First version. Composed by Johann Sebastian Bach (1685-1750). Edited by Alfred Durr. This edition: urtext edition. Stapled. First version. Score. BWV 243a. Duration 30 minutes. Published by Baerenreiter Verlag (BA.BA5208).

Solo Soprano voice, SATB Choir, 3 Oboes, basson, 2 trumpets, 2 Violin, Viola, Basso continuo

SKU: CA.3105231

Cantata for the 23rd Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Stuttgart Urtext Edition: Bach vocal. Horns 1 and 2. Cantatas, End of the church year, Trinity. Single Part, Horn 1 and 2. Composed 1726. BWV 52. 4 pages. Duration 18 minutes. Carus Verlag #CV 31.052/31. Published by Carus Verlag (CA.3105231).

Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and part available separately - see item CA.3105200.

SAB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3118713

Cantata for the 7th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Frieder Rempp. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Viola. Cantatas, Easter and Eastertide, Whitsun. Single Part, Viola. Composed 1726. BWV 187. 8 pages. Duration 25 minutes. Carus Verlag #CV 31.187/13. Published by Carus Verlag (CA.3118713).

ISBN 9790007209988. Text language: German/English.

The two-part cantata from Bach's third cycle of cantatas was performed for the first time on 4 August 1726 (the 7th Sunday after Trinity). The large-scale opening chorus for full forces to a text from Psalm 104 shows in its formal diversity Bach at the height of his powers. The second part of the cantata begins with a biblical text (Matthew 6, 31 ff.), not as a choral movement here, but as an extended bass arioso (Vox Christi). A meditative soprano aria with solo oboe forms the high point of the second part. Bach re-used the opening chorus, both the arias and even the bass arioso later in the G minor Mass BWV 235. Score and part available separately - see item CA.3118700.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104613

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Viola. Composed 1723. BWV 46. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.046/13. Published by Carus Verlag (CA.3104613).

ISBN 9790007042998. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.