Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Choral
Score. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140205. Published by
Carus Verlag
(CA.3140205).
ISBN
9790007295097.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Carus
digital: Extra digital
products. Full Score.
Composed 1728/1729. BWV
197a / 197.1. Duration 25
minutes. Carus Verlag
#3140200. Published by
Carus Verlag
(CA.3140200).
ISBN
9790007295066.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Orchestra Soli TB, SATB Choir, Flute, Oboe d'Amore, Vada (Violin), Organ - Level...(+)
Orchestra Soli TB, SATB
Choir, Flute, Oboe
d'Amore, Vada (Violin),
Organ - Level 3
SKU:
CA.3115707
Cantata
for funeral service /
Purification of Mary.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. Arranged
by Klaus Hofmann. This
edition: paperbound. BWV
157. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Mourning,
death. Study score.
Composed circa 1727. BWV
157. 72 pages. Duration
21 minutes. Carus Verlag
#CV 31.157/07. Published
by Carus Verlag
(CA.3115707).
ISBN
9790007049560. Key: B
minor / d major.
Language: German/English.
Text: Henrici (Picander),
Christian
Friedrich.
Reconstr
uction of the supposed
original version (Klaus
Hofmann); date of
composition uncertain.
Score available
separately - see item
CA.3115700.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Set of
Orchestra Parts. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140209. Published by
Carus Verlag
(CA.3140209).
ISBN
9790007301576.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Chorausgabe zu der neu
entdeckten
Bach-Choral-Sammlung
(1780) von Christian
Friedrich Penzel.
Composed by Johann
Sebastian Bach. Stapled.
Choral score. 8 pages.
Baerenreiter Verlag
#BA06902_00. Published by
Baerenreiter Verlag
(BA.BA06902).
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Set of
Orchestra Parts. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140219. Published by
Carus Verlag
(CA.3140219).
ISBN
9790007300258.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Single
Part, basso continuo.
Composed 1728/1729. BWV
197a / 197.1. Duration 25
minutes. Carus Verlag
#3140214. Published by
Carus Verlag
(CA.3140214).
ISBN
9790007301613.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Single Part,
Viola. Composed 1727. BWV
198. 12 pages. Duration
35 minutes. Carus Verlag
#CV 31.198/13. Published
by Carus Verlag
(CA.3119813).
ISBN
9790007210618. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Single Part,
Viola da gamba 1.
Composed 1727. BWV 198.
12 pages. Duration 35
minutes. Carus Verlag #CV
31.198/14. Published by
Carus Verlag
(CA.3119814).
ISBN
9790007210625. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Single Part,
basso continuo. Composed
1727. BWV 198. 20 pages.
Duration 35 minutes.
Carus Verlag #CV
31.198/16. Published by
Carus Verlag
(CA.3119816).
ISBN
9790007210649. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Funeral ode.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Trauerode. Cantatas.
Single Part, Organ.
Composed 1727. BWV 198.
24 pages. Duration 35
minutes. Carus Verlag #CV
31.198/49. Published by
Carus Verlag
(CA.3119849).
ISBN
9790007210656. Language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext. 1x
31.198/21 flute 1, 1x
31.198/22 flute 2, 1x
31.198/23 oboe 1, 1x
31.198/24 oboe 2, 2x
31.198/41 lute 1+2.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Set of
Orchestra Parts. Composed
1727. BWV 198. Duration
35 minutes. Carus Verlag
#CV 31.198/09. Published
by Carus Verlag
(CA.3119809).
ISBN
9790007210588. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
parts available
separately - see item
CA.3119800.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Single Part,
Violin 2. Composed 1727.
BWV 198. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
31.198/12. Published by
Carus Verlag
(CA.3119812).
ISBN
9790007210601. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Single Part,
Viola da gamba 2.
Composed 1727. BWV 198.
12 pages. Duration 35
minutes. Carus Verlag #CV
31.198/15. Published by
Carus Verlag
(CA.3119815).
ISBN
9790007210632. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Single Part,
Violin 1. Composed 1727.
BWV 198. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
31.198/11. Published by
Carus Verlag
(CA.3119811).
ISBN
9790007210595. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Fanfare Band - Grade 2.5 SKU: BT.DHP-1033432-120 Nun danket alle Gott<...(+)
Fanfare Band - Grade 2.5
SKU:
BT.DHP-1033432-120
Nun danket alle
Gott. Composed by
Johann Sebastian Bach.
Arranged by Robert van
Beringen. Musica Sacra.
Hymns & Chorals. Score
Only. Composed 2003. De
Haske Publications #DHP
1033432-120. Published by
De Haske Publications
(BT.DHP-1033432-120).
In 1725 J.S.
Bach composed the cantata
BWV79 ‘Gott, der
Herr, is Sonn’ und
Schild for the celebIn
1725 J.S. Bach composed
the cantata BWV79
‘Gott, der Herr, is
Sonn’ und Schild
for the celebration of
the Reformation.
Originally written for 3
vocal soloists, choir and
orchestra Cantata
No.79 is partially
based on the well known
hymn Now Thank We All
Our God, the melody
of which is attributed to
Martin Rinckart. This
arrangement for concert
band by Robert van
Beringen combines part of
the first movement (Coro)
with and ensemble from
the third movement
(Choral).
In 2007
is het zogenaamde
Lutherdecennium begonnen,
de tien jaar waarin wordt
voorbereid op het
jubileumjaar 2017. In dat
jaar is het vijfhonderd
geleden dat Luther zijn
95 stellingen
publiceerde. Het jaar
2012 heeft ‘Muziek
en Reformatie’als
thema. Naast muziek van
Luther zelf staan
componisten als J. S.
Bach en Heinrich
Schütz in het
middelpunt. Met deze
bewerking van de melodie
Nun danket alle
Gott, die Bach als
basis nam voor zijn
cantateGott, der Herr,
ist Sonn’ und
Schild (BWV 79), kunt
u in 2012 op gepaste
wijze stilstaan bij
‘Muziek en
Reformatie’. Seit 2007 läuft die
so genannte
Luther-Dekade“,
eine Veranstaltungsreihe,
die auf das
Reformationsjubiläum
2017 vorbereitet. Das
Jahr 2012 ist innerhalb
dieser Dekade dem Thema
Musik und
Reformation“
gewidmet. Neben Musik von
Luther selbst, stehen da
Komponisten wie J. S.
Bach oder Heinrich
Schütz im Mittelpunkt.
Mit dieser Bearbeitung
der Melodie von Nun
danket alle Gott, die
Bach als Grundlage seiner
Kantate Gott, der
Herr, ist Sonn’
und Schild (BWV 79)
verwendete, im
Repertoire, können Sie
Ihren Beitrag zum Jahr
Musik und
Reformation“
leisten.
Nel 1725, J.S. Bach
compose la Cantata BWV79
Gott, der Herr, ist
Sonn’ und
Schild. La Cantata 79
è in parte basata sul
popolare inno cristiano
Nun danket Alle
Gott.
L’arrangiamento di
Robert van Beringen
incorpora parte del primo
movimento (Coro) e
l’intero terzo
movimento (Choral) della
cantata. Chorale from
Cantata No. 79 è
un pezzo strumentale ma
può anche essere
eseguito con un coro
misto. Le parti per coro
(in tedesco) sono
disponibili
separatamente.
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1033432-140 Nun danket a...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1033432-140
Nun danket alle
Gott. Composed by
Johann Sebastian Bach.
Arranged by Robert van
Beringen. Musica Sacra.
Hymns & Chorals. Score
Only. Composed 2003. De
Haske Publications #DHP
1033432-140. Published by
De Haske Publications
(BT.DHP-1033432-140).
In 1725 J.S.
Bach composed the cantata
BWV79 ‘Gott, der
Herr, is Sonn’ und
Schild for the
celebration of the
Reformation. Originally
written for 3 vocal
soloists, choir and
orchestra Cantata
No.79 is partially
based on the well known
hymn Now Thank We All
Our God, the melody
of which is attributed to
Martin Rinckart. This
arrangement for concert
band by Robert van
Beringen combines part of
the first movement (Coro)
with and ensemble from
the third movement
(Choral).
In 2007
is het zogenaamde
Lutherdecennium begonnen,
de tien jaar waarin wordt
voorbereid op het
jubileumjaar 2017. In dat
jaar is het vijfhonderd
geleden dat Luther zijn
95 stellingen
publiceerde. Het jaar
2012 heeft ‘Muziek
en Reformatie’als
thema. Naast muziek van
Luther zelf staan
componisten als J. S.
Bach en Heinrich
Schütz in het
middelpunt. Met deze
bewerking van de melodie
Nun danket alle
Gott, die Bach als
basis nam voor zijn
cantateGott, der Herr,
ist Sonn’ und
Schild (BWV 79), kunt
u in 2012 op gepaste
wijze stilstaan bij
‘Muziek en
Reformatie’. Seit 2007 läuft die
so genannte
Luther-Dekade“,
eine Veranstaltungsreihe,
die auf das
Reformationsjubiläum
2017 vorbereitet. Das
Jahr 2012 ist innerhalb
dieser Dekade dem Thema
Musik und
Reformation“
gewidmet. Neben Musik von
Luther selbst, stehen da
Komponisten wie J. S.
Bach oder Heinrich
Schütz im Mittelpunkt.
Mit dieser Bearbeitung
der Melodie von Nun
danket alle Gott, die
Bach als Grundlage seiner
Kantate Gott, der
Herr, ist Sonn’
und Schild (BWV 79)
verwendete, im
Repertoire, können Sie
Ihren Beitrag zum Jahr
Musik und
Reformation“
leisten.
Nel 1725, J.S. Bach
compose la Cantata BWV79
Gott, der Herr, ist
Sonn’ und
Schild. La Cantata 79
è in parte basata sul
popolare inno cristiano
Nun danket Alle
Gott.
L’arrangiamento di
Robert van Beringen
incorpora parte del primo
movimento (Coro) e
l’intero terzo
movimento (Choral) della
cantata. Chorale from
Cantata No. 79 è
un pezzo strumentale ma
può anche essere
eseguito con un coro
misto. Le parti per coro
(in tedesco) sono
disponibili
separatamente.
Choral from Cantata No. 79 Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1033432-010 Nun danket a...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1033432-010
Nun danket alle
Gott. Composed by
Johann Sebastian Bach.
Arranged by Robert van
Beringen. Musica Sacra.
Hymns & Chorals. Set
(Score & Parts). Composed
2003. De Haske
Publications #DHP
1033432-010. Published by
De Haske Publications
(BT.DHP-1033432-010).
In 1725 J.S.
Bach composed the cantata
BWV79 ‘Gott, der
Herr, is Sonn’ und
Schild for the
celebration of the
Reformation. Originally
written for 3 vocal
soloists, choir and
orchestra Cantata
No.79 is partially
based on the well known
hymn Now Thank We All
Our God, the melody
of which is attributed to
Martin Rinckart. This
arrangement for concert
band by Robert van
Beringen combines part of
the first movement (Coro)
with and ensemble from
the third movement
(Choral).
In 2007
is het zogenaamde
Lutherdecennium begonnen,
de tien jaar waarin wordt
voorbereid op het
jubileumjaar 2017. In dat
jaar is het vijfhonderd
geleden dat Luther zijn
95 stellingen
publiceerde. Het jaar
2012 heeft ‘Muziek
en Reformatie’als
thema. Naast muziek van
Luther zelf staan
componisten als J. S.
Bach en Heinrich
Schütz in het
middelpunt. Met deze
bewerking van de melodie
Nun danket alle
Gott, die Bach als
basis nam voor zijn
cantateGott, der Herr,
ist Sonn’ und
Schild (BWV 79), kunt
u in 2012 op gepaste
wijze stilstaan bij
‘Muziek en
Reformatie’. Seit 2007 läuft die
so genannte
Luther-Dekade“,
eine Veranstaltungsreihe,
die auf das
Reformationsjubiläum
2017 vorbereitet. Das
Jahr 2012 ist innerhalb
dieser Dekade dem Thema
Musik und
Reformation“
gewidmet. Neben Musik von
Luther selbst, stehen da
Komponisten wie J. S.
Bach oder Heinrich
Schütz im Mittelpunkt.
Mit dieser Bearbeitung
der Melodie von Nun
danket alle Gott, die
Bach als Grundlage seiner
Kantate Gott, der
Herr, ist Sonn’
und Schild (BWV 79)
verwendete, im
Repertoire, können Sie
Ihren Beitrag zum Jahr
Musik und
Reformation“
leisten.
Nel 1725, J.S. Bach
compose la Cantata BWV79
Gott, der Herr, ist
Sonn’ und
Schild. La Cantata 79
è in parte basata sul
popolare inno cristiano
Nun danket Alle
Gott.
L’arrangiamento di
Robert van Beringen
incorpora parte del primo
movimento (Coro) e
l’intero terzo
movimento (Choral) della
cantata. Chorale from
Cantata No. 79 è
un pezzo strumentale ma
può anche essere
eseguito con un coro
misto. Le parti per coro
(in tedesco) sono
disponibili
separatamente.
Fanfare Band - Grade 2.5 SKU: BT.DHP-1033432-020 Nun danket alle Gott<...(+)
Fanfare Band - Grade 2.5
SKU:
BT.DHP-1033432-020
Nun danket alle
Gott. Composed by
Johann Sebastian Bach.
Arranged by Robert van
Beringen. Musica Sacra.
Hymns & Chorals. Set
(Score & Parts). Composed
2003. De Haske
Publications #DHP
1033432-020. Published by
De Haske Publications
(BT.DHP-1033432-020).
In 1725 J.S.
Bach composed the cantata
BWV79 ‘Gott, der
Herr, is Sonn’ und
Schild for the
celebration of the
Reformation. Originally
written for 3 vocal
soloists, choir and
orchestra Cantata
No.79 is partially
based on the well known
hymn Now Thank We All
Our God, the melody
of which is attributed to
Martin Rinckart. This
arrangement for concert
band by Robert van
Beringen combines part of
the first movement (Coro)
with and ensemble from
the third movement
(Choral).
In 2007
is het zogenaamde
Lutherdecennium begonnen,
de tien jaar waarin wordt
voorbereid op het
jubileumjaar 2017. In dat
jaar is het vijfhonderd
geleden dat Luther zijn
95 stellingen
publiceerde. Het jaar
2012 heeft ‘Muziek
en Reformatie’als
thema. Naast muziek van
Luther zelf staan
componisten als J. S.
Bach en Heinrich
Schütz in het
middelpunt. Met deze
bewerking van de melodie
Nun danket alle
Gott, die Bach als
basis nam voor zijn
cantateGott, der Herr,
ist Sonn’ und
Schild (BWV 79), kunt
u in 2012 op gepaste
wijze stilstaan bij
‘Muziek en
Reformatie’. Seit 2007 läuft die
so genannte
Luther-Dekade“,
eine Veranstaltungsreihe,
die auf das
Reformationsjubiläum
2017 vorbereitet. Das
Jahr 2012 ist innerhalb
dieser Dekade dem Thema
Musik und
Reformation“
gewidmet. Neben Musik von
Luther selbst, stehen da
Komponisten wie J. S.
Bach oder Heinrich
Schütz im Mittelpunkt.
Mit dieser Bearbeitung
der Melodie von Nun
danket alle Gott, die
Bach als Grundlage seiner
Kantate Gott, der
Herr, ist Sonn’
und Schild (BWV 79)
verwendete, im
Repertoire, können Sie
Ihren Beitrag zum Jahr
Musik und
Reformation“
leisten.
Nel 1725, J.S. Bach
compose la Cantata BWV79
Gott, der Herr, ist
Sonn’ und
Schild. La Cantata 79
è in parte basata sul
popolare inno cristiano
Nun danket Alle
Gott.
L’arrangiamento di
Robert van Beringen
incorpora parte del primo
movimento (Coro) e
l’intero terzo
movimento (Choral) della
cantata. Chorale from
Cantata No. 79 è
un pezzo strumentale ma
può anche essere
eseguito con un coro
misto. Le parti per coro
(in tedesco) sono
disponibili
separatamente.
ATB vocal soli, SATB choir, orchestra SKU: CA.3113600 Cantata for the ...(+)
ATB vocal soli, SATB
choir, orchestra
SKU:
CA.3113600
Cantata
for the 8th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Christiane
Hausmann. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Trinity. Full
score. Composed 1723. BWV
136. 36 pages. Duration
22 minutes. Carus Verlag
#CV 31.136/00. Published
by Carus Verlag
(CA.3113600).
ISBN
9790007171636. Language:
German/English.
Translation: Henry
Drinker. Scripture:
Matthew
7:15-23.
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.
Cantata for the 8th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Christiane Hausmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Trinity. Single Part,
Viola. Composed 1723. BWV
136. 4 pages. Duration 22
minutes. Carus Verlag #CV
31.136/13. Published by
Carus Verlag
(CA.3113613).
ISBN
9790007208134. 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.
ATB vocal soli, SATB choir SKU: CA.3113605 Cantata for the 8th Sunday ...(+)
ATB vocal soli, SATB
choir
SKU:
CA.3113605
Cantata
for the 8th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Christiane
Hausmann. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Trinity. Choral
Score. Composed 1723. BWV
136. 8 pages. Duration 22
minutes. Carus Verlag #CV
31.136/05. Published by
Carus Verlag
(CA.3113605).
ISBN
9790007171612. Language:
German/English.
Translation: Henry
Drinker. Scripture:
Matthew
7:15-23.
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
available separately -
see item CA.3113600.
Orchestra Soli ATB, Coro SATB Ob, Obda, Cor, 2 Vl, Va, Bc SKU: CA.3113607 ...(+)
Orchestra Soli ATB, Coro
SATB Ob, Obda, Cor, 2 Vl,
Va, Bc
SKU:
CA.3113607
Cantata
for the 8th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Christiane
Hausmann. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Trinity.
Study score. Composed
1723. BWV 136. 36 pages.
Duration 22 minutes.
Carus Verlag #CV
31.136/07. Published by
Carus Verlag
(CA.3113607).
ISBN
9790007244958. 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
available separately -
see item CA.3113600.