SKU: BA.BA10700
ISBN 9790006550135. 33 x 26 cm inches. Text Language: English, Italian. Preface: Heinrich, Artie. Text: Gay, John / Hughes, John / Pope, Alexander / Giuvo, Nicola.
Handel set the myth about the love of the shepherd Acis for the sea nymph Galatea from Ovid’s “Metamorphoses†a total of three times: in the cantata “Aci, Galatea e Polifemo†HWV 72 (1708), the masque “Acis and Galatea†HWV 49a (1718) and finally the pasticcio-like serenata “Acis and Galatea†HWV 49b (1732) of which the original version is now made available in its complete form for the first time.A particular charm is provided by the use of two languages in the serenata. The work was originally conceived in English, as was required for the first performance. However, Handel’s Italian singers were criticised for their poor command of English, – so in the end, many numbers were sung in Italian. The extensive appendix to the vocal score includes the additional arias and newly composed movements for the versions used in the 1734 and 1736 performances.
About Barenreiter Urtext
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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: CA.3113309
ISBN 9790007207977. Language: German.
The cantata Ich freue mich in dir was first performed during Bach's second year as Thomaskantor, on the 3rd day of Christmas, and belongs to the so-called annual cycle of chorale cantatas. Here the focus of the composition is the hymn of the same name by Philipp Ziegler, in which the first and final strophes were adopted, word for word, in the first and sixth movements of the cantata. The soprano, which carries the chorale, is supported by the conrnett (Zink), which already at this time had become a seldom-used instrument. The joyful, lively choral movement with instrumental interludes directly follows the first aria, and begins with a marked, ascending motive at the word Getrost! (safely). The oboes d'amore which accompany the alto lend the movement a special color. In the second aria (for soprano), Bach again shows himself to be the master of text interpretation. The words Wie lieblich klingt es in den Ohren are emphasized in an exchange between open strings and sixteenth note figures. Score and parts available separately - see item CA.3113300.
SKU: CA.3113319
ISBN 9790007141127. Language: German.
SKU: CA.3113349
ISBN 9790007207984. Language: German.
The cantata Ich freue mich in dir was first performed during Bach's second year as Thomaskantor, on the 3rd day of Christmas, and belongs to the so-called annual cycle of chorale cantatas. Here the focus of the composition is the hymn of the same name by Philipp Ziegler, in which the first and final strophes were adopted, word for word, in the first and sixth movements of the cantata. The soprano, which carries the chorale, is supported by the conrnett (Zink), which already at this time had become a seldom-used instrument. The joyful, lively choral movement with instrumental interludes directly follows the first aria, and begins with a marked, ascending motive at the word Getrost! (safely). The oboes d'amore which accompany the alto lend the movement a special color. In the second aria (for soprano), Bach again shows himself to be the master of text interpretation. The words Wie lieblich klingt es in den Ohren are emphasized in an exchange between open strings and sixteenth note figures. Score and part available separately - see item CA.3113300.
SKU: CA.3113300
ISBN 9790007097486. Language: German.
The cantata Ich freue mich in dir was first performed during Bach's second year as Thomaskantor, on the 3rd day of Christmas, and belongs to the so-called annual cycle of chorale cantatas. Here the focus of the composition is the hymn of the same name by Philipp Ziegler, in which the first and final strophes were adopted, word for word, in the first and sixth movements of the cantata. The soprano, which carries the chorale, is supported by the conrnett (Zink), which already at this time had become a seldom-used instrument. The joyful, lively choral movement with instrumental interludes directly follows the first aria, and begins with a marked, ascending motive at the word Getrost! (safely). The oboes d'amore which accompany the alto lend the movement a special color. In the second aria (for soprano), Bach again shows himself to be the master of text interpretation. The words Wie lieblich klingt es in den Ohren are emphasized in an exchange between open strings and sixteenth note figures.
SKU: TM.03071SC
Five Songs for Contralto: Sea Slumber(G), In Heaven(C), Sabbath Morning at Sea(C), Where Corals Lie(D), The Swimmer(D).
SKU: TM.03071SET
SKU: TM.04308SET
Incl: Lui! desso! l'infante. Dio che nell'alma infonaere amor. Act II Reh. E - S (sc pgs 100-133).
SKU: TM.04308SC
SKU: TM.14723SC
Ed. by Beck. Typeset 2021.
SKU: TM.14723SET
SKU: CA.3107609
ISBN 9790007044930. Key: C major / a minor. Language: German/English.
The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and parts available separately - see item CA.3107600.
SKU: CA.3113809
ISBN 9790007208165. Language: German/English.
Although Warum betrubst du dich, mein Herz (What is it troubles thee, my heart) BWV 138 is based on the chorale of the same name, it is nevertheless not regarded as one of Bach's chorale cantatas. In this unusual composition from Bach's first cycle of cantatas, further chorale verses were not paraphrased in the freely-composed sections (as in the chorale cantatas). Instead the chorale occurs in dialog with the recitatives. It assumes the role of the comforter, whilst doubts are expressed through the recitatives. This leads to recitative and chorale being merged into larger movements. In the only aria in the cantata, trust in God finally prevails. The cantata ends with a final chorale verse; in the interludes between the lines, Bach ignites a roaring virtuoso firework display. Score and parts available separately - see item CA.3113800.
SKU: CA.3107605
ISBN 9790007044916. Key: C major / a minor. Language: German/English.
The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score available separately - see item CA.3107600.