SKU: BA.BA06839
ISBN 9790006483211. 27 x 19.1 cm inches.
Neu entdeckte Choral- und Liedsatze aus der Bach-Sammlung des Chr.Fr. Penzel (1780). Erstausgabe. 32 Satze in Klaviernotation mit oder ohne Singstime(n), mit unterlegtem Text, Folgestrophen beigegeben.
SKU: HL.49024499
ISBN 9790001007139. German.
SKU: HL.49001436
ISBN 9790001016643. 7.5x11.0x0.045 inches. English - German.
SKU: HL.49026732
ISBN 9790001020046.
SKU: CA.3119509
ISBN 9790007210373. 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 parts available separately - see item CA.3119500.
SKU: CA.3102105
ISBN 9790007103002. Key: C dorian / c major. Language: German/English.
The edition allows for the performance of this cantate in the various forms which Bach himself used. The solo parts for high voice are always allotted primarily to the voice specified by Bach in Leipzig, with the alternative authorized by the Weimar and Cothen parts placed afterwards in brackets. Score available separately - see item CA.3102100.
SKU: CA.3119519
ISBN 9790007182953. Language: German/English.
SKU: CA.3119503
ISBN 9790007182908. 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.3119549
ISBN 9790007210427. 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.3116405
ISBN 9790007187194. Language: German/English.
This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score available separately - see item CA.3116400.
SKU: CA.3123505
ISBN 9790007085919. Key: G minor. Language: Latin.
As well as the Mass in B minor, there are four further, shorter mass compositions by Bach, the so-called Lutheran or Kyrie-Gloria masses. Despite their high musical qualities, they are often overshadowed by other church works by Bach. With their six-movement structure (up to the Cum sancto spiritu) they had their specific liturgical position in church services of the time of Bach. The masses largely comprise parodies, with the original music mainly taken from cantatas which Bach sometimes considerably reworked in his well-known style according to the new context of the work. Ulrich Leisinger has edited the four works for Carus in new critical editions. Score available separately - see item CA.3123500.
SKU: CA.3110805
ISBN 9790007047924. Key: A major / b minor. Language: German/English. Text: von Ziegler, Christiane Mariane. Text: Christiane Mariane von Ziegler.
The cantata Es ist euch gut, dass ich hingehe [It is well that I go forth] BWV 108 for Cantate Sunday is one of the cantatas composed on texts by the Leipzig poetess Christiane Mariane von Ziegler with which Bach concluded his second annual cycle of cantatas after he had abandoned the annual cycle of chorale cantatas at Easter 1725. The text contains two sayings by Jesus which are taken directly from the Sunday gospel reading (John 16:5-15). The quotation opening the cantata was set by Bach as a bass aria with solo oboe d'amore; it breathes tranquility and assurance. The second quotation, however, is set as an extended choral fugue in three sections; it forms the center of the cantata. The free text surrounding the biblical quotations is divided into two arias in which the emphasis is on melodic lines; there is only one single recitative, the original text of which was substantially abridged by Bach. A four-part chorale concludes the cantata. Score available separately - see item CA.3110800.
SKU: CA.3123005
ISBN 9790007051006. Key: C major. Language: German/English.
This motet, no matter how popular it is, presents Bach scholars with a few puzzles: is it really by Bach? Somehow the text doesn't fit with the notes, at least not so that it's comfortable to sing. And is the musicologists' problem the same for the choral singers? Not, of course not in the Alleluia fugue: in that, there really is something to worry about ... year of composition unknown. Score available separately - see item CA.3123000.
SKU: CA.3123006
ISBN 9790007165420. Key: C major. Text language: German/English.
SKU: CA.3500218
ISBN 9790007212742. Key: C major. Language: German/English.
Adaptation by Bach: the first movement is based on a now-lost composition by Telemann, the second on the chorus Nun lob, mein Seel, den Herren (BWV 28). The third movement was probably first appended after Bach's death and was originally part of a Christmas cantata by Telemann. Score and part available separately - see item CA.3500200.
SKU: CA.3500213
ISBN 9790007212698. Key: C major. Language: German/English.
SKU: CA.3102107
ISBN 9790007058258. Key: C dorian / c major. Language: German/English.
SKU: CA.3102119
ISBN 9790007136000. Key: C dorian / c major. Language: German/English.
The edition allows for the performance of this cantate in the various forms which Bach himself used. The solo parts for high voice are always allotted primarily to the voice specified by Bach in Leipzig, with the alternative authorized by the Weimar and Cothen parts placed afterwards in brackets. Score and parts available separately - see item CA.3102100.
SKU: CA.3110209
ISBN 9790007047399. Key: G minor / c minor. Language: German/English.
In 1726 Johann Sebastian Bach performed a series of cantatas by his Meiningen cousin Johann Ludwig, then continued this series with his own works, but remained faithful to the textual models used his cousin: a Meiningen cycle of texts by an unknown author from the early 18th century. All these texts share the characteristic of including two quotations from the bible: one from the Old Testament at the beginning, and another from the New Testament in the middle. These cantatas include Herr, deine Augen sehen nach dem Glauben BWV 102. The opening chorus in several sections is one of Bach's masterpieces of choral composition. The cantata is also one of those works on which Bach's later reputation was based: performances are documented from 1776 in Hamburg and in Berlin by Zelter's Sing-Akademie from 1813 onwards. In 1830 it was one of the very first cantatas by Bach to appear in print. Score and parts available separately - see item CA.3110200.
SKU: CA.3550311
ISBN 9790007213473. Text language: Latin.
Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score and part available separately - see item CA.3550300.
SKU: CA.3550348
ISBN 9790007213497. Language: Latin.
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