For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

(379 Songs and Hymns) Vocal score songbook for SATB choir. Hymnal. With vocal score notation and lyrics. Published by Brentwood-Benson Music Publishing.

Alto, Mixed choir (SATB), Piano

SKU: BA.BA11309

Composed by Camille Saint-Saens. Edited by Christina M. Stahl. This edition: urtext edition. Paperback. Score. Baerenreiter Verlag #BA11309. Published by Baerenreiter Verlag (BA.BA11309).

ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.

It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.

It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.

In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.

Saint-Sa ëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.

The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Composed by Darmon Meader. Sws. Octavo. 20 pages. Duration 4 minutes, 7 seconds. Carl Fischer Music #CM9649. Published by Carl Fischer Music

Composed by Mary McDonald. Sacred Anthem, Ascension, General, Lent. Octavo. Lorenz Publishing Company #10/4804L. Published by Lorenz Publishing Company (LO.10-4804L).

For S.A.T.B. Chorus, A Cappella. Text: Omar Khayyam. Mixed choir. For SATB Chorus. Choral. Piano/Vocal Score. Composed 1981. 8 pages. Duration 10:15. Published by Theodore Presser Company.

Entrance and Communion Antiphons for the Church Year. Composed by M. Roger Holland, II. Sacred. 64 pages. Published by GIA Publications (GI.G-9233).

Go To the Manger composed by John Parker. Arranged by Robert Sterling. For SATB choir with optional percussion & cello. Christmas. Octavo. 12 pages. Published by Hope Publishing Company

Choral SATB Choir and Piano

SKU: CF.CM9740

Composed by Mark Burrows. 16 pages. Duration 4 minutes, 22 seconds. Carl Fischer Music #CM9740. Published by Carl Fischer Music (CF.CM9740).

ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.

Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to.   The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text.   And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.
Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War” finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.” Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly” in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O” is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.

Composed by Mary McDonald. For SATB choir, piano (with optional orchestra). Sacred Anthem. Octavo. SoundForth #10/5063SF. Published by SoundForth

By Joseph M. Martin. Arranged by Stahn Pethel. For SATB choir, congregation and piano accomapniment (optional orchestration). Choral. Octavo. Published by Shawnee Press.

SATB choir - Moderate

SKU: LP.9780834181533

Composed by Fanny J. Crosby & J. Wilbur Chapman Tom Fettke. Arranged by Tom Fettke & Russell Mauldin. Anthems. Adult Choral Anthem for Worship. Hymns and Sacred. Octavo. Published by Lillenas Publishing Company (LP.9780834181533).

ISBN 9780834181533.

Take the melody from the traditional hymn Immortal, Invisible, add new lyrics, blend with a new treatment of another much-love hymn To God Be the Glory, and you have the recipe for a marvelously fresh and exciting work that is the very definition of.

By Lloyd Larson. (SATB). Scripture Reference: 1 Corinthians 11:17-28. Christ's Presence, Communion, Gathering, Kingdom, Lord's Supper, Mission, Worshiping, Communion and Sacred. Print Music Single (SATB). 8 pages. Published by Hope Publishing Company.

SATB chorus and piano - Medium / medium acc.

SKU: JK.00957

Composed by Gaylene Anderson. Choral SATB, Difficulty Medium, Piano Choir, Charity, Guidance, Hope, Jesus Christ - Example, Jesus Christ - Friend, Jesus Christ - Savior, Love, Supplication. Christian, Inspirational. Duration 4:00. Jackman Music Corporation #00957. Published by Jackman Music Corporation (JK.00957).

Mark 4:39-41, Psalm 48:14.

Beautifu l piece of the Savior's life, singing words of encouragement for men to become like Christ--arranged for mixed chorus (SATB) and piano accompaniment:
If I reach out and calm a troubled heart or let another heal the rift in me, if in distress, I take another's part as Jesus took ours in Gethsemene, then I embrace the Savior's loving art, and honor Him throughout eternity.
Composer: Gaylene Anderson
Lyricist: Susan Noyes Anderson
Difficulty: Medium / medium acc.
Performance time: 4:00
Reference: Mark 4:39-41, Psalm 48:14.

Choral SATB choir, piano

SKU: CF.CM9608

Composed by Jamey Ray. Fold. Performance. 12 pages. Duration 3 minutes, 33 seconds. Carl Fischer Music #CM9608. Published by Carl Fischer Music (CF.CM9608).

ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).

The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.  19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep” in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark” in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,” which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.”Lastly , be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.

Choral (SATB)

SKU: HL.1101611

Composed by Russell Floyd. Brookfield Choral Series. General Worship, Sacred. Octavo. Duration 200 seconds. Published by Brookfield Press (HL.1101611).

UPC: 196288101024. 6.75x10.5x0.029 inches. Matthew 25:14-29, Proverbs 3:9.

This winsome anthem speaks like a sacred parable reminding us to be pure of heart as we share from our abundance. The sermon-in-song is set to engaging music with lovely melodic contours and harmonies that explore the richness of the choral tapestry.

Choral (SATB divisi)

SKU: HL.540114

SATB divisi a cappella. Composed by Miguel Matamoros. Arranged by Miguel Astor. Gentry Publications. Cuban, Folk, Multicultural, Spanish. Octavo. 14 pages. Gentry Publications #JG2608. Published by Gentry Publications (HL.540114).

UPC: 196288075639. 6.75x10.5x0.025 inches.

This joyful Cuban love song has been around for some time, and this choral arrangement brings it into the concert hall. You cannot resist moving when singing this song. Adding a little percussion enhances it even further. The concluding dynamics take the song down to a whisper and then explode enthusiastically for the final phrase. Great fun!

Composed by Matthew Culloton. Christmas with The Singers Series. Christmas, 20th Century. Octavo. Published by MorningStar Music Publishers (MN.50-1962).

Composed by Geoffrey O'Hara Daniel S. Twohig. Arranged by Dave Williamson. Anthems. Sacred. Octavo. Published by Lillenas Publishing Company (LP.9780834183414).

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104612

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Violin 2. Composed 1723. BWV 46. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.046/12. Published by Carus Verlag (CA.3104612).

ISBN 9790007042981. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104649

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Organ. Composed 1723. BWV 46. 16 pages. Duration 20 minutes. Carus Verlag #CV 31.046/49. Published by Carus Verlag (CA.3104649).

ISBN 9790007043018. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104605

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Choral Score. Composed 1723. BWV 46. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.046/05. Published by Carus Verlag (CA.3104605).

ISBN 9790007042950. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104609

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. 1x 31.046/21 recorder 1, 1x 31.046/22 recorder 2, 1x 31.046/23 oboe 1, 1x 31.046/24 oboe 2, 1x 31.046/31 trumpet. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed 1723. BWV 46. 40 pages. Duration 20 minutes. Carus Verlag #CV 31.046/09. Published by Carus Verlag (CA.3104609).

ISBN 9790007042967. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and parts available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104619

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed 1723. BWV 46. Duration 20 minutes. Carus Verlag #CV 31.046/19. Published by Carus Verlag (CA.3104619).

ISBN 9790007136154. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and parts available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104613

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Viola. Composed 1723. BWV 46. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.046/13. Published by Carus Verlag (CA.3104613).

ISBN 9790007042998. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.