SKU: CA.3500614
ISBN 9790007212964. Text language: Latin.
Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score and part available separately - see item CA.3500600.
SKU: CA.1028314
ISBN 9790007023775. Key: B minor. Language: German/English.
Score available separately - see item CA.1028300.
SKU: CA.3500605
ISBN 9790007162054. Text language: Latin.
Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score available separately - see item CA.3500600.
SKU: CA.514315
ISBN 9790007008925. Language: German.
Score available separately - see item CA.514300.
SKU: CA.3118255
ISBN 9790007209865. Key: G major. Text language: German/English.
Version in G major (A major = Carus 31.182/00) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.
SKU: CA.3111714
ISBN 9790007048709. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.
The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score and part available separately - see item CA.3111700.
SKU: CA.513315
ISBN 9790007008666. Language: German.
Score available separately - see item CA.513300.
SKU: CA.3914205
ISBN 9790007166687. Text language: German.
The ambitious late work of Georg Philipp Telemann, consciously dedicated to vocal composition, begins with the Donner-Ode (1756/1760). As a symbol thunder represents the forces of nature, here in close connection to the traumatic earthquake of Lisbon in 1755. The characteristic arrangement of the vocal parts and the scoring with three trumpets, the soloistic use of the timpani and instrumental ensemble made this avant-garde work popular and well known already during the composer's lifetime. The new edition presented here takes into consideration important, newly discovered sources such as the autograph of the first part. Score available separately - see item CA.3914200.
SKU: CA.3600919
ISBN 9790007144395. Key: D major. Language: German.
Score and parts available separately - see item CA.3600900.
SKU: CA.514314
ISBN 9790007008918. Language: German.
SKU: CA.3500612
ISBN 9790007212940. Text language: Latin.
SKU: CA.3500615
ISBN 9790007212971. Text language: Latin.
SKU: CA.3500611
ISBN 9790007212933. Text language: Latin.
SKU: CA.3500619
ISBN 9790007143282. Text language: Latin.
Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score and parts available separately - see item CA.3500600.
SKU: CA.3500613
ISBN 9790007212957. Text language: Latin.
SKU: CA.3500600
ISBN 9790007142605. Text language: Latin.
Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring.
SKU: CA.3118257
ISBN 9790007142872. Key: G major. Text language: German/English.
SKU: CA.3118219
ISBN 9790007136949. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and parts available separately - see item CA.3118200.
SKU: CA.3118213
ISBN 9790007050306. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and part available separately - see item CA.3118200.
SKU: CA.3118207
ISBN 9790007050276. Key: A major. Language: German/English. Text: Franck, Salomo.
Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.
SKU: CA.3600916
ISBN 9790007053093. Key: D major. Language: German.
Score available separately - see item CA.3600900.
SKU: CA.3107914
ISBN 9790007045289. Key: G major. Language: German/English.
After the really well-known cantata Ein feste Burg ist unser Gott BWV 80, Bach's only other cantata for Reformation Day is Gott, der Herr, ist Sonn und Schild BWV 79. The central chorale movement Nun danket alle Gott has become extremely famous separately from the cantata. This movement is characterised by the catchy melody of the two horn parts with their interludes between the lines of the chorale. These in turn are taken from the freely-composed opening chorus, thus forming a surprising link between the movement for chorus and the chorale. The chorus and both the arias in the cantata were used later in a Latin parody in the so-called Lutheran Masses. Score and part available separately - see item CA.3107900.
SKU: CA.514305
ISBN 9790007008871. Language: German.
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