Cantata for the 8th Sunday after Trinity. Par BACH JOHANN SEBASTIAN. Es Ist Dir Gesagt, Mensch, Was Gut Ist BWV 45 Cantata for the 8th Sunday after Trinity - Study score format 22. 5 x 16. 5cm - Performance material (BA10045), vocal score (BA10045-90) and study score (TP1045) available for sale. Bärenreite's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach ’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festivalof the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then./ Répertoire / Partition de Poche

Cross Staff Cantata (Kreuzstabkantate). Par BACH JOHANN SEBASTIAN. Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56 Cantata for the 19th Sunday after Trinity Bach ’s solo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy, it was probably first performed on 27 October 1726, the nineteenth Sunday after Trinity. Urtext of the New Bach Edition Performance material (BA10056), vocal score (BA10056-90) & study score format 22. 5 x 16cm (TP1056) available for sale/ Répertoire / Partition de Poche

The so-called Köthener Trauermusik (Cöthen funeral music) was performed at the memorial service for Prince Leopold of Anhalt-Cöthen on 24 March 1729. The history of reconstruction begins in the second half of the nineteenth century. In 1873 Wilhelm Rust, co-editor of the first Complete Bach Edition and subsequently Thomaskantor, established the fundamental relationship between the Köthener Trauermusik on the one hand and the St. Matthew Passion and Trauerode BWV 198 on the other.In the service of concert practice, it is the intention of this attempted reconstruction to enrich the repertoire of church music for Passiontide and the period around the Sunday before Advent, on which the dead are commemorated. It is also hoped that it will contribute to the understanding of Bach's 'Great Passion?, whose sister work the Köthener Trauermusik is. / Chant and Piano