SATB Choir SKU: HL.14013676 Composed by George Frideric Handel. Music Sal...(+)
SATB Choir
SKU:
HL.14013676
Composed
by George Frideric
Handel. Music Sales
America. Classical.
Choral Score. Music Sales
#NOV252745. Published by
Music Sales
(HL.14013676).
Bel
Piacere
(Countless Pleasures) is
a song from the opera
Rinaldo. It has
been arranged for SATB
choir by Stanford
Robinson, with the
words translated into
Enlgish by Geoffrey
Dunn. A Piano
reduction is provided for
rehearsal
purposes.
G F
Handel (1685-1759)
was a German-born British
composer and organist who
spent his life working in
London. He is credited
with popularising opera
in Britain, both
importing Italian works,
and composing his own.
Rinaldo was
composed in 1711, and was
the first opera written
in Italian for the London
stage. The libretto was
written by the Italian
poet Giacomo
Rossi.
Don't Cry for Me Argentina ((from Evita)). By Andrew Lloyd Webber. Arranged by B...(+)
Don't Cry for Me
Argentina ((from Evita)).
By Andrew Lloyd Webber.
Arranged by Barrie Carson
Turner. For SATB Choir
(SATB). Music Sales
America. Musicals. 8
pages. Novello and Co
Ltd. #NOV160238.
Published by Novello and
Co Ltd.
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
German title: Herr, wie
du willt POD. Sacred
vocal music, Cantatas,
Epiphany. Study score.
Composed 1724. BWV 73. 48
pages. Duration 17
minutes. Carus Verlag #CV
31.073/07. Published by
Carus Verlag
(CA.3107307).
ISBN
9790007044640. Key: G
minor / c minor.
Language:
German/English.
In
1724, Bach composed the
cantata Herr, wie du
willt, so schicks mit mir
[Lord, as you will, do
unto me] BWV 73 for the
third Epiphany Sunday.
Like in some other
cantatas from the first
annual cycle, the opening
movement contains a part
for corno which would in
fact have been unplayable
on an instrument of that
era - probably also a
reason why Bach allocated
this part to the organ in
a repeat performance
(both variants can be
performed using the Carus
edition). The unusual
choral movement,
interrupted by
recitatives, is based
quite substantially on a
short four-note motive
which is introduced by
the horn; at the end of
the chorus, the choir
sings it to the words
Herr, wie du willt [Lord,
as you will] - an avowal
which also quite
substantially
characterizes other
movements of the cantata.
Score available
separately - see item
CA.3107300.
((Choral Medley) (featured on Glee)). By Glee Cast. Edited by Mark A. Brymer. Ar...(+)
((Choral Medley)
(featured on Glee)). By
Glee Cast. Edited by Mark
A. Brymer. Arranged by
Adam Anders and Tim
Davis. SATB. Pop Choral
Series. 24 pages.
Published by Cherry Lane
Music
(Satin Doll / Solitude / It Don't Mean a Thing (If It Ain't Got That Swing)). Ar...(+)
(Satin Doll / Solitude /
It Don't Mean a Thing (If
It Ain't Got That
Swing)). Arranged by Jay
Althouse. Choir Secular.
SATB choir. Choral
Octavo. Pop Choral. Jazz.
Choral Octavo. 16 pages
By Duke Ellington, lyrics by Irving Mills. Arranged by Tom Anderson. For Choir. ...(+)
By Duke Ellington, lyrics
by Irving Mills. Arranged
by Tom Anderson. For
Choir. (SATB). Choral
Octavo. Pop Choral
Series. Choral Octavo. 20
pages. Published by
Alfred Publishing.
Choral SATB Choir and Piano SKU: CF.CM9740 Composed by Mark Burrows. 16 p...(+)
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 Warâ€
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.
By Madonna. By Andrew Lloyd Webber and Tim Rice. Arranged by Alan Billingsley. F...(+)
By Madonna. By Andrew
Lloyd Webber and Tim
Rice. Arranged by Alan
Billingsley. For Choral
(SATB). Pop Choral
Series. 12 pages.
Published by Hal Leonard
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Herr, wie
du willt. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Violin 2. Composed 1724.
BWV 73. 4 pages. Duration
17 minutes. Carus Verlag
#CV 31.073/12. Published
by Carus Verlag
(CA.3107312).
ISBN
9790007044671. Key: G
minor / c minor.
Language:
German/English.
In
1724, Bach composed the
cantata Herr, wie du
willt, so schicks mit mir
[Lord, as you will, do
unto me] BWV 73 for the
third Epiphany Sunday.
Like in some other
cantatas from the first
annual cycle, the opening
movement contains a part
for corno which would in
fact have been unplayable
on an instrument of that
era - probably also a
reason why Bach allocated
this part to the organ in
a repeat performance
(both variants can be
performed using the Carus
edition). The unusual
choral movement,
interrupted by
recitatives, is based
quite substantially on a
short four-note motive
which is introduced by
the horn; at the end of
the chorus, the choir
sings it to the words
Herr, wie du willt [Lord,
as you will] - an avowal
which also quite
substantially
characterizes other
movements of the cantata.
Score and part available
separately - see item
CA.3107300.
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Herr, wie
du willt. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Viola. Composed 1724. BWV
73. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.073/13. Published by
Carus Verlag
(CA.3107313).
ISBN
9790007044688. Key: G
minor / c minor.
Language:
German/English.
In
1724, Bach composed the
cantata Herr, wie du
willt, so schicks mit mir
[Lord, as you will, do
unto me] BWV 73 for the
third Epiphany Sunday.
Like in some other
cantatas from the first
annual cycle, the opening
movement contains a part
for corno which would in
fact have been unplayable
on an instrument of that
era - probably also a
reason why Bach allocated
this part to the organ in
a repeat performance
(both variants can be
performed using the Carus
edition). The unusual
choral movement,
interrupted by
recitatives, is based
quite substantially on a
short four-note motive
which is introduced by
the horn; at the end of
the chorus, the choir
sings it to the words
Herr, wie du willt [Lord,
as you will] - an avowal
which also quite
substantially
characterizes other
movements of the cantata.
Score and part available
separately - see item
CA.3107300.
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Herr, wie
du willt. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Violin 1. Composed 1724.
BWV 73. 4 pages. Duration
17 minutes. Carus Verlag
#CV 31.073/11. Published
by Carus Verlag
(CA.3107311).
ISBN
9790007044664. Key: G
minor / c minor.
Language:
German/English.
In
1724, Bach composed the
cantata Herr, wie du
willt, so schicks mit mir
[Lord, as you will, do
unto me] BWV 73 for the
third Epiphany Sunday.
Like in some other
cantatas from the first
annual cycle, the opening
movement contains a part
for corno which would in
fact have been unplayable
on an instrument of that
era - probably also a
reason why Bach allocated
this part to the organ in
a repeat performance
(both variants can be
performed using the Carus
edition). The unusual
choral movement,
interrupted by
recitatives, is based
quite substantially on a
short four-note motive
which is introduced by
the horn; at the end of
the chorus, the choir
sings it to the words
Herr, wie du willt [Lord,
as you will] - an avowal
which also quite
substantially
characterizes other
movements of the cantata.
Score and part available
separately - see item
CA.3107300.
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn. 1x
31.073/21 oboe 1, 1x
31.073/22 oboe 2, 1x
31.073/31 horn, 1x
31.073/32 trumpet. German
title: Herr, wie du willt
4. Sacred vocal music,
Cantatas, Epiphany. Set
of Orchestra Parts.
Composed 1724. BWV 73. 16
pages. Duration 17
minutes. Carus Verlag #CV
31.073/09. Published by
Carus Verlag
(CA.3107309).
ISBN
9790007044657. Key: G
minor / c minor.
Language:
German/English.
In
1724, Bach composed the
cantata Herr, wie du
willt, so schicks mit mir
[Lord, as you will, do
unto me] BWV 73 for the
third Epiphany Sunday.
Like in some other
cantatas from the first
annual cycle, the opening
movement contains a part
for corno which would in
fact have been unplayable
on an instrument of that
era - probably also a
reason why Bach allocated
this part to the organ in
a repeat performance
(both variants can be
performed using the Carus
edition). The unusual
choral movement,
interrupted by
recitatives, is based
quite substantially on a
short four-note motive
which is introduced by
the horn; at the end of
the chorus, the choir
sings it to the words
Herr, wie du willt [Lord,
as you will] - an avowal
which also quite
substantially
characterizes other
movements of the cantata.
Score and parts available
separately - see item
CA.3107300.
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Herr, wie
du willt. Sacred vocal
music, Cantatas,
Epiphany. Choral Score.
Composed 1724. BWV 73. 8
pages. Duration 17
minutes. Carus Verlag #CV
31.073/05. Published by
Carus Verlag
(CA.3107305).
ISBN
9790007044633. Key: G
minor / c minor.
Language:
German/English.
In
1724, Bach composed the
cantata Herr, wie du
willt, so schicks mit mir
[Lord, as you will, do
unto me] BWV 73 for the
third Epiphany Sunday.
Like in some other
cantatas from the first
annual cycle, the opening
movement contains a part
for corno which would in
fact have been unplayable
on an instrument of that
era - probably also a
reason why Bach allocated
this part to the organ in
a repeat performance
(both variants can be
performed using the Carus
edition). The unusual
choral movement,
interrupted by
recitatives, is based
quite substantially on a
short four-note motive
which is introduced by
the horn; at the end of
the chorus, the choir
sings it to the words
Herr, wie du willt [Lord,
as you will] - an avowal
which also quite
substantially
characterizes other
movements of the cantata.
Score available
separately - see item
CA.3107300.
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Herr, wie
du willt. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Cello/Double Bass.
Composed 1724. BWV 73. 8
pages. Duration 17
minutes. Carus Verlag #CV
31.073/14. Published by
Carus Verlag
(CA.3107314).
ISBN
9790007044695. Key: G
minor / c minor.
Language:
German/English.
In
1724, Bach composed the
cantata Herr, wie du
willt, so schicks mit mir
[Lord, as you will, do
unto me] BWV 73 for the
third Epiphany Sunday.
Like in some other
cantatas from the first
annual cycle, the opening
movement contains a part
for corno which would in
fact have been unplayable
on an instrument of that
era - probably also a
reason why Bach allocated
this part to the organ in
a repeat performance
(both variants can be
performed using the Carus
edition). The unusual
choral movement,
interrupted by
recitatives, is based
quite substantially on a
short four-note motive
which is introduced by
the horn; at the end of
the chorus, the choir
sings it to the words
Herr, wie du willt [Lord,
as you will] - an avowal
which also quite
substantially
characterizes other
movements of the cantata.
Score and part available
separately - see item
CA.3107300.
((If It Ain't Got That Swing)). By The Real Group. By Duke Ellington (1899-1974)...(+)
((If It Ain't Got That
Swing)). By The Real
Group. By Duke Ellington
(1899-1974) and Irving
Mills (1894-1985).
Arranged by Anders
Edenroth. For Choral
(SATBB A CAPPELLA).
Walton Choral. 16 pages.
Walton Music #WRG1023.
Published by Walton Music
Cantata for the Sunday
Cantata. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Es ist euch
gut. Sacred vocal music,
Cantatas, Special days,
Easter and Eastertide,
Whitsun. Single Part,
Cello/Double Bass.
Composed 1725. BWV 108. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.108/14. Published by
Carus Verlag
(CA.3110814).
ISBN
9790007047986. Key: A
major / b minor.
Language: German/English.
Text: von Ziegler,
Christiane Mariane. Text:
Christiane Mariane von
Ziegler.
The
cantata Es ist euch gut,
dass ich hingehe [It is
well that I go forth] BWV
108 for Cantate Sunday is
one of the cantatas
composed on texts by the
Leipzig poetess
Christiane Mariane von
Ziegler with which Bach
concluded his second
annual cycle of cantatas
after he had abandoned
the annual cycle of
chorale cantatas at
Easter 1725. The text
contains two sayings by
Jesus which are taken
directly from the Sunday
gospel reading (John
16:5-15). The quotation
opening the cantata was
set by Bach as a bass
aria with solo oboe
d'amore; it breathes
tranquility and
assurance. The second
quotation, however, is
set as an extended choral
fugue in three sections;
it forms the center of
the cantata. The free
text surrounding the
biblical quotations is
divided into two arias in
which the emphasis is on
melodic lines; there is
only one single
recitative, the original
text of which was
substantially abridged by
Bach. A four-part chorale
concludes the cantata.
Score and part available
separately - see item
CA.3110800.
Cantata for the Sunday
Cantata. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Es ist euch
gut. Sacred vocal music,
Cantatas, Special days,
Easter and Eastertide,
Whitsun. Single Part,
Viola. Composed 1725. BWV
108. 8 pages. Duration 20
minutes. Carus Verlag #CV
31.108/13. Published by
Carus Verlag
(CA.3110813).
ISBN
9790007047979. Key: A
major / b minor.
Language: German/English.
Text: von Ziegler,
Christiane Mariane. Text:
Christiane Mariane von
Ziegler.
The
cantata Es ist euch gut,
dass ich hingehe [It is
well that I go forth] BWV
108 for Cantate Sunday is
one of the cantatas
composed on texts by the
Leipzig poetess
Christiane Mariane von
Ziegler with which Bach
concluded his second
annual cycle of cantatas
after he had abandoned
the annual cycle of
chorale cantatas at
Easter 1725. The text
contains two sayings by
Jesus which are taken
directly from the Sunday
gospel reading (John
16:5-15). The quotation
opening the cantata was
set by Bach as a bass
aria with solo oboe
d'amore; it breathes
tranquility and
assurance. The second
quotation, however, is
set as an extended choral
fugue in three sections;
it forms the center of
the cantata. The free
text surrounding the
biblical quotations is
divided into two arias in
which the emphasis is on
melodic lines; there is
only one single
recitative, the original
text of which was
substantially abridged by
Bach. A four-part chorale
concludes the cantata.
Score and part available
separately - see item
CA.3110800.
Cantata for the Sunday
Cantata. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Es ist euch
gut. Sacred vocal music,
Cantatas, Special days,
Easter and Eastertide,
Whitsun. Choral Score.
Composed 1725. BWV 108.
16 pages. Duration 20
minutes. Carus Verlag #CV
31.108/05. Published by
Carus Verlag
(CA.3110805).
ISBN
9790007047924. Key: A
major / b minor.
Language: German/English.
Text: von Ziegler,
Christiane Mariane. Text:
Christiane Mariane von
Ziegler.
The
cantata Es ist euch gut,
dass ich hingehe [It is
well that I go forth] BWV
108 for Cantate Sunday is
one of the cantatas
composed on texts by the
Leipzig poetess
Christiane Mariane von
Ziegler with which Bach
concluded his second
annual cycle of cantatas
after he had abandoned
the annual cycle of
chorale cantatas at
Easter 1725. The text
contains two sayings by
Jesus which are taken
directly from the Sunday
gospel reading (John
16:5-15). The quotation
opening the cantata was
set by Bach as a bass
aria with solo oboe
d'amore; it breathes
tranquility and
assurance. The second
quotation, however, is
set as an extended choral
fugue in three sections;
it forms the center of
the cantata. The free
text surrounding the
biblical quotations is
divided into two arias in
which the emphasis is on
melodic lines; there is
only one single
recitative, the original
text of which was
substantially abridged by
Bach. A four-part chorale
concludes the cantata.
Score available
separately - see item
CA.3110800.
Cantata for the Sunday
Cantata. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Es ist euch
gut. Sacred vocal music,
Cantatas, Special days,
Easter and Eastertide,
Whitsun. Single Part,
Violin 2. Composed 1725.
BWV 108. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.108/12. Published by
Carus Verlag
(CA.3110812).
ISBN
9790007047962. Key: A
major / b minor.
Language: German/English.
Text: von Ziegler,
Christiane Mariane. Text:
Christiane Mariane von
Ziegler.
The
cantata Es ist euch gut,
dass ich hingehe [It is
well that I go forth] BWV
108 for Cantate Sunday is
one of the cantatas
composed on texts by the
Leipzig poetess
Christiane Mariane von
Ziegler with which Bach
concluded his second
annual cycle of cantatas
after he had abandoned
the annual cycle of
chorale cantatas at
Easter 1725. The text
contains two sayings by
Jesus which are taken
directly from the Sunday
gospel reading (John
16:5-15). The quotation
opening the cantata was
set by Bach as a bass
aria with solo oboe
d'amore; it breathes
tranquility and
assurance. The second
quotation, however, is
set as an extended choral
fugue in three sections;
it forms the center of
the cantata. The free
text surrounding the
biblical quotations is
divided into two arias in
which the emphasis is on
melodic lines; there is
only one single
recitative, the original
text of which was
substantially abridged by
Bach. A four-part chorale
concludes the cantata.
Score and part available
separately - see item
CA.3110800.
Cantata for the Sunday
Cantata. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Es ist euch
gut, dass ich hingehe.
Sacred vocal music,
Cantatas, Special days,
Easter and Eastertide,
Whitsun. Set of Orchestra
Parts. Composed 1725. BWV
108. Duration 20 minutes.
Carus Verlag #CV
31.108/19. Published by
Carus Verlag
(CA.3110819).
ISBN
9790007136581. Key: A
major / b minor.
Language: German/English.
Text: von Ziegler,
Christiane Mariane. Text:
Christiane Mariane von
Ziegler.
The
cantata Es ist euch gut,
dass ich hingehe [It is
well that I go forth] BWV
108 for Cantate Sunday is
one of the cantatas
composed on texts by the
Leipzig poetess
Christiane Mariane von
Ziegler with which Bach
concluded his second
annual cycle of cantatas
after he had abandoned
the annual cycle of
chorale cantatas at
Easter 1725. The text
contains two sayings by
Jesus which are taken
directly from the Sunday
gospel reading (John
16:5-15). The quotation
opening the cantata was
set by Bach as a bass
aria with solo oboe
d'amore; it breathes
tranquility and
assurance. The second
quotation, however, is
set as an extended choral
fugue in three sections;
it forms the center of
the cantata. The free
text surrounding the
biblical quotations is
divided into two arias in
which the emphasis is on
melodic lines; there is
only one single
recitative, the original
text of which was
substantially abridged by
Bach. A four-part chorale
concludes the cantata.
Score and parts available
separately - see item
CA.3110800.
Cantata for the Sunday
Cantata. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: Es ist euch
gut. Sacred vocal music,
Cantatas, Special days,
Easter and Eastertide,
Whitsun. Single Part,
Violin 1. Composed 1725.
BWV 108. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.108/11. Published by
Carus Verlag
(CA.3110811).
ISBN
9790007047955. Key: A
major / b minor.
Language: German/English.
Text: von Ziegler,
Christiane Mariane. Text:
Christiane Mariane von
Ziegler.
The
cantata Es ist euch gut,
dass ich hingehe [It is
well that I go forth] BWV
108 for Cantate Sunday is
one of the cantatas
composed on texts by the
Leipzig poetess
Christiane Mariane von
Ziegler with which Bach
concluded his second
annual cycle of cantatas
after he had abandoned
the annual cycle of
chorale cantatas at
Easter 1725. The text
contains two sayings by
Jesus which are taken
directly from the Sunday
gospel reading (John
16:5-15). The quotation
opening the cantata was
set by Bach as a bass
aria with solo oboe
d'amore; it breathes
tranquility and
assurance. The second
quotation, however, is
set as an extended choral
fugue in three sections;
it forms the center of
the cantata. The free
text surrounding the
biblical quotations is
divided into two arias in
which the emphasis is on
melodic lines; there is
only one single
recitative, the original
text of which was
substantially abridged by
Bach. A four-part chorale
concludes the cantata.
Score and part available
separately - see item
CA.3110800.
Cantata for the Sunday
Cantata. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn. 1x
31.108/21 oboe d'amore 1,
1x 31.108/22 oboe d'amore
2. German title: Es ist
euch gut 2. Sacred vocal
music, Cantatas, Special
days, Easter and
Eastertide, Whitsun. Set
of Orchestra Parts.
Composed 1725. BWV 108. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.108/09. Published by
Carus Verlag
(CA.3110809).
ISBN
9790007047948. Key: A
major / b minor.
Language: German/English.
Text: von Ziegler,
Christiane Mariane. Text:
Christiane Mariane von
Ziegler.
The
cantata Es ist euch gut,
dass ich hingehe [It is
well that I go forth] BWV
108 for Cantate Sunday is
one of the cantatas
composed on texts by the
Leipzig poetess
Christiane Mariane von
Ziegler with which Bach
concluded his second
annual cycle of cantatas
after he had abandoned
the annual cycle of
chorale cantatas at
Easter 1725. The text
contains two sayings by
Jesus which are taken
directly from the Sunday
gospel reading (John
16:5-15). The quotation
opening the cantata was
set by Bach as a bass
aria with solo oboe
d'amore; it breathes
tranquility and
assurance. The second
quotation, however, is
set as an extended choral
fugue in three sections;
it forms the center of
the cantata. The free
text surrounding the
biblical quotations is
divided into two arias in
which the emphasis is on
melodic lines; there is
only one single
recitative, the original
text of which was
substantially abridged by
Bach. A four-part chorale
concludes the cantata.
Score and parts available
separately - see item
CA.3110800.