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LUTE
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Quintette (39)
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Lute (35)
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Edition Critique des oeuvres d… (33)
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Quintette à Cordes (32)
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Livret (32)
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Soprano (31)
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Tuba en Do et Piano (30)
Bagpipe (30)
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Pocket, Study conductor (29)
Lap Steel Guitar (29)
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2 Clarinettes, 2 Violons, Orgu… (28)
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Trompette ou Flûte à Bec ou … (28)
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Flûte Traversièreou Piccolo,… (28)
Flûte Traversière Violon et … (28)
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Quatuor à vent (28)
C Trumpetor et Trompette Sib/C… (28)
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Orgue, 2 Hautbois, 2 Violons, … (28)
2 Hautbois, 2 Clarinettes, 2 B… (28)
Clarinet Quartet: Clarinet, Vi… (28)
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Chorale (28)
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SATB, (4 InstrumentS Basse et … (27)
Solistes SATB, Choeur SATB, 2 … (27)
Choeur SATB, 2 Trompettes, 2 T… (27)
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Soprano Saxophone and Piano (27)
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Ukulélé Soprano (27)
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Xylophone (26)
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Saxophone Alto Solo (26)
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Quatuor Variable (26)
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Choeur SATB, 2 Violons, Alto e… (25)
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Choeur SATB/SATB, (8 Instrumen… (25)
2 Violons, Alto, Violoncelle o… (25)
Choeur SAT (25)
Accessoire (25)
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Quatuor avec Piano (25)
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2 Clarinets, Piano (25)
Soprano, Piano (25)
Choeur et Orchestre (25)
Partition D'Orchestre (25)
Clavier Electronique et Ligne … (25)
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Choeur SSATTB et Basse Continu… (25)
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Flûte à Bec, 2 Violons, Alto… (24)
Solistes ATB, Choeur SATB, FlÃ… (24)
Hautbois et Quatuor à Cordes (24)
Petit Choeur SATB, 2 ViolonSBa… (24)
Hautbois, Flûte à Bec F1 ou … (24)
Hautbois 3 Clarinettes Sib 1 C… (24)
Trompette 2 Violons 1 Alto 1 V… (24)
Quatuor de Cordes (24)
Flûte Traversière 3 Clarinet… (24)
Quartette Pour Flûtes à Bec … (24)
2 Violons, Alto, Violoncelle e… (24)
Hautbois (Flûte), Violon, Alt… (24)
Hautbois 2 Violons 1 Alto 1 Vi… (24)
Trompette 3 Clarinettes Sib 1 … (24)
Flûte à Bec F2, 2 Violons et… (24)
Flûte Traversière, Clarinett… (24)
2 Violons, 2 Altos, Violon ou … (24)
Flûte Traversière et 4 Clari… (24)
Clarinette ou Trompette ou Vio… (24)
2 Violons, Alto, Violoncelle e… (24)
Choeur Mixte (SATTB/SATTB), So… (24)
Trompette, Instruments à Cord… (24)
Solistes SATBB, Choeur SATB, 2… (24)
Clarinette 2 Violons 1 Alto 1 … (24)
Quatuor de Cuivres et Orgue (24)
Basson, 2 Violons, 2 Altos et … (24)
Flûte Traversière 2 Violons … (24)
String Trio: 3 cellos (24)
Solistes SATTB, Choeur SSATTBB… (24)
Guitar Tab, Voice, Bass, Drum (24)
Hautbois et 4 Clarinettes (24)
Hautbois, 2 Violons, Alto, Vio… (24)
Cor en Fa (24)
Oboe, Bassoon (duet) (24)
Instruments Acoustiques (24)
Viola, Guitar (duet) (24)
Brass Quartet: 4 trumpets (24)
Guitare Tablatures Electrique (24)
Soli and Orchestra (24)
Cello Ensemble (24)
Choeur SATB, 2 Trompettes, Tim… (23)
String trio (23)
Solistes SST, Choeur SATB/SATB… (23)
Hautbois, 2 Flûtes Traversiè… (23)
Trombone Solo (23)
Choeur SATB/SATB, (8 Instrumen… (23)
Solistes SAB, Choeur SATB, 3 F… (23)
Solistes (SATB), Choeur Mixte … (23)
2 Violins and Basso (23)
Solo A, Choeur SATB/SATB, 2 Or… (23)
English horn, Piano (23)
Medium Voice (23)
5 Solistes, Choeur(s) Et Orche… (23)
Choeur SATB/SATB, ou Basse Con… (22)
Orchestre: Choeur TTBB, 2 Flû… (22)
Affiche (22)
Orchestre: Solistes SATB, Choe… (22)
Mandolin, Guitar (duet) (22)
Choeur à 4 Voix Mixtes (22)
Oboe, Organ (22)
Trompette Solo (22)
Viola da Gamba (22)
Saxophone Baryton (22)
Viola, Cello (duet) (22)
Horn Ensemble (22)
Oboe, Clarinet, Bassoon (trio)… (21)
Parties Séparées (21)
Flûte Traversière, Hautbois,… (21)
Children choir, Instruments (21)
Solo B, Choeur SATB, 2 Flûtes… (21)
Violon, Ensembles de Cordes et… (21)
Harpsichord and Strings (21)
Saxhorn and Piano (21)
Quintette Mixte (21)
A Cappella (21)
Solistes SATB, Choeur SATB/SAT… (21)
Choeur SATB, (Basse Continue) (21)
Euphonium Ensemble (21)
Choeur SSATB et Basse Continue… (21)
Solistes SS et Basse Continue (21)
Flute Quartet: Flute, Violin, … (21)
Flûte à Bec F1 (Hautbois), 1… (20)
Flûte Traversière ou Violon)… (20)
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Choeur d'Enfants à 1 à 3 Par… (20)
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Flûte Traversière, Hautbois,… (20)
String Quintet: 2 violins, vio… (20)
Clarinette, Violon, Alto et Co… (20)
Flûte à Bec Alto ou Flûte T… (20)
Choeur SATB, 2 Violons et Bass… (20)
Flute, Oboe, Clarinet, Bassoon… (20)
Mandoline et Orchestre à Cord… (20)
Harpe, 2 Violons, Alto et Viol… (20)
2 Violons ou 2 Hautbois, Alto,… (20)
Bassoon, Orchestra (20)
Choeur d'Enfants SSA, Récitan… (20)
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Choeur à 2 Voix (20)
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Flûte à Bec et Piano (20)
Flûte Traversière et Trio à … (20)
Vocal duet (20)
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Guitare Tablatures Classique e… (20)
Ensemble Divers (20)
Concert Band ou Harmonie et Ba… (20)
4 Voix Mixtes Sans Accompagnem… (20)
Bass Trombone and Piano (20)
Petit Choeur SATB, 2 Violons, … (19)
Solistes s TB, Choeur SATB, Pi… (19)
Bandoneon, Guitar (19)
Violoncelle Solo, 2 Flûtes Tr… (19)
Solistes TB, Choeur SATB, 2 Fl… (19)
Soprano, Basse, Choeur Mixte e… (19)
Solistes SB, Choeur SATB, 2 Ha… (19)
Soprano Solo, Alto Solo, Téno… (19)
Flûte Traversière Violon, Al… (19)
Choeur SATB, 2 Violons, Alto, … (19)
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Choeur De Femmes (SS) Et Piano… (19)
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Flûte Traversière Alto et Ha… (19)
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Voice, String Quartet (19)
String Quartet : 4 violas (19)
Opéra Full Score (19)
Hautbois Solo (19)
Guitare Tablatures Classique (19)
2 Bassoons (duet) (19)
Choeur SATB, 2 Trompettes, 2 T… (18)
Petit Choeur AT, 2 Flûtes Tra… (18)
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Johann Sebastian Bach: St Mark Passion BWV247: Mixed Choir: Score
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
[Sheet music]
Barenreiter
Rezitative und turbae von Reinhard Keiser (1674-1739)-St Mark Passion (BWV 247):...
(+)
Rezitative und turbae von Reinhard Keiser (1674-1739)-St Mark Passion (BWV 247): A reconstruction.Recitatives and turbae by Reinhard Keiser (1674-1739). Although all that survives of Bach's “St. Mark Passion” is Picander's libretto virtually all the arias and choruses can be reconstructed from “parody” versions. The original recitatives and turbae however are probably lost forever. Rather than rewriting these numbers “in Bachs's style” the editor Austin Harvey Gomme has added passages from Reinhard Keiser's setting of the Passion (a setting highly esteemed by Bach who performed it several times) thereby allowing this lost work to be performed in its entirety. A detailed prefacesheds further light on this unique reconstruction based on the New Bach Edition. Full score (BA5209) and vocal score (BA5209-90) available for sale Performance material (BA5209-72) available for hire.
58.00 GBP - Sold by Musicroom UK
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Wolfgang Amadeus Mozart: Missa brevis in G major K.140: Continuo: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
Barenreiter
The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that i...
(+)
The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that it comes close to a pastoral mass a type not otherwise represented in Mozart?s mass oeuvre. As in no other setting of the Ordinary songlike graceful melodies predominate; only the main part of the Credo and the first section of the Agnus Dei stand out with their serious solemn mood.New important evidence for the work?s authenticity has come to light through the discovery of old parts that were written at a time in which a false attribution of another composer?s work to Mozart would not have been possible: a copy at Kremsmünster Monastery which according to Altman Kellner was writtenin Salzburg ?ca. (soon after) 1770? and a copy from Heilig Kreuz Kloster Augsburg of which thirteen parts contain autograph markings by W. A. Mozart. The master?s hand is unmistakable.Urtext of the New Mozart EditionFull score performance material (BA4736) and vocal score (BA4736-90) available for sale.
6.50 GBP - Sold by Musicroom UK
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Wolfgang Amadeus Mozart: Missa brevis in G major K.140: Mixed Choir: Parts
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
Barenreiter
The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that i...
(+)
The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that it comes close to a pastoral mass a type not otherwise represented in Mozart?s mass oeuvre. As in no other setting of the Ordinary songlike graceful melodies predominate; only the main part of the Credo and the first section of the Agnus Dei stand out with their serious solemn mood.New important evidence for the work?s authenticity has come to light through the discovery of old parts that were written at a time in which a false attribution of another composer?s work to Mozart would not have been possible: a copy at Kremsmünster Monastery which according to Altman Kellner was writtenin Salzburg ?ca. (soon after) 1770? and a copy from Heilig Kreuz Kloster Augsburg of which thirteen parts contain autograph markings by W. A. Mozart. The master?s hand is unmistakable.Urtext of the New Mozart EditionFull score performance material (BA4736) and vocal score (BA4736-90) available for sale.
11.50 GBP - Sold by Musicroom UK
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2 sellers
Details
Details
Wolfgang Amadeus Mozart: Missa brevis in G major K.140: Mixed Choir: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
Barenreiter
The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that i...
(+)
The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that it comes close to a pastoral mass a type not otherwise represented in Mozart?s mass oeuvre. As in no other setting of the Ordinary songlike graceful melodies predominate; only the main part of the Credo and the first section of the Agnus Dei stand out with their serious solemn mood.New important evidence for the work?s authenticity has come to light through the discovery of old parts that were written at a time in which a false attribution of another composer?s work to Mozart would not have been possible: a copy at Kremsmünster Monastery which according to Altman Kellner was writtenin Salzburg ?ca. (soon after) 1770? and a copy from Heilig Kreuz Kloster Augsburg of which thirteen parts contain autograph markings by W. A. Mozart. The master?s hand is unmistakable.Urtext of the New Mozart EditionFull score performance material (BA4736) and vocal score (BA4736-90) available for sale.
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Wolfgang Amadeus Mozart: Missa brevis in G major K.140: Mixed Choir: Part
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The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that i...
(+)
The Missa brevis K.140 (Anh. 235d = No. 5) occupies a special position in that it comes close to a pastoral mass a type not otherwise represented in Mozart?s mass oeuvre. As in no other setting of the Ordinary songlike graceful melodies predominate; only the main part of the Credo and the first section of the Agnus Dei stand out with their serious solemn mood.New important evidence for the work?s authenticity has come to light through the discovery of old parts that were written at a time in which a false attribution of another composer?s work to Mozart would not have been possible: a copy at Kremsmünster Monastery which according to Altman Kellner was writtenin Salzburg ?ca. (soon after) 1770? and a copy from Heilig Kreuz Kloster Augsburg of which thirteen parts contain autograph markings by W. A. Mozart. The master?s hand is unmistakable.Urtext of the New Mozart EditionFull score performance material (BA4736) and vocal score (BA4736-90) available for sale.
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Johann Sebastian Bach: Cantata BWV 61 Nun Komm: SATB: Part
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantat...
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale
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Johann Sebastian Bach: Cantata BWV 61 Nun Komm: SATB: Parts
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantat...
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale
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Johann Sebastian Bach: Cantata BWV 61 Nun Komm: SATB: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantat...
(+)
Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale
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Johann Sebastian Bach: Cantata BWV 61 Nun Komm: SATB: Part
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantat...
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale
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Johann Sebastian Bach: Cantata BWV 61 Nun Komm: SATB: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantat...
(+)
Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale
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Franz Joseph Haydn: Creation Mass in B-flat Major Hob.XXII: Mixed Choir: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Creation Mass-Creation Mass in B-flat major Hob.XXII:13The Creation Mass was com...
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Creation Mass-Creation Mass in B-flat major Hob.XXII:13The Creation Mass was composed and first performed during the last decade of Haydn's life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt on the occasion of the nameday of Princess Maria Hermenegild. The nickname 'Creation' stems from Haydn's incorporating into the Gloria movement (at the words 'Qui tollis peccata mundi') a quotation from Adam and Eve's duet in his oratorio The Creation.- Full score (BA4656-01) performance material (BA4656) and vocal score (BA4656-90) available for sale- Urtext from Joseph Haydn Werke G. Henle Verlag
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Franz Joseph Haydn: Creation Mass in B-flat Major Hob.XXII: Mixed Choir: Parts
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Creation Mass-Creation Mass in B-flat major Hob.XXII:13The Creation Mass was com...
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Creation Mass-Creation Mass in B-flat major Hob.XXII:13The Creation Mass was composed and first performed during the last decade of Haydn's life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt on the occasion of the nameday of Princess Maria Hermenegild. The nickname 'Creation' stems from Haydn's incorporating into the Gloria movement (at the words 'Qui tollis peccata mundi') a quotation from Adam and Eve's duet in his oratorio The Creation.- Full score (BA4656-01) performance material (BA4656) and vocal score (BA4656-90) available for sale- Urtext from Joseph Haydn Werke G. Henle Verlag
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Franz Joseph Haydn: Creation Mass in B-flat Major Hob.XXII: Mixed Choir: Score
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Creation Mass-Creation Mass in B-flat major Hob.XXII:13The Creation Mass was com...
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Creation Mass-Creation Mass in B-flat major Hob.XXII:13The Creation Mass was composed and first performed during the last decade of Haydn's life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt on the occasion of the nameday of Princess Maria Hermenegild. The nickname 'Creation' stems from Haydn's incorporating into the Gloria movement (at the words 'Qui tollis peccata mundi') a quotation from Adam and Eve's duet in his oratorio The Creation.- Full score (BA4656-01) performance material (BA4656) and vocal score (BA4656-90) available for sale- Urtext from Joseph Haydn Werke G. Henle Verlag
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Franz Joseph Haydn: Creation Mass in B-flat Major Hob.XXII: Mixed Choir: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Creation Mass-Creation Mass in B-flat major Hob.XXII:13The Creation Mass was com...
(+)
Creation Mass-Creation Mass in B-flat major Hob.XXII:13The Creation Mass was composed and first performed during the last decade of Haydn's life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt on the occasion of the nameday of Princess Maria Hermenegild. The nickname 'Creation' stems from Haydn's incorporating into the Gloria movement (at the words 'Qui tollis peccata mundi') a quotation from Adam and Eve's duet in his oratorio The Creation.- Full score (BA4656-01) performance material (BA4656) and vocal score (BA4656-90) available for sale- Urtext from Joseph Haydn Werke G. Henle Verlag
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Johann Sebastian Bach: Cantata BWV 80 Ein feste Burg ist unser Gott: Mixed
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Cantata for the Feast of Reformation-Ein feste Burg ist unser Gott BWV 80 (A Mig...
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Cantata for the Feast of Reformation-Ein feste Burg ist unser Gott BWV 80 (A Mighty Fortress is our God)Cantata for the Feast of ReformationThere are practically no surviving original sources for Bach's great Reformation Cantata 'Ein feste Burg ist unser Gott'. It is possible that the original form of the Cantata was written in Weimar in 1715 to which Bach later made various additions and alterations to transform it into a Reformation Cantata for Leipzig. Although scholarly opinion as to the sources is divided there is no doubt that the opening chorus based on Martin Luther's chorale melody 'Ein feste Burg' is one of Bach's greatest achievements.Urtext ofthe New Bach EditionPerformance material (BA10080) vocal score (BA10080-90) & study score format 22.5 x 16.5cm (TP1080) available for sale
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Johann Sebastian Bach: Magnificat in E-flat major BWV 243a: Mixed Choir: Score
Soli (SSATB), Choeur Mixte (SSATB) Et Orchestre
[Sheet music]
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Bach's original setting of the Magnificat in E-flat major written for Christmas ...
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Bach's original setting of the Magnificat in E-flat major written for Christmas vespers in 1723 includes four inserts placed at the end of the score to give a dramataic representation of the Nativity.Although the later D major version is most often performed today this earlier E-flat major version stands on its own merits with many attractive features which disappeared with the downward transposition. Urtext of the New Bach Edition.
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Johann Sebastian Bach: Magnificat in E-flat major BWV 243a: Mixed Choir: Part
Soli (SSATB), Choeur Mixte (SSATB) Et Orchestre
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Bach's original setting of the Magnificat in E-flat major written for Christmas ...
(+)
Bach's original setting of the Magnificat in E-flat major written for Christmas vespers in 1723 includes four inserts placed at the end of the score to give a dramataic representation of the Nativity.Although the later D major version is most often performed today this earlier E-flat major version stands on its own merits with many attractive features which disappeared with the downward transposition. Urtext of the New Bach Edition.
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Johann Sebastian Bach: Magnificat in E-flat major BWV 243a: Mixed Choir: Part
Soli (SSATB), Choeur Mixte (SSATB) Et Orchestre
Barenreiter
Bach's original setting of the Magnificat in E-flat major written for Christmas ...
(+)
Bach's original setting of the Magnificat in E-flat major written for Christmas vespers in 1723 includes four inserts placed at the end of the score to give a dramataic representation of the Nativity.Although the later D major version is most often performed today this earlier E-flat major version stands on its own merits with many attractive features which disappeared with the downward transposition. Urtext of the New Bach Edition.
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Johann Sebastian Bach: Magnificat in E-flat major BWV 243a: Mixed Choir: Part
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Barenreiter
Bach's original setting of the Magnificat in E-flat major written for Christmas ...
(+)
Bach's original setting of the Magnificat in E-flat major written for Christmas vespers in 1723 includes four inserts placed at the end of the score to give a dramataic representation of the Nativity.Although the later D major version is most often performed today this earlier E-flat major version stands on its own merits with many attractive features which disappeared with the downward transposition. Urtext of the New Bach Edition.
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Johann Sebastian Bach: Magnificat in E-flat major BWV 243a: Mixed Choir: Parts
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Bach's original setting of the Magnificat in E-flat major written for Christmas ...
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Bach's original setting of the Magnificat in E-flat major written for Christmas vespers in 1723 includes four inserts placed at the end of the score to give a dramataic representation of the Nativity.Although the later D major version is most often performed today this earlier E-flat major version stands on its own merits with many attractive features which disappeared with the downward transposition. Urtext of the New Bach Edition.
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Johann Sebastian Bach: Magnificat in E-flat major BWV 243a: Mixed Choir: Vocal
Soli (SSATB), Choeur Mixte (SSATB) Et Orchestre
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Bach's original setting of the Magnificat in E-flat major written for Christmas ...
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Bach's original setting of the Magnificat in E-flat major written for Christmas vespers in 1723 includes four inserts placed at the end of the score to give a dramataic representation of the Nativity.Although the later D major version is most often performed today this earlier E-flat major version stands on its own merits with many attractive features which disappeared with the downward transposition. Urtext of the New Bach Edition.
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Johann Sebastian Bach: Magnificat In D major BWV243: Mixed Choir: Part
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Basso continuo Organ-The 2nd version with the 4 inserts from the E-flat major v...
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Basso continuo Organ-The 2nd version with the 4 inserts from the E-flat major version (transposed into D major).- Urtext of the New Bach Edition- Full Score (BA5103) vocal score (BA510390) and study score format 22.5 x 16.5cm (TP2) available for saleBarenreiter Urtext:In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest inmusicological research.For Bärenreiter “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.
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Johann Sebastian Bach: Magnificat in E-flat major BWV 243a: Mixed Choir: Part
Soli (SSATB), Choeur Mixte (SSATB) Et Orchestre
Barenreiter
Bach's original setting of the Magnificat in E-flat major written for Christmas ...
(+)
Bach's original setting of the Magnificat in E-flat major written for Christmas vespers in 1723 includes four inserts placed at the end of the score to give a dramataic representation of the Nativity.Although the later D major version is most often performed today this earlier E-flat major version stands on its own merits with many attractive features which disappeared with the downward transposition. Urtext of the New Bach Edition.
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Franz Joseph Haydn: Mass In E-flat Major: Mixed Choir: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Great Organ Mass Hob. XXII:4-Mass in E-flat major (Great Organ Mass) Hob.XXII:4I...
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Great Organ Mass Hob. XXII:4-Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749 church music played only a secondary role in Haydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass” that Haydn returned to this genre of composition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expression combinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at least tolerated these parts the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocal score- Urtext from Joseph Haydn Werke- Full score parts (BA4646) and vocal score (BA4646-90) available for sale
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Johann Sebastian Bach: Cantata No. 21 - BWV 21: Mixed Choir: Part
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Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My G...
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Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My God My heart And Soul Were Sore Distrest BWV 21.Cantata for the 3rd Sunday after Trinity.The cantata ?Ich Hatte Viel Bekümmernis? dates from around 1713 and was probably performed for the first time that year in the Liebfrauenkirche in Halle. Its assigning to the third Sunday after Trinity probably only occurred the following year.With its large-scale structure and strong emphasis on biblical texts it was extremely popular in the 19th century and remains one of Bach?s best-known cantatas today.The cantata is published here with a Vocal score based on the New Bach Edition with an idiomatic straightforward Piano reduction by Martin Focke.- One of Bach?s best-known cantatas.- Urtext based on the ?New Bach Edition?.- Clear straightforward Piano reduction.- Study score (TP1021) Vocal score (BA10021-90) & performance material (BA10021) available for sale.
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Johann Sebastian Bach: Cantata No. 21 - BWV 21: Mixed Choir: Parts
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Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My G...
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Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My God My heart And Soul Were Sore Distrest BWV 21.Cantata for the 3rd Sunday after Trinity.The cantata ?Ich Hatte Viel Bekümmernis? dates from around 1713 and was probably performed for the first time that year in the Liebfrauenkirche in Halle. Its assigning to the third Sunday after Trinity probably only occurred the following year.With its large-scale structure and strong emphasis on biblical texts it was extremely popular in the 19th century and remains one of Bach?s best-known cantatas today.The cantata is published here with a Vocal score based on the New Bach Edition with an idiomatic straightforward Piano reduction by Martin Focke.- One of Bach?s best-known cantatas.- Urtext based on the ?New Bach Edition?.- Clear straightforward Piano reduction.- Study score (TP1021) Vocal score (BA10021-90) & performance material (BA10021) available for sale.
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Franz Joseph Haydn: Mass In E-flat Major: Mixed Choir: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Great Organ Mass Hob. XXII:4-Mass in E-flat major (Great Organ Mass) Hob.XXII:4I...
(+)
Great Organ Mass Hob. XXII:4-Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749 church music played only a secondary role in Haydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass” that Haydn returned to this genre of composition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expression combinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at least tolerated these parts the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocal score- Urtext from Joseph Haydn Werke- Full score parts (BA4646) and vocal score (BA4646-90) available for sale
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Johann Sebastian Bach: Cantata No. 21 - BWV 21: Mixed Choir: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My G...
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Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My God My heart And Soul Were Sore Distrest BWV 21.Cantata for the 3rd Sunday after Trinity.The cantata ?Ich Hatte Viel Bekümmernis? dates from around 1713 and was probably performed for the first time that year in the Liebfrauenkirche in Halle. Its assigning to the third Sunday after Trinity probably only occurred the following year.With its large-scale structure and strong emphasis on biblical texts it was extremely popular in the 19th century and remains one of Bach?s best-known cantatas today.The cantata is published here with a Vocal score based on the New Bach Edition with an idiomatic straightforward Piano reduction by Martin Focke.- One of Bach?s best-known cantatas.- Urtext based on the ?New Bach Edition?.- Clear straightforward Piano reduction.- Study score (TP1021) Vocal score (BA10021-90) & performance material (BA10021) available for sale.
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Franz Joseph Haydn: Mass In E-flat Major: Mixed Choir: Score
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
[Sheet music]
Barenreiter
Great Organ Mass Hob. XXII:4-Mass in E-flat major (Great Organ Mass) Hob.XXII:4I...
(+)
Great Organ Mass Hob. XXII:4-Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749 church music played only a secondary role in Haydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass” that Haydn returned to this genre of composition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expression combinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at least tolerated these parts the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocal score- Urtext from Joseph Haydn Werke- Full score parts (BA4646) and vocal score (BA4646-90) available for sale
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Johann Sebastian Bach: Cantata No. 21 - BWV 21: Mixed Choir: Part
Soli (SATB), Choeur Mixte (SATB) Et Orchestre
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Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My G...
(+)
Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My God My heart And Soul Were Sore Distrest BWV 21.Cantata for the 3rd Sunday after Trinity.The cantata ?Ich Hatte Viel Bekümmernis? dates from around 1713 and was probably performed for the first time that year in the Liebfrauenkirche in Halle. Its assigning to the third Sunday after Trinity probably only occurred the following year.With its large-scale structure and strong emphasis on biblical texts it was extremely popular in the 19th century and remains one of Bach?s best-known cantatas today.The cantata is published here with a Vocal score based on the New Bach Edition with an idiomatic straightforward Piano reduction by Martin Focke.- One of Bach?s best-known cantatas.- Urtext based on the ?New Bach Edition?.- Clear straightforward Piano reduction.- Study score (TP1021) Vocal score (BA10021-90) & performance material (BA10021) available for sale.
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