SKU: BR.OB-32120-16

ISBN 9790004350485. 10 x 12.5 inches.

This cantata is a composition by Kuhnau for the first of the Christmas holidays [Christmas Day] and one of his most extensive works. It is underlaid with the free poetry of a hitherto anonymous author, not including any Bible or chorale texts. Though the dating has not yet been clarified, the structure - two recitative-aria pairings, framed by two magnificent tutti movements - indicates a genesis period within the last years of the composer's tenure as St. Thomas cantor in Leipzig. Additional indications are the triple use of the da capo form as well as the four-part vocal setting, partly differentiated in solo and tutti, taking the individual parts to the limits of their ambitus as was later customary with Johann Sebastian Bach.Particularly noteworthy are two details of the instrumentation: Firstly, there are three violin parts in the score, the first of which has to master an exceptionally virtuoso solo part. Secondly, in the third movement, Kuhnau expressly notates an obbligato organ solo part, not to be found in any of his other extant compositions. This virtuosic part also already foreshadows the later and far more famous obbligato organ parts in various Bach cantatas.

SKU: BR.OB-32120-15

ISBN 9790004350478. 10 x 12.5 inches.

This cantata is a composition by Kuhnau for the first of the Christmas holidays [Christmas Day] and one of his most extensive works. It is underlaid with the free poetry of a hitherto anonymous author, not including any Bible or chorale texts. Though the dating has not yet been clarified, the structure - two recitative-aria pairings, framed by two magnificent tutti movements - indicates a genesis period within the last years of the composer's tenure as St. Thomas cantor in Leipzig. Additional indications are the triple use of the da capo form as well as the four-part vocal setting, partly differentiated in solo and tutti, taking the individual parts to the limits of their ambitus as was later customary with Johann Sebastian Bach.Particularly noteworthy are two details of the instrumentation: Firstly, there are three violin parts in the score, the first of which has to master an exceptionally virtuoso solo part. Secondly, in the third movement, Kuhnau expressly notates an obbligato organ solo part, not to be found in any of his other extant compositions. This virtuosic part also already foreshadows the later and far more famous obbligato organ parts in various Bach cantatas.

SKU: BR.OB-32034-19

ISBN 9790004350911. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-11

ISBN 9790004350881. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-20

ISBN 9790004350928. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.EB-32034

ISBN 9790004186398. 7.5 x 10.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-54

ISBN 9790004350966. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32034-53

ISBN 9790004350959. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

SKU: BR.OB-32091-15

ISBN 9790004351222. 0 x 0 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.

SKU: BR.PB-32091

ISBN 9790004215777. 9.5 x 12 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.