SKU: CA.3114919

ISBN 9790007141233. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).

In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score and parts available separately - see item CA.3114900.

SKU: CA.3114912

ISBN 9790007208578. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).

In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score and part available separately - see item CA.3114900.

SKU: CA.3114911

ISBN 9790007208561. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).

In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score and part available separately - see item CA.3114900.

SKU: CA.3114913

ISBN 9790007208585. Key: D major. Language: German/English. Text: Henrici (Picander), Christian Friedrich. Text: Christian Friedrich Henrici (Picander).

In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor. Score and part available separately - see item CA.3114900.

SKU: MB.30670

ISBN 9781513465296. 8.75 x 11.75 inches.

This unique collection celebrates the contemporary fiddle music of northeast Ireland, much of it for the first time in print. Not surprisingly, given its location and long history of traditional music, the fiddle music of this region shares some characteristics with Scottish music, yet it has its own distinct style. For those who are not familiar with this ruggedly attractive part of Ireland, this book will introduce you to some of its music and musicians. The tunes presented here, collected by County Antrim fiddler, Rowan Leslie, have all been written relatively recently by local musicians. Each tune is offered in two versions?one with the barebones melody and suggested accompaniment chords, and a second with ornamentation, articulation and bowing details. All tune types from northeast Ireland are represented, including jigs and reels, polkas and hornpipes, marches, barn dances and waltzes, plus set dances and slow airs. Moreover, the biographical sketches and backstories provided for each composer and tune demonstrate how the land itself, along with personal experiences and relationships, influence the fiddle music of northeast Ireland.

SKU: TM.01953SET

1. The Dance (Sonnenbicht), 3. Lullaby (In Hammersbach), 6. The Marksmen (By Murnau). See #07668 for the complete Bavarian Highlands.