SKU: CA.3113949

ISBN 9790007208295. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and part available separately - see item CA.3113900.

SKU: CA.3113915

ISBN 9790007208288. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and part available separately - see item CA.3113900.

SKU: CA.3113912

ISBN 9790007208257. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and part available separately - see item CA.3113900.

SKU: CA.3113913

ISBN 9790007208264. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and part available separately - see item CA.3113900.

SKU: CA.3113900

ISBN 9790007170479. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello.

SKU: CA.3113213

ISBN 9790007207946. Language: German/English.

Bach's cantata BWV 132 was written for the 4th Sunday in Advent, and the autograph score is dated 1715. It was composed while Bach was at Weimar, to a libretto by the Weimar Court Preacher Salomon Franck. Its subject matter is the testimony of John the Baptist addressed to the Christian community and to individual believers. Since the original concluding chorale, the fifth verse of the hymn Herr Christ der einig Gotts Sohn (Elisabeth Cruziger), has been lost, here the cantata ends with the last movement (transposed from B flat to A major), to the same words, of the cantata BWV 164. Score and part available separately - see item CA.3113200.

SKU: CA.3113219

ISBN 9790007136741. Language: German/English.

Bach's cantata BWV 132 was written for the 4th Sunday in Advent, and the autograph score is dated 1715. It was composed while Bach was at Weimar, to a libretto by the Weimar Court Preacher Salomon Franck. Its subject matter is the testimony of John the Baptist addressed to the Christian community and to individual believers. Since the original concluding chorale, the fifth verse of the hymn Herr Christ der einig Gotts Sohn (Elisabeth Cruziger), has been lost, here the cantata ends with the last movement (transposed from B flat to A major), to the same words, of the cantata BWV 164. Score and parts available separately - see item CA.3113200.

SKU: CA.3113212

ISBN 9790007207939. Language: German/English.

Bach's cantata BWV 132 was written for the 4th Sunday in Advent, and the autograph score is dated 1715. It was composed while Bach was at Weimar, to a libretto by the Weimar Court Preacher Salomon Franck. Its subject matter is the testimony of John the Baptist addressed to the Christian community and to individual believers. Since the original concluding chorale, the fifth verse of the hymn Herr Christ der einig Gotts Sohn (Elisabeth Cruziger), has been lost, here the cantata ends with the last movement (transposed from B flat to A major), to the same words, of the cantata BWV 164. Score and part available separately - see item CA.3113200.

SKU: CA.3113200

ISBN 9790007090999. Language: German/English.

Bach's cantata BWV 132 was written for the 4th Sunday in Advent, and the autograph score is dated 1715. It was composed while Bach was at Weimar, to a libretto by the Weimar Court Preacher Salomon Franck. Its subject matter is the testimony of John the Baptist addressed to the Christian community and to individual believers. Since the original concluding chorale, the fifth verse of the hymn Herr Christ der einig Gotts Sohn (Elisabeth Cruziger), has been lost, here the cantata ends with the last movement (transposed from B flat to A major), to the same words, of the cantata BWV 164.

SKU: CA.3103009

ISBN 9790007205393. Text language: German/English.

The cantata Freue dich, erloste Schar BWV 30 is one of Bach's last church cantatas. Originally composed as a parody of the cantata Angenehmes Wiederau BWV 30a for the Feast of St. John's Day in 1738, it still enjoys a great popularity today. Its extraordinary length (12 movements) made it possible for Bach to employ four vocal soloists who, together with instrumental soloists, choir and orchestra contribute to the generally festive character of this work. Score and parts available separately - see item CA.3103000.

SKU: CA.3103014

ISBN 9790007205430. Text language: German/English.

The cantata Freue dich, erloste Schar BWV 30 is one of Bach's last church cantatas. Originally composed as a parody of the cantata Angenehmes Wiederau BWV 30a for the Feast of St. John's Day in 1738, it still enjoys a great popularity today. Its extraordinary length (12 movements) made it possible for Bach to employ four vocal soloists who, together with instrumental soloists, choir and orchestra contribute to the generally festive character of this work. Score and part available separately - see item CA.3103000.

SKU: CA.3103049

ISBN 9790007205447. Text language: German/English.

The cantata Freue dich, erloste Schar BWV 30 is one of Bach's last church cantatas. Originally composed as a parody of the cantata Angenehmes Wiederau BWV 30a for the Feast of St. John's Day in 1738, it still enjoys a great popularity today. Its extraordinary length (12 movements) made it possible for Bach to employ four vocal soloists who, together with instrumental soloists, choir and orchestra contribute to the generally festive character of this work. Score and part available separately - see item CA.3103000.

SKU: CA.2729303

ISBN 9790007171797. Text language: Latin.

Antonin Dvorak's impressive Stabat Mater for soloists, chorus and orchestra is probably the best-known of the composer's sacred works. Some painful experiences - in 1875 his first daughter died, and in 1877 he lost two other children in quick succession - may have led to Dvorak's preoccupation with the suffering of the Mother of God, who stands weeping beneath the cross of her son. The music enters into the different moods of the liturgical texts with great sensitivity. Nine movements in slow to moderate tempi serve as a kind of Passion meditation, before the ecstasy of a vision of the resurrection wins the upper hand at the end of the tenth movement. With our newly-published arrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani, and strings), smaller choirs now have the opportunity of performing this work without the choir being drowned out by a large-scale symphony orchestra. The symphonic character of the work is nevertheless preserved. This scoring offers an optimal balance between transparency and orchestral sound. All vocal parts (soloists and chorus) are identical with the original version. Vocal score and choral score can be used also together with the original version, which is in preparation.