By Various. Edited by Mailander, Richard / Bonig, Winfried / Schuhenn, Reiner / ...(+)
By Various. Edited by
Mailander, Richard /
Bonig, Winfried /
Schuhenn, Reiner /
Kohlhaas, Emmanuela. This
edition: paperbound.
Sacred, Hymns,
Magnificat, Motets,
Psalms, German;
Occasions: Peace and
Justice, Praise and
thanks, Our Father; Use
during church year:
Advent, Easter and
Eastertide, Pentecost,
Christmas. Choral
collection. 216 pages
Looking Up Chorale SATB SATB, Piano St Rose Music Publishing
Choir, Piano Accompaniment (SATB Choir) SKU: HL.277282 SATB and Piano ...(+)
Choir, Piano
Accompaniment (SATB
Choir)
SKU:
HL.277282
SATB and
Piano Vocal Score.
Composed by Nico Muhly.
Music Sales America.
Classical. Softcover. 60
pages. St. Rose Music
#SRO10015201. Published
by St. Rose Music
(HL.277282).
UPC:
840126915006. 6.75x10.5
inches.
Program
note:
Looking Up
is a piece for large
chorus and orchestra, and
is in three sections,
played without pause. In
the 16th century, a
variety of psalters in
meter were printed in
England, with the idea of
making psalm-singing
something that could
happen easily at home,
with the rhyming meter
being an aid to
memorization. These
translations are
wonderful exercises in
brevity and sometimes
clumsy rhymemaking, and
were usually prefaced by
a lengthy explanation as
to their merits; the
title of one of the first
such volumes in English
is: The Psalter of Dauid
newely translated into
Englysh metre in such
sort that it maye the
more decently, and wyth
more delyte of the mynde,
be reade and songe of al
men. I thought it would
be appropriate to set one
of these introductions,
and the first section of
Looking Up sets the
preface to Thomas
Ravenscroft's psalter
(1621), in which he
writes: “The
singing of Psalmes (assay
the Doctors) comforteth
the sorrowfull, pacifieth
the angry, strengtheneth
the weake, humbleth the
proud, gladdeth the
humble, stirres up the
slow, reconcileth
enemies, lifteth up the
heart to heavenly things,
and uniteth the Creature
to his
Creator.”
It
begins meditatively, but
eventually grows agitated
and fervent, with a
vision of the
“quire of Angels
and Saints”
“redoubling
anddescanting” - an
ecstatic and terrifying
vision of the skies
opening up. Ravenscroft
then encourages the use
of instrumental musicfor
worship, at which point,
a long, acrobatic
orchestral interlude with
jagged edges antagonizes
the choir, who sing a
kind of private, anxious
meditation on two
pitches.
One of
the most delicious
biblical texts is an
Apocryphal prayer known
as the Benedicite or the
Prayer of the Three
Children (the same who
were rescued by an angel
after King Nebuchadnezzar
tried to have them burnt
in an oven for not bowing
to his image). The text
is repetitive, obsessive,
and a gift to composers -
each line is an
invocation of an element
of the natural world,
followed by the phrase,
“blesse ye the
Lord, praise him &
magnify him for
ever.” In Looking
Up, the setting begins
with three solo voices,
and then grows to include
the whole choir,
itemizing the whole of
creation. The idea that
these boys are spared
from the furnace and then
five minutes later are
saying, “O ye the
fire and warming heate,
blesse ye the
Lord...” has always
felt very loaded to me,
and the orchestra plays
with this conflict
between joyful praise and
a more terrible (in the
16th-century sense)
awefor the
divine.
The text
for the third, and
shortest, section is
taken from Christopher
Smart's (1722-1771) A
Song to David,
purportedly written
during his confinement in
a mental asylum. This ode
to King David points out
how David, as the author
of some of the Psalms,
observes the whole world
from the
“clustering
spheres” to the
“nosegay in the
vale.&rdquo.
By Felix Bartholdy Mendelssohn (1809-1847). Edited by Alfred Dorffel. Arranged b...(+)
By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Alfred Dorffel.
Arranged by August Horn.
Choir and piano. For Solo
voices, SATB Choir,
Piano. This edition:
Paperback. Oratorio
(complete),
Transcriptions, Original
Works, Choral. Romantic
Period; Sacr. Large Vocal
Score. Romantic Period;
Sacred/Hymns, German.
SATB Choir - Grade 3 SKU: BT.HU-4349-250 Composed by Hans Leenders. Harmo...(+)
SATB Choir - Grade 3
SKU:
BT.HU-4349-250
Composed by Hans
Leenders. Harmonia
Concert Series. Choral
Score. Composed 2013. 16
pages. Harmonia #HU
4349-250. Published by
Harmonia
(BT.HU-4349-250).
9x12
inches. German.
The
poetry on which this
composition is based is
the Ballad of External
Life (the Ballade des
äußeren Lebens) from
the pen of Viennese
author Hugo von
Hofmansthal (1874-1929).
He is known for, amongst
other things, his
libretti for the works of
Richard Strauss (Der
Rosenkavalier, Ariadne
auf Naxos, Elektra)
and as founder of the
Salzburg Festival. Von
Hofmansthal was one of
the last of the German
Symbolists. Central to
this literary movement
was the unification of
the internal and external
worlds. The search for
meaning was a cornerstone
of this fin-de-siècle
movement.In the
Ballade des äußeren
Lebens (Ballad of
External Life), the
meaninglessness
ofexistence is expressed
in restricting,
oppressive
metaphors—an
ambience that is
reflected in the music.
Ultimately, man is
capable of establishing
order from seeming chaos.
The poet expresses this
powerfully in a
non-rhyming line of
poetry: ‘And yet, he
who says “evening”
says much, A word, from
which profundity and
sorrow flow’.This
composition follows the
overall structure of the
ballad, which is written
in terza
rima—interlocking
three-line rhymes.The
choral work can be
performed by a chamber
choir, but also by a much
larger ensemble. The
parts are mainly in four
voices (SATB), although
there are also six parts
(SAATBB). One chord is
arranged for eight
voices.The composer
conducted this work at
its première, to open
the 2013 International
Choir Biennial in Aachen.
The choir was comprised
of four chamber choirs:
Aachen Youth Choir,
Carmina Mundi, Aachen
Chamber Choir and Aachen
Madrigal Choir.
Het dichtwerk
waarop deze compositie is
gebaseerd, de Ballade
des äußeren Lebens
(Ballade van het
uiterlijke leven), is
geschreven door de in
Wenen geboren schrijver
Hugo von Hoffmansthal
(1874-1929), die onder
meer bekend is als
librettist van Richard
Strauss (Der
Rosenkavalier, Ariadne
auf Naxos, Elektra)
en medeoprichter was van
de Salzburger Festspiele.
Von Hoffmansthal behoorde
tot de laatste
vertegenwoordigers van
het Duitse symbolisme.
Deze stroming stelde zich
ten doel de innerlijke en
uiterlijke wereld met
elkaar te verenigen.
Zingeving vormde een van
de hoofdthematieken
binnen deze fin de
siècle-cultuur.In de
Ballade des äußeren
Lebens wordt
dezinloosheid van het
bestaan verwoord in
beklemmende metaforen -
een atmosfeer die in de
muziek wordt
weerspiegeld.
Uiteindelijk blijkt de
mens toch in staat te
zijn orde te scheppen in
de schijnbare willekeur.
De dichter benadrukt dit
in zijn enige versregel
zonder rijm: Und dennoch
sagt der viel, der
“Abend” sagt. De
compositie volgt in
hoofdlijnen de structuur
van de ballade, die in
terzinen is opgebouwd.Het
werk kan worden
uitgevoerd door
kamerkoor, maar ook door
een veel grotere
bezetting. De zetting is
voornamelijk vierstemmig
(SATB), maar er zijn
tevens zesstemmige delen
(SAATBB). Een enkel
akkoord is zelfs
achtstemmig.Het werk ging
onder leiding van de
componist tijdens de
Internationale
Chorbiennale Aachen 2013
als openingswerk in
première. Het koor was
samengesteld uit vier
kamerkoren: Der Junge
Chor Aachen, Carmina
Mundi, Aachener
Kammerchor en Der
Madrigalchor Aachen.
Die Dichtung, auf
welcher diese Komposition
basiert, ist die
Ballade des äußeren
Lebens aus der Feder
des gebürtigen Wiener
Schriftstellers Hugo von
Hoffmansthal (1874-1929),
der unter anderem als
Librettist von Richard
Strauss (Der
Rosenkavalier, Ariadne
auf Naxos, Elektra)
und Mitbegründer der
Salzburger Festspiele
bekannt ist. Von
Hoffmansthal gehörte zu
den letzten Vertretern
des Deutschen
Symbolismus. Diese
literarische Richtung
machte sich zur Aufgabe,
die innere und die
äußere Welt miteinander
zu vereinen. Sinngebung
bildete eine der
Hauptthematiken innerhalb
dieser
Fin-de-Siècle-Strömung.
In der Ballade des
äußeren Lebens wird
die Sinnlosigkeitdes
Daseins in beklemmenden
Metaphern formuliert -
eine Atmosphäre, die
sich in der Musik
widerspiegelt.
Letztendlich scheint der
Mensch doch imstande zu
sein, Ordnung in der
scheinbaren Willkür zu
schaffen. Der Dichter
betont dies
nachdrücklich in der
einzigen Verszeile ohne
Reim: Und dennoch sagt
der viel, der Abend“
sagt. Die Komposition
folgt in ihren
Hauptzügen der Struktur
der Ballade, die in
Terzinen geschrieben
ist.Das Chorwerk kann von
einem Kammerchor, aber
auch von einem viel
größeren Ensemble
aufgeführt werden. Der
Satz ist hauptsächlich
vierstimmig (SATB), aber
es gibt auch
sechsstimmige Teile
(SAATBB). Ein einzelner
Akkord ist gar
achtstimmig.Das Werk ging
unter der Leitung des
Komponisten während der
Internationalen
Chorbiennale Aachen 2013
als Eröffnungswerk in
Premiere. Der Chor setzte
sich aus vier
Kammerchören zusammen:
Der Junge Chor Aachen,
Carmina Mundi, der
Aachener Kammerchor und
der Madrigalchor
Aachen.
By Various. Edited by Hildebrandt, Herbert. This edition: paperbound. Sacred, Hy...(+)
By Various. Edited by
Hildebrandt, Herbert.
This edition: paperbound.
Sacred, Hymn settings,
Mass Sections, Motets,
Psalms, German; Choral
Collections, SAM Choir;
Occasions: Eucharist,
Communion, Praise and
thanks, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary; Use during
church year: Advent,
Special. Choral
collection. 116 pages
By Various. Edited by Wulfing, Hans. This edition: paperbound. Sacred, Hymn sett...(+)
By Various. Edited by
Wulfing, Hans. This
edition: paperbound.
Sacred, Hymn settings,
Mass Sections, Motets,
Psalms, German; Choral
Collections, Mixed Choir;
Occasions: Peace and
Justice, Praise and
thanks, Morning, Midday,
Evening, Psalms,
Mourning, Death; Use
during church year:
Special Days, End of the
church year. Choral
collection. 88 pages
By Various. Edited by Hellmann, Diethard / Biller, Georg Christoph. This edition...(+)
By Various. Edited by
Hellmann, Diethard /
Biller, Georg Christoph.
This edition: paperbound.
Sacred, Hymn settings,
Motets; Choral
Collections, Mixed Choir;
Use during church year:
Advent, Christmas. Choral
collection. 64 pages
Shine in the Darkness. Composed by Paul David Thomas. Fold. OCTAVO. 12 pages....(+)
Shine in the Darkness.
Composed by Paul David
Thomas. Fold. OCTAVO. 12
pages. Duration 3
minutes, 13
seconds. Carl Fischer
Music
#CM9610. Published by
Carl
Fischer Music
Cantata for the 8th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Christiane Hausmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Violin 2. Composed
1723. BWV 136. 8 pages.
Duration 22 minutes.
Carus Verlag #CV
31.136/12. Published by
Carus Verlag
(CA.3113612).
ISBN
9790007208127. 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.
Cantata for the 8th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Christiane Hausmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Violin 1. Composed
1723. BWV 136. 8 pages.
Duration 22 minutes.
Carus Verlag #CV
31.136/11. Published by
Carus Verlag
(CA.3113611).
ISBN
9790007208110. 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.
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.
Cantata for the 8th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Christiane Hausmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Trinity.
Single Part, basso
continuo. Composed 1723.
BWV 136. 8 pages.
Duration 22 minutes.
Carus Verlag #CV
31.136/14. Published by
Carus Verlag
(CA.3113614).
ISBN
9790007208141. 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, orchestra SKU: CA.3113649 Cantata for the ...(+)
ATB vocal soli, SATB
choir, orchestra
SKU:
CA.3113649
Cantata
for the 8th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Christiane
Hausmann. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Organ. Sacred vocal
music, Cantatas, Trinity.
Single Part, Organ.
Composed 1723. BWV 136.
12 pages. Duration 22
minutes. Carus Verlag #CV
31.136/49. Published by
Carus Verlag
(CA.3113649).
ISBN
9790007208158. 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
and part available
separately - see item
CA.3113600.
Cantata for the 8th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Christiane Hausmann. This
edition: urtext. 1x
31.136/21 oboe 1, 1x
31.136/22 oboe 2, 1x
31.136/31 horn. Stuttgart
Urtext Edition: Bach
vocal. Harmony parts.
Sacred vocal music,
Cantatas, Trinity. Set of
Orchestra Parts. Composed
1723. BWV 136. Duration
22 minutes. Carus Verlag
#CV 31.136/09. Published
by Carus Verlag
(CA.3113609).
ISBN
9790007208103. 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 parts available
separately - see item
CA.3113600.
Mixed Choir (SATB) with Children's Choir, with Soloists ad libitum, Speakers, Or...(+)
Mixed Choir (SATB) with
Children's Choir, with
Soloists ad libitum,
Speakers, Organ or Wind-
and String Instruments
and other instruments
(Carillonse, Percussion)
(Score) - intermediate
SKU: HL.49006584
Das Ottowinder
Christspiel. Composed
by Franz Mö and ckl.
Sheet music. Edition
Schott. Classical. Score.
52 pages. Schott Music
#ED 6724. Published by
Schott Music
(HL.49006584).
ISBN
9790001071338.
Eine
ganze Gemeinde die Geburt
Christi feiern zu lassen
und dabei die
unterschiedlichen
Fahigkeiten musikalischer
und gestalterischer Art
von Kindern, Jugendlichen
und Erwachsenen
zusammenzufassen und zur
Geltung zu bringen, wurde
dieses Stuck geschrieben
und in den Jahren von
1946 bis 1954 jeweils am
Heiligen Abend in der
Kirche zu Ottowind bei
Coburg aufgefuhrt. Die
von Kindern getragene
Spielhandlung, die
eigentlich nur darin
besteht, ein lebendes
Krippenspiel aufzubauen,
greift die Tradition der
Christgeburtsspiele auf;
die Besucher werden
einbezogen durch den
gemeinsamen Gesang von
Weihnachtschoralen; die
liturgische Bindung ist
durch Schriftlesungen und
Vertonungen von
Bibeltexten gewahrt. []
Die vorliegende Ausgabe
ist zugleich auch als ein
weihnachtliches Sing- und
Spielbuch gedacht, das im
hauslichen Kreise ebenso
wie in Schule oder Verein
gute Dienste leisten
wird.' (Franz Mockl) Fur
Kinder ab 6 Jahren
geeignet; der gemischte
Chor und die Solo-Partien
konnen mit Jugendlichen
besetzt werden.
Composed by Leonhard
Lechner. Edited by Konrad
Ameln. This edition:
complete edition, urtext
edition. Linen. Leonhard
Lechner Works 11. Lieder
(Songs). Complete
edition, Score,
anthology. Composed 1589.
Baerenreiter Verlag
#BA02967_00. Published by
Baerenreiter Verlag
(BA.BA02967).
ISBN
9790006428182. 27.7 x
19.9 cm inches.
26
Kompositionen. Urtext der
Lechner-Gesamtausgabe.
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
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.
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.
ATB vocal soli, SATB choir, orchestra SKU: CA.3113619 Cantata for the ...(+)
ATB vocal soli, SATB
choir, orchestra
SKU:
CA.3113619
Cantata
for the 8th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Christiane
Hausmann. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Complete orchestral
parts. Sacred vocal
music, Cantatas, Trinity.
Set of Orchestra Parts.
Composed 1723. BWV 136.
Duration 22 minutes.
Carus Verlag #CV
31.136/19. Published by
Carus Verlag
(CA.3113619).
ISBN
9790007172176. 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
and parts available
separately - see item
CA.3113600.
24
Chorsätze.
Composed by Ernst
Pepping. Paperback.
Choral score, anthology.
Composed 1957.
Baerenreiter Verlag
#BA03700_00. Published by
Baerenreiter Verlag
(BA.BA03700).
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; Softcover.
Eulenburg Orchestral
Series. Mass; Requiem;
Baroque. Part. 24 pages.
Duration 55'. Breitkopf
and Haertel #EOS 8047-15.
Published by Breitkopf
and Haertel
(BR.EOS-8047-15).
ISBN
9790004789735. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
(26 geistliche Madrigale zu 5 Stimmen und Generalbass. Urtext der Neuen Schein-A...(+)
(26 geistliche Madrigale
zu 5 Stimmen und
Generalbass. Urtext der
Neuen Schein-Ausgabe). By
Johann Hermann Schein
(1586-1630). Edited by
Adam Adrio. For Mixed
Choir-SSATB, Basso
Continuo. Neue
Schein-Ausgabe, Band 1.
Madrigale, Kirchenmusik
(Madrigal, Sacred).
Score; Collection;
Complete Edition (cloth
bound)