SKU: CA.4009712
ISBN 9790007061555. Language: Latin/German.
Score available separately - see item CA.4009700.
SKU: HL.49004486
ISBN 9790001046633. 9.0x12.0x0.013 inches. German.
SKU: HL.49005295
ISBN 9790001056922.
SKU: CA.3601412
ISBN 9790007213671. Language: German.
Buxtehude took the melody and words from the evening hymn Christ, der du bist der helle Tag. The words are embellished with coloratures and a change of meter enhances the work's charme. This composition goes beyond the bounds of a straightforward chorale cantata through its use of concertante elements, which also applies the voice parts. The title of this work, on a copy made by Gustav Duben, refers to the accompanying violin parts in the words con due vel piu violini. This may indicate that each part should be played by several instrumentalists. Score and part available separately - see item CA.3601400.
SKU: CA.3110212
ISBN 9790007047412. 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 part available separately - see item CA.3110200.
SKU: GH.N05596
ISBN 9790070032315. 185 x 262 mm inches. Text: Ambrosius / Martin Luther / Olaus Petri / Johan Olof Wallin.
For blandad kor och 2 violiner eller 2 flojter.
SKU: CA.5136112
ISBN 9790007225001. Key: E flat major. Language: Latin.
Motet of an unknown arranger (ca. 1820), based on th Adagio of the Serenade KV 361 (Gran Partita). The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart's Wind Serenade K. 361, the Gran Partita. The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin and the organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. Score and part available separately - see item CA.5136100.
SKU: CA.1036412
ISBN 9790007190392. Text language: German. Text: von Spee, Friedrich / Simrock, Karl.
Max Bruch succeeded in composing an impressive setting of the well known Advent text, O Heiland, reiss die Himmel auf (O Saviour, tear open the heavens). Compositionally it is extremely sophisticated in its construction; Bruch combines both the choir and orchestra in a powerfully expressive and moving portrayal of mankind waiting for the coming of the Saviour. Following the premiere of the work in 1869 it was celebrated as Bruch's most important choral work, but later it fell largely into oblivion. Almost 150 years after it was composed, for the first time a critical-scholarly edition is now available to the public. Score and part available separately - see item CA.1036400.
SKU: CA.5001612
ISBN 9790007222697. Key: C minor. Language: Latin/German.
Contemporary criticism saw in Rheinberger's Stabat Mater op. 16 from 1864 one of the most beautiful works of this type which the present time has to offer. Distinguished through its breadth of conception and its noble tonal effect, with its rich polyphony it reaches the masterpieces of the old Italian school. In the expressive choral movements rich-sounding homophonic passages are combined with sections worked out in strict polyphony. The sustained songlike solo pieces are of a profound expression. Score and part available separately - see item CA.5001600.
SKU: CA.3111712
ISBN 9790007048686. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.
The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score and part available separately - see item CA.3111700.
SKU: CA.3115312
ISBN 9790007208684. Language: German/English.
Bach chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.
SKU: CA.3722212
ISBN 9790007214937. Text language: German.
As with many cantatas by Homilius Kommt, frohe Volker, herzu, for the 4th Sunday after Epiphany, is notable for its unusual formal structure, with two choral movements in a cantata of only three movements. The generally festive, thankful character of the work, without references to the Gospel for a particular Sunday, makes this cantata, characterized by its singable melodies, a work which can be used on many Sundays throughout the church year. Score and part available separately - see item CA.3722200.
SKU: M7.DOHR-10211
ISBN 9790202022115. Latin.
Die vorliegende Einzelausgabe für den praktischen Gebrauch basiert auf der wissenschaftlichen Gesamtausgabe, herausgegeben von Holger Eichhorn. Während die wissenschaftliche Ausgabe die originalen Schlüssel übernimmt, ist die praktische Ausgabe in modernen Schlüsseln ediert. Ein ausführliches Vorwort und der kritische Bericht finden sich im entsprechenden Band der wissenschaftlichen Gesamtausgabe.
SKU: CA.3100212
ISBN 9790007041359. Key: D minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.
Bach composed the cantata O God, from heaven look on us BWV 2 for the 2nd Trinity Sunday 1724 as the second cantata of the annual cycle of chorale cantatas. It is based on Martin Luther's rewriting of Psalm 112. The opening movement is one of a group of cantata opening movements which are not concertante but kept entirely in the motet style, with the instruments serving only to reinforce the singers. The archaic character of this movement is heightened by the addition of a trombone quartet. The concertante style is all the more significant in the first aria for contralto, solo violin and continuo. The first secco recitative represents a special feature: two fragments of the chorale are woven as arioso into the recitative, both in text and melody; futhermore, they are also taken up canonically by the continuo. Score and part available separately - see item CA.3100200.
SKU: CA.3118712
ISBN 9790007209971. 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.
SKU: GI.G-5015
Text Source: vs. 1, 4, 5: Michael Balhoff, Darryl Ducote, Gary Daigle, vs. 2, 3, 6, 7: Rory Cooney. Text by Various.
Flute, Oboe (or 2 Flutes), String Quartet - 2 Violins, Viola, Cello parts are optional.
SKU: GI.G-3343
Translation: The Grail. Scripture: Psalm 107.
Small orchestra:Â Flute, Trumpet, Horn in F, String Quintet - 2 Violins, Viola, Cello, Bass.
SKU: CA.3530312
ISBN 9790007213077. Key: D major. Language: German/Latin.
From the music library of Johann Sebastian Bach. Score and part available separately - see item CA.3530300.
SKU: CA.3110312
ISBN 9790007047504. Key: B minor. Language: German/English. Text: von Ziegler, Christiane Mariane. Text: Christiane Mariane von Ziegler.
The cantata Ihr werdet weinen und heulen [You will weep and wail] BWV 103 for Jubilate 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. A large-scale choral movement on Jesus's words quoted from the Sunday gospel reading opens the cantata; the choir is interrupted by a bass arioso - the vox Christi. Both arias are introduced by a recitative with arioso conclusion; in each, exquisite solo instruments are deployed: flauto piccolo in the contralto aria and trumpet in the tenor aria. Score and part available separately - see item CA.3110300.
SKU: CA.2004112
ISBN 9790007193423. Key: G major. Language: German/English.
Score available separately - see item CA.2004100.
SKU: CA.9187711
ISBN 9790007235420. Key: D major. Language: German.
Score available separately - see item CA.9187700.
SKU: CA.3113612
ISBN 9790007208127. Text language: German/English.
The cantata Erforsche mich Gott und erfahre mein Herz BWV 136 was composed in Bach's first year as Kantor of St. Thomas's in Leipzig and was first performed on the 8th Sunday after Trinity, the 18th July 1723. The librettist is unknown. The title of the cantata is taken from verse 23 of Psalm 139: Erforsche mich Gott und erfahre mein Herz; prufe mich und erfahre, wie ich's meine. (Search me, O God, and know my heart: try me, and know my thoughts) The opening chorus forms an extended fugue, framed by string writing bursting with energy. The obbligato horn accentuates and enriches the movement with a special tonal color. The alto aria in F sharp minor (movement 3) comprises a trio movement with an oboe d'amore as solo instrument in a contrasting range - a presto middle section which dramatically charges the words Denn seines Eifers Grimm vernichtet (For the fury of its zeal will destroy). In the duet (movement 5) the text is sung by tenor and bass line by line, sometimes imitating contrapuntally, and sometimes both singing together dramatically in homophonic writing. A simple chorale setting to the melody Auf meinen lieben Gott concludes the cantata. Particularly charming here is the violin which joins the four vocal parts as an independent part. Score and part available separately - see item CA.3113600.
SKU: CA.2719712
ISBN 9790007200954. Language: Latin.
Two settings of the Te Deum by Jan Dismas Zelenka have been survived: the Te Deum in D major ZWV 145 of ca. 1724 and the present Te Deum a due cori in D major ZWV 146, which was composed in 1731. Whereas the Te Deum ZWV 145 is scored for five voices (soli e tutti) and an orchestra including two trumpets and timpani, the setting of the Te Deum a due cori, which includes five soloists and two four-part choirs, as well as four trumpets and timpani, and soloistic flauti traversi is magnificently realized in a more decisive manner. The large, solemn scoring suggests that the work was composed for a worship service on the occasion of the birth of the Electoral Princess Maria Josepha of Saxony. Score and part available separately - see item CA.2719700.
SKU: CA.3116312
ISBN 9790007208967. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
The cantata Nur jedem das Seine (Do justice to all men) BWV 163, for the last Sunday of the Church Year 1714/15, belongs among to those chamber music works which Bach composed for the Weimar Schlosskirche. The instruments are limited to strings, although two obbligato violoncellos are included which together with the solo bass singer and the continuo form a bass quartet unique in Bach's works. The final chorale of the cantata is handed down only as a fragment and was newly reconstructed for our edition by Thomas Riegler. Score and part available separately - see item CA.3116300.
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