SKU: BA.BA10557
ISBN 9790006553068. 33 x 25.8 cm inches. Language: German.
The Complete Vocal Works Johann Pachelbel is known today as a composer of organ music and of a world-famous instrumental canon which frequently features in concert programmes and recording catalogues. However, the same can be said of only a few of his vocal compositions. At most, the motets appear occasionally in church music repertoire. Pachelbelâ??s arias, vocal concerti and large-scale Magnificats have received little attention up to now. Church musicians and musicologists have long wished for a critical edition of these important works, which survive in Pachelbelâ??s manuscript and were largely composed in his main places of work, Erfurt and Nuremberg . As always with such ventures, new discoveries are to be expected regarding the body of works, source material and the context of the works. This concerns not only beautiful music, but rather a deepening of our understanding of Pachelbel as a key figure between southern and central German traditions, and the recognition of an oeuvre which has all too often been pushed into the shadows by the mighty Bach. The Critical Edition The edition aims to make available all of Johann Pachelbelâ??s surviving vocal works in the best possible form. It is edited by the Institut für Musikwissenschaft at the University of Erlangen-Nuremberg and the Institut für Kirchenmusik at the Kunstuniversität Graz. Two volumes per year are planned. As a chronological order is not possible in many cases, the individual works have been arranged according to scoring within their groups. Fragments and works where Johann Pachelbelâ??s authorship is doubtful appear at the end of the respective group. Each volume includes an introduction (Ger/Eng) and a Critical Commentary (Ger). Format 25.5 x 32.5 cm; cloth-bound
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BT.HBLC7142
ISBN 9783850619837.
SKU: GI.G-10961
English. Text Source: Text I: William C. Dix, 1837&ndash,1898. Text II: Jeffery Rowthorn. Text by William C. Dix.
SKU: GI.G-10867
English. Text Source:
",Christ Is Made the Sure Foundation,", Angularis fundamentum, Latin, 7th c., ,tr. John M. Neale, 1818&ndash,1866, alt. ",Lo, He Comes, with Clouds Descending,", ,sts. 1, 3 &, 4, Charles Wesley, 1. Text by Charles Wesley.
SKU: GI.G-008837
UPC: 641151088372. Translation: Melvin Farrell. Text by Fred Kaan.
SKU: CA.3115605
ISBN 9790007186791. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score available separately - see item CA.3115600.
SKU: GI.G-8993
UPC: 785147899303. English. Text Source: William Whiting, 1825–1878, alt. Text by William Whiting.
An exciting fanfare by brass and organ sets up the opening unison stanza of this moving arrangement. The a cappella third stanza is independent and quieter. Perhaps not surprisingly, the concluding stanza is tutti, complete with a soaring soprano descant. Note that the brass quintet is necessary for a performance of this concertato (horn in F may substitute for trombone I). The organ part is included in both the full score and octavo editions. Horn in F can be substituted for Trombone I.
SKU: CA.3115600
ISBN 9790007186777. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale.
SKU: CA.3115619
ISBN 9790007208813. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and parts available separately - see item CA.3115600.
SKU: CA.3115603
ISBN 9790007186784. Language: German/English.
SKU: CA.3115649
ISBN 9790007208820. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.
SKU: CA.3115611
ISBN 9790007208776. Text language: German/English.
SKU: CA.3115614
ISBN 9790007208806. Text language: German/English.
SKU: CA.3115621
Text language: German/English.
SKU: CA.3115612
ISBN 9790007208783. Text language: German/English.
SKU: CA.3115613
ISBN 9790007208790. Text language: German/English.
SKU: GI.G-9194INST
UPC: 785147919490. English. Text Source: Adeste fideles, John F. Wade, ca. 1711–1786, English tr. Frederick Oakeley, 1802–1880, alt.; Translation: Frederick Oakeley. Text by John F. Wade.
The instrument parts are for brass quartet or quintet. The tuba part is optional and horn in F can substitute for trombone I. The organ accompaniment is printed in the full score.
SKU: CA.411080
ISBN 9790007183707. Key: F major. Language: Latin.
Score available separately - see item CA.411000.
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