and part available separately - see item CA.3116200.
SKU: CA.3116211
ISBN 9790007208905. Text language: German/English.
SKU: CA.3116219
ISBN 9790007172244. Language: German/English. Scripture: Matthew 22:1-14.
The cantata for the 20th Sunday after Trinity. Ah! I see now, as I to the wedding bidden, BWV 162 was first performed on 25 October 1716 in the Castle church at Weimar. During the first year in his position as Thomaskantor, Bach made a revival performance of the cantata on 10 October 1723. For this Leipzig version he added an additional obbligato voice in the first movement and in the final chorale he added a Corno da tirarsi, which played colla-parte with the soprano. However, we do not know what this mysterious instrument looked like. For performances today we recommend using a trumpet or a slide trumpet. The cantata begins not with an introductory chorus, but rather with a sonorous bass aria with a string accompaniment and obbligato trumpet. The following movements, movement 2 through 5, are also performed by vocal soloists. The third movement, a soprano aria, presents a peculiarity: the obbligato wind parts were not contained in the original version of this cantata. Our edition offers a reconstruction for the flute, made by the famous Bach interpreter and expert, Masaaki Suzuki. Score and parts available separately - see item CA.3116200.
SKU: CA.3116249
ISBN 9790007208943. Language: German/English. Scripture: Matthew 22:1-14.
SKU: CA.3116209
ISBN 9790007208899. Language: German/English. Scripture: Matthew 22:1-14.
SKU: CA.3116213
ISBN 9790007208929. Text language: German/English.
SKU: CA.3116212
ISBN 9790007208912. Text language: German/English.
SKU: CA.3116203
ISBN 9790007171544. Language: German/English. Scripture: Matthew 22:1-14.
The cantata for the 20th Sunday after Trinity. Ah! I see now, as I to the wedding bidden, BWV 162 was first performed on 25 October 1716 in the Castle church at Weimar. During the first year in his position as Thomaskantor, Bach made a revival performance of the cantata on 10 October 1723. For this Leipzig version he added an additional obbligato voice in the first movement and in the final chorale he added a Corno da tirarsi, which played colla-parte with the soprano. However, we do not know what this mysterious instrument looked like. For performances today we recommend using a trumpet or a slide trumpet. The cantata begins not with an introductory chorus, but rather with a sonorous bass aria with a string accompaniment and obbligato trumpet. The following movements, movement 2 through 5, are also performed by vocal soloists. The third movement, a soprano aria, presents a peculiarity: the obbligato wind parts were not contained in the original version of this cantata. Our edition offers a reconstruction for the flute, made by the famous Bach interpreter and expert, Masaaki Suzuki. Score available separately - see item CA.3116200.
SKU: CA.3116200
ISBN 9790007171452. Language: German/English. Scripture: Matthew 22:1-14.
The cantata for the 20th Sunday after Trinity. Ah! I see now, as I to the wedding bidden, BWV 162 was first performed on 25 October 1716 in the Castle church at Weimar. During the first year in his position as Thomaskantor, Bach made a revival performance of the cantata on 10 October 1723. For this Leipzig version he added an additional obbligato voice in the first movement and in the final chorale he added a Corno da tirarsi, which played colla-parte with the soprano. However, we do not know what this mysterious instrument looked like. For performances today we recommend using a trumpet or a slide trumpet. The cantata begins not with an introductory chorus, but rather with a sonorous bass aria with a string accompaniment and obbligato trumpet. The following movements, movement 2 through 5, are also performed by vocal soloists. The third movement, a soprano aria, presents a peculiarity: the obbligato wind parts were not contained in the original version of this cantata. Our edition offers a reconstruction for the flute, made by the famous Bach interpreter and expert, Masaaki Suzuki.
SKU: TM.05608SC
Wedding Song and Dance Song.
SKU: TM.05608SET
SKU: CA.3119512
ISBN 9790007210397. Text language: German/English.
The Hochzeitskantate (Wedding Cantata) BWV 195 was performed by Bach from around 1730 at various wedding celebrations in different forms, and was evidently also lent out for performances further afield. The only surviving version of the work dates from the last years of Bach's life. The opulently-scored first part begins and ends with grand choral movements, and Bach scored both parts for soloists and for chorus. At the centre of the cantata is an exceptionally sensitive bass aria, probably one of Bach's most modern vocal compositions of all. A chorale movement (Nun danket all and bringet Ehr/ Now thank we all and offer praise) with obbligato horns concludes the cantata as the second part after the consummation. Score and part available separately - see item CA.3119500.
SKU: CA.3119511
ISBN 9790007210380. Text language: German/English.
SKU: CA.3119513
ISBN 9790007210403. Text language: German/English.
SKU: CA.3119514
ISBN 9790007210410. Text language: German/English.
SKU: CA.3119505
ISBN 9790007181383. Text language: German/English.
The Hochzeitskantate (Wedding Cantata) BWV 195 was performed by Bach from around 1730 at various wedding celebrations in different forms, and was evidently also lent out for performances further afield. The only surviving version of the work dates from the last years of Bach's life. The opulently-scored first part begins and ends with grand choral movements, and Bach scored both parts for soloists and for chorus. At the centre of the cantata is an exceptionally sensitive bass aria, probably one of Bach's most modern vocal compositions of all. A chorale movement (Nun danket all and bringet Ehr/ Now thank we all and offer praise) with obbligato horns concludes the cantata as the second part after the consummation. Score available separately - see item CA.3119500.
SKU: CA.3119500
ISBN 9790007171674. Language: German/English.
The Hochzeitskantate (Wedding Cantata) BWV 195 was performed by Bach from around 1730 at various wedding celebrations in different forms, and was evidently also lent out for performances further afield. The only surviving version of the work dates from the last years of Bach's life. The opulently-scored first part begins and ends with grand choral movements, and Bach scored both parts for soloists and for chorus. At the centre of the cantata is an exceptionally sensitive bass aria, probably one of Bach's most modern vocal compositions of all. A chorale movement (Nun danket all and bringet Ehr/ Now thank we all and offer praise) with obbligato horns concludes the cantata as the second part after the consummation.
SKU: CA.3119607
ISBN 9790007242411. Language: German/English.
Especially due to the early date of its composition, from the pen of the just turned 22-year-old Johann Sebastian Bach, the cantata The Lord careth for us BWV 196 has its charm, and through its conciseness, as well as its simple scoring, it is quite accessible for performance by ensembles with only modest means. The cantata was composed on the occasion of a wedding in the 1797/08, the details of which cannot be exactly ascertained. The text of the libretto contains no freely written poetry, rather is drawn solely from the Bible (Psalm 115:12-13), there are no recitatives, and the arias are kept very short. The scoring is also of modest propoportions: In addtion to the solo voices soprano, tenor and bass, as well as a four-voice choir, only strings and basso continuo are requried. The cantata begins, as is typical early Bach cantatas, with a short instrumental sinfonia and ends, not with a chorale, but with a choral movement. Score available separately - see item CA.3119600.
SKU: CA.3119507
ISBN 9790007242404. Language: German/English.
SKU: CA.3119763
ISBN 9790007210540. Text language: German/English.
Gott ist unsre Zuversicht BWV 197 was probably written in the second half of the 1730s for a wedding, no further details of which are known. In the opening chorus in particular, it features quite a sizeable orchestra. The text of the cantata has one major theme - trust in God! In a magnificent lullaby (movement 3) all cares are sung to sleep. The other arias, with their exceptionally exquisite combinations of scorings, make the cantata into a quite special work, albeit one which is associated with a particular occasion. The wedding cantata BWV 197 draws on older material for some of its movements. Two movements are parodies on arias from the incomplete surviving Christmas cantata Ehre sei Gott in der Hohe, BWV 197a, including the lullaby O du angenehmes Paar, of which only the last quarter survives from the Christmas cantata - it is O du angenehmer Schatz there. By using the later version, Diethard Hellmann has been able to reconstruct the original version of this dreamlike beautiful movement; however, the complete Christmas cantata cannot be reconstructed from the sources. Score and part available separately - see item CA.3119700.
SKU: BA.BA04590-01
ISBN 9790006451296. 33 x 26 cm inches. Text Language: Italian. Text: Giovanni de Gamerra.
On 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate, K.87 (74a), for the 1770-71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770, and the premiere duly took place on the Feast of St. Stephen (26 December) in 1770. The second, Lucio Silla (K. 135), again commissioned for the 1771-72 Carneval season in Milan, doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona, where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand, the third son of Maria Theresia, scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba, K. 111.)
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: CA.5040619
ISBN 9790007138363. Key: G major. Language: German/English.
The chorale cantatas are Reger's most personal and most substantial contribution to one of the principal categories of Protestant church music, and they are the only major works in this field by one of the foremost composers of his time. In order to make Reger's choral works more widely usable in English-speaking countries, the publishers have added a singable English translation to the voice parts. Score and parts available separately - see item CA.5040600.
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