| Sacris solemniis Choral SATB SATB A Cappella CanticaNOVA Publications
Composed by Claudio Casciolini. Arranged by Timothy Flynn. A beautiful, yet easy...(+)
Composed by Claudio Casciolini. Arranged by Timothy Flynn. A beautiful, yet easy addition to your choir's Eucharistic repertoire, this motet by the former Maestro di cappella at the church of San Lorenzo in Damaso (Rome) features comfortable vocal ranges and primarily homophonic textures with some imitative count. Communion, General. Published by CanticaNOVA Publications (C5.7085).
$1.75 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Promise on the Horizon - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5 SKU: CF.YPS252 Composed by Travis Weller. Yps. Set of Score and Parts. 16+4+8+8+4+4+6+4+4+4+8+8+6+6+6+4+6+4+2+4+2+4+24 pages. Duration 2 minutes, 18 seconds. Carl Fischer Music #YPS252. Published by Carl Fischer Music (CF.YPS252). ISBN 9781491161357. UPC: 680160919949. A new day. A new event. A new opportunity. We look forward to these things and the potential they hold. We live our lives looking forward, but we understand them looking backward (a thought of Danish philosopher Soren Kierkegaard). We do not always know what the future may hold, but we must remember: first, there are no guarantees beyond the time and opportunity we are given to do good. Second, change around us is inevitable. Finally, and the most important aspect, we have choices. This lesson is fixed to the composer's office door: Today is the greatest day of your life, if you want it to be. Why not look forward to the Promise on the Horizon and the possibilities for greatness that lie within it? The opening motif of this concert fanfare is purposely inquisitive as the piece seeks to establish its first steps. The subtle shift at measure 37 and again at measure 69 are reminders of the challenges that await us during the journey. Here again it is a matter of choice - do we choose to let circumstances define us, or do we define the circumstances? The section at 93 is a resounding answer that we will move barriers, overcome obstacles and keep our vision looking forward. The piece builds toward an exciting conclusion from measure 127 onward. The piece reinforces several basic rhythmic patterns in 6/8 time. As a number of these rhythms are repeated, it provides an easy opportunity for the entire ensemble to grow more comfortable performing in this meter. While it is a fanfare-type piece, remind young musicians to play with lightness and precision, rather than intensity in volume. Maintaining this style of articulation and accuracy helps the rhythms in 6/8 time maintain their buoyancy. It is vital that each musician listens for the melody and balances their part, especially in moments where the melody is passed between sections. If vibes are not available, a second bell set can be employed in its place. It is hoped that this piece is an uplifting way to open your next concert, and a meaningful opportunity for you to discuss the power of making positive choices with your students in the ensemble (as a reminder, regular practicing of their instrument is a positive choice). Wishing you and your ensemble well as you look to the Promise on the Horizon. A new day. A new event. A new opportunity. We look forward to these things and the potential they hold. We live our lives looking forward, but we understand them looking backward (a thought of Danish philosopher Soren Kierkegaard). We do not always know what the future may hold, but we must remember: first, there are no guarantees beyond the time and opportunity we are given to do good. Second, change around us is inevitable. Finally, and the most important aspect, we have choices. This lesson is fixed to the composer's office door: “Today is the greatest day of your life, if you want it to be.†Why not look forward to the Promise on the Horizon and the possibilities for greatness that lie within it?The opening motif of this concert fanfare is purposely inquisitive as the piece seeks to establish its first steps. The subtle shift at measure 37 and again at measure 69 are reminders of the challenges that await us during the journey. Here again it is a matter of choice – do we choose to let circumstances define us, or do we define the circumstances? The section at 93 is a resounding answer that we will move barriers, overcome obstacles and keep our vision looking forward. The piece builds toward an exciting conclusion from measure 127 onward. The piece reinforces several basic rhythmic patterns in 6/8 time. As a number of these rhythms are repeated, it provides an easy opportunity for the entire ensemble to grow more comfortable performing in this meter. While it is a fanfare-type piece, remind young musicians to play with lightness and precision, rather than intensity in volume. Maintaining this style of articulation and accuracy helps the rhythms in 6/8 time maintain their buoyancy. It is vital that each musician listens for the melody and balances their part, especially in moments where the melody is passed between sections. If vibes are not available, a second bell set can be employed in its place. It is hoped that this piece is an uplifting way to open your next concert, and a meaningful opportunity for you to discuss the power of making positive choices with your students in the ensemble (as a reminder, regular practicing of their instrument is a positive choice). Wishing you and your ensemble well as you look to the Promise on the Horizon. . $65.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Promise on the Horizon [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5 SKU: CF.YPS252F Composed by Travis Weller. Yps. Full score. 24 pages. Duration 2 minutes, 18 seconds. Carl Fischer Music #YPS252F. Published by Carl Fischer Music (CF.YPS252F). ISBN 9781491161913. UPC: 680160920594. A new day. A new event. A new opportunity. We look forward to these things and the potential they hold. We live our lives looking forward, but we understand them looking backward (a thought of Danish philosopher Soren Kierkegaard). We do not always know what the future may hold, but we must remember: first, there are no guarantees beyond the time and opportunity we are given to do good. Second, change around us is inevitable. Finally, and the most important aspect, we have choices. This lesson is fixed to the composer's office door: Today is the greatest day of your life, if you want it to be. Why not look forward to the Promise on the Horizon and the possibilities for greatness that lie within it? The opening motif of this concert fanfare is purposely inquisitive as the piece seeks to establish its first steps. The subtle shift at measure 37 and again at measure 69 are reminders of the challenges that await us during the journey. Here again it is a matter of choice - do we choose to let circumstances define us, or do we define the circumstances? The section at 93 is a resounding answer that we will move barriers, overcome obstacles and keep our vision looking forward. The piece builds toward an exciting conclusion from measure 127 onward. The piece reinforces several basic rhythmic patterns in 6/8 time. As a number of these rhythms are repeated, it provides an easy opportunity for the entire ensemble to grow more comfortable performing in this meter. While it is a fanfare-type piece, remind young musicians to play with lightness and precision, rather than intensity in volume. Maintaining this style of articulation and accuracy helps the rhythms in 6/8 time maintain their buoyancy. It is vital that each musician listens for the melody and balances their part, especially in moments where the melody is passed between sections. If vibes are not available, a second bell set can be employed in its place. It is hoped that this piece is an uplifting way to open your next concert, and a meaningful opportunity for you to discuss the power of making positive choices with your students in the ensemble (as a reminder, regular practicing of their instrument is a positive choice). Wishing you and your ensemble well as you look to the Promise on the Horizon. A new day. A new event. A new opportunity. We look forward to these things and the potential they hold. We live our lives looking forward, but we understand them looking backward (a thought of Danish philosopher Soren Kierkegaard). We do not always know what the future may hold, but we must remember: first, there are no guarantees beyond the time and opportunity we are given to do good. Second, change around us is inevitable. Finally, and the most important aspect, we have choices. This lesson is fixed to the composer's office door: “Today is the greatest day of your life, if you want it to be.†Why not look forward to the Promise on the Horizon and the possibilities for greatness that lie within it?The opening motif of this concert fanfare is purposely inquisitive as the piece seeks to establish its first steps. The subtle shift at measure 37 and again at measure 69 are reminders of the challenges that await us during the journey. Here again it is a matter of choice – do we choose to let circumstances define us, or do we define the circumstances? The section at 93 is a resounding answer that we will move barriers, overcome obstacles and keep our vision looking forward. The piece builds toward an exciting conclusion from measure 127 onward. The piece reinforces several basic rhythmic patterns in 6/8 time. As a number of these rhythms are repeated, it provides an easy opportunity for the entire ensemble to grow more comfortable performing in this meter. While it is a fanfare-type piece, remind young musicians to play with lightness and precision, rather than intensity in volume. Maintaining this style of articulation and accuracy helps the rhythms in 6/8 time maintain their buoyancy. It is vital that each musician listens for the melody and balances their part, especially in moments where the melody is passed between sections. If vibes are not available, a second bell set can be employed in its place. It is hoped that this piece is an uplifting way to open your next concert, and a meaningful opportunity for you to discuss the power of making positive choices with your students in the ensemble (as a reminder, regular practicing of their instrument is a positive choice). Wishing you and your ensemble well as you look to the Promise on the Horizon. . $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Venezuelan Treasures for the Piano, Vol. 3 Piano solo Clifton Edition
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara...(+)
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara Rodriguez. Piano and keyboard music. Collection. Clifton Edition #C463. Published by Clifton Edition (ST.C463). ISBN 9790570814633. This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.
The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.
Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??EloÃsaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.
â??Eloisaâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.
â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.
The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.
Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music. $15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Eugen Onegin Op. 24 Deutscher Verlag für Musik
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB - picc.2.2.2.2. - 4.2.3.0. - timp - hp - str) SKU: BR.DV-6081 Lyrical Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Manfred Koerth / Wo Ebermann. Arranged by M. Koerth and W. Ebermann. Choir; Softbound. Deutscher Verlag. Opera; Music theatre; Romantic. Piano/Vocal Score. 300 pages. Deutscher Verlag fur Musik #DV 6081. Published by Deutscher Verlag fur Musik (BR.DV-6081). ISBN 9790200460032. 9.5 x 12 inches. Duration: full evening
Translation: German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines) Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century
Characters: Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )
There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.
Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.
Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.
Neben der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.
Tchaikovsky's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.
The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.
In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'. $76.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Violin 1 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-15(+)
Violin 1 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-15 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by Erler. David. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 4 pages. Duration 12'. Breitkopf and Haertel #OB 32090-15. Published by Breitkopf and Haertel (BR.OB-32090-15). ISBN 9790004350409. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Viola 2 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-20 ...(+)
Viola 2 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-20 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 4 pages. Duration 12'. Breitkopf and Haertel #OB 32090-20. Published by Breitkopf and Haertel (BR.OB-32090-20). ISBN 9790004350430. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Chorus (with soloists) and piano (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) <...(+)
Chorus (with soloists) and piano (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.EB-32090 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Choir; stapled. Edition Breitkopf. Cantata; Baroque; Renaissance/early Baroque. Piano/Vocal Score. 24 pages. Duration 12'. Breitkopf and Haertel #EB 32090. Published by Breitkopf and Haertel (BR.EB-32090). ISBN 9790004186688. 7.5 x 10.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $18.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Organ (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-11 <...(+)
Organ (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-11 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 12 pages. Duration 12'. Breitkopf and Haertel #OB 32090-11. Published by Breitkopf and Haertel (BR.OB-32090-11). ISBN 9790004350393. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $13.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Violin 2 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-16(+)
Violin 2 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-16 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 4 pages. Duration 12'. Breitkopf and Haertel #OB 32090-16. Published by Breitkopf and Haertel (BR.OB-32090-16). ISBN 9790004350416. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben [Score] Breitkopf & Härtel
Chorus (with soloists) and orchestra (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - b...(+)
Chorus (with soloists) and orchestra (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.PB-32090 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Partitur-Bibliothek (Score Library). Cantata; Baroque; Renaissance/early Baroque. Full score. 60 pages. Duration 12'. Breitkopf and Haertel #PB 32090. Published by Breitkopf and Haertel (BR.PB-32090). ISBN 9790004215708. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too. Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $57.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Viola 1 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-19 ...(+)
Viola 1 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-19 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 4 pages. Duration 12'. Breitkopf and Haertel #OB 32090-19. Published by Breitkopf and Haertel (BR.OB-32090-19). ISBN 9790004350423. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Wind parts (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-30<...(+)
Wind parts (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-30 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; Folder. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 24 pages. Duration 12'. Breitkopf and Haertel #OB 32090-30. Published by Breitkopf and Haertel (BR.OB-32090-30). ISBN 9790004350454. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $33.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Oh, where do you go (Wo gehest du hin) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra [Score and Parts] Carus Verlag
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3...(+)
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3116619 Carntat for the fourth Sunday after Easter. Composed by Johann Sebastian Bach. Edited by Ute Poetzsch. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Wo Gehest Du Hin? Sacred vocal music, Cantatas, Easter and Eastertide. Set of Orchestra Parts. Composed 1724. BWV 166. Duration 17 minutes. Carus Verlag #CV 31.166/19. Published by Carus Verlag (CA.3116619). ISBN 9790007144487. Text language: German/English. The cantata BWV 166 is among the church works which were performed during Bach's first year in office at Leipzig. It was heard for the first time on Sunday the 7th May 1724. Its tonal language is plastic and fervent, emphasized especially by the prominent role of the obbligato oboe and by the decoration of the chorale by the strings. The present edition gives a reading which interprets the surviving original material afresh. Score and parts available separately - see item CA.3116600. $112.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oh, where do you go (Wo gehest du hin) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3...(+)
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3116613 Carntat for the fourth Sunday after Easter. Composed by Johann Sebastian Bach. Edited by Ute Poetzsch. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Wo Gehest Du Hin? Sacred vocal music, Cantatas, Easter and Eastertide. Single Part, Viola. Composed 1724. BWV 166. 4 pages. Duration 17 minutes. Carus Verlag #CV 31.166/13. Published by Carus Verlag (CA.3116613). ISBN 9790007209162. Text language: German/English. The cantata BWV 166 is among the church works which were performed during Bach's first year in office at Leipzig. It was heard for the first time on Sunday the 7th May 1724. Its tonal language is plastic and fervent, emphasized especially by the prominent role of the obbligato oboe and by the decoration of the chorale by the strings. The present edition gives a reading which interprets the surviving original material afresh. Score and part available separately - see item CA.3116600. $7.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oh, where do you go (Wo gehest du hin) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3...(+)
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3116612 Carntat for the fourth Sunday after Easter. Composed by Johann Sebastian Bach. Edited by Ute Poetzsch. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Wo Gehest Du Hin? Sacred vocal music, Cantatas, Easter and Eastertide. Single Part, Violin 2. Composed 1724. BWV 166. 4 pages. Duration 17 minutes. Carus Verlag #CV 31.166/12. Published by Carus Verlag (CA.3116612). ISBN 9790007209155. Text language: German/English. The cantata BWV 166 is among the church works which were performed during Bach's first year in office at Leipzig. It was heard for the first time on Sunday the 7th May 1724. Its tonal language is plastic and fervent, emphasized especially by the prominent role of the obbligato oboe and by the decoration of the chorale by the strings. The present edition gives a reading which interprets the surviving original material afresh. Score and part available separately - see item CA.3116600. $7.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oh, where do you go (Wo gehest du hin) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3...(+)
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3116611 Carntat for the fourth Sunday after Easter. Composed by Johann Sebastian Bach. Edited by Ute Poetzsch. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Wo Gehest Du Hin? Sacred vocal music, Cantatas, Easter and Eastertide. Single Part, Violin 1. Composed 1724. BWV 166. 4 pages. Duration 17 minutes. Carus Verlag #CV 31.166/11. Published by Carus Verlag (CA.3116611). ISBN 9790007209148. Text language: German/English. The cantata BWV 166 is among the church works which were performed during Bach's first year in office at Leipzig. It was heard for the first time on Sunday the 7th May 1724. Its tonal language is plastic and fervent, emphasized especially by the prominent role of the obbligato oboe and by the decoration of the chorale by the strings. The present edition gives a reading which interprets the surviving original material afresh. Score and part available separately - see item CA.3116600. $7.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oh, where do you go (Wo gehest du hin) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3...(+)
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3116649 Carntat for the fourth Sunday after Easter. Composed by Johann Sebastian Bach. Edited by Ute Poetzsch. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Wo Gehest Du Hin? Sacred vocal music, Cantatas, Easter and Eastertide. Single Part, Organ. Composed 1724. BWV 166. 12 pages. Duration 17 minutes. Carus Verlag #CV 31.166/49. Published by Carus Verlag (CA.3116649). ISBN 9790007209186. Text language: German/English. The cantata BWV 166 is among the church works which were performed during Bach's first year in office at Leipzig. It was heard for the first time on Sunday the 7th May 1724. Its tonal language is plastic and fervent, emphasized especially by the prominent role of the obbligato oboe and by the decoration of the chorale by the strings. The present edition gives a reading which interprets the surviving original material afresh. Score and part available separately - see item CA.3116600. $15.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oh, where do you go (Wo gehest du hin) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3...(+)
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3116605 Carntat for the fourth Sunday after Easter. Composed by Johann Sebastian Bach. Edited by Ute Poetzsch. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Wo Gehest Du Hin? Sacred vocal music, Cantatas, Easter and Eastertide. Choral Score. Composed 1724. BWV 166. 2 pages. Duration 17 minutes. Carus Verlag #CV 31.166/05. Published by Carus Verlag (CA.3116605). ISBN 9790007161972. Text language: German/English. The cantata BWV 166 is among the church works which were performed during Bach's first year in office at Leipzig. It was heard for the first time on Sunday the 7th May 1724. Its tonal language is plastic and fervent, emphasized especially by the prominent role of the obbligato oboe and by the decoration of the chorale by the strings. The present edition gives a reading which interprets the surviving original material afresh. Score available separately - see item CA.3116600. $2.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oh, where do you go (Wo gehest du hin) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
Orchestra SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo (+)
Orchestra SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3116607 Carntat for the fourth Sunday after Easter. Composed by Johann Sebastian Bach. Edited by Ute Poetzsch. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Wo Gehest Du Hin? Sacred vocal music, Cantatas, Easter and Eastertide. Study score. Composed 1724. BWV 166. 24 pages. Duration 17 minutes. Carus Verlag #CV 31.166/07. Published by Carus Verlag (CA.3116607). ISBN 9790007142926. Text language: German/English. The cantata BWV 166 is among the church works which were performed during Bach's first year in office at Leipzig. It was heard for the first time on Sunday the 7th May 1724. Its tonal language is plastic and fervent, emphasized especially by the prominent role of the obbligato oboe and by the decoration of the chorale by the strings. The present edition gives a reading which interprets the surviving original material afresh. Score available separately - see item CA.3116600. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oh, where do you go (Wo gehest du hin) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra [Score] Carus Verlag
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3...(+)
SATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo SKU: CA.3116600 Carntat for the fourth Sunday after Easter. Composed by Johann Sebastian Bach. Edited by Ute Poetzsch. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Wo Gehest Du Hin? Sacred vocal music, Cantatas, Easter and Eastertide. Full score. Composed 1724. BWV 166. 24 pages. Duration 17 minutes. Carus Verlag #CV 31.166/00. Published by Carus Verlag (CA.3116600). ISBN 9790007143206. Text language: German/English. The cantata BWV 166 is among the church works which were performed during Bach's first year in office at Leipzig. It was heard for the first time on Sunday the 7th May 1724. Its tonal language is plastic and fervent, emphasized especially by the prominent role of the obbligato oboe and by the decoration of the chorale by the strings. The present edition gives a reading which interprets the surviving original material afresh. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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