By George Frideric Handel (1685-1759). Edited by Horace Wadham Nicholl. Arranged...(+)
By George Frideric Handel
(1685-1759). Edited by
Horace Wadham Nicholl.
Arranged by Felix
Bartholdy Mendelssohn.
Choir and piano. For
Soprano voice, Alto
voice, Tenor voice, and
Bass voice (Soli), SATB
Choir, Piano. This
edition: Paperback.
Oratorio (complete).
Baroque Period;
Sacred/Hymns, English.
Vocal Score. 200 pages.
Published by Serenissima
Composed by Henry Purcell (1659-1695), edited by Arthur Sjogren. For SATB choir ...(+)
Composed by Henry Purcell
(1659-1695), edited by
Arthur Sjogren. For SATB
choir and keyboard
(figured bass
realization). Format:
vocal score. With choral
notation, keyboard
accompaniment and
introductory text.
Baroque. Text language
Latin. 19 pages. 9x12
inches. Published by C.F.
Peters.
Chorale SATB SATB, Piano [Vocal Score] - Intermédiaire/avancé Barenreiter
(Vocal Score based on the Urtext of the New Bach Edition (English/German) Organ ...(+)
(Vocal Score based on the
Urtext of the New Bach
Edition (English/German)
Organ Chorus I and Organ
Chorus II available). By
Johann Sebastian Bach
(1685-1750). Edited by
Alfred Durr. For soprano
solo voice, alto solo
voice, tenor solo voice,
bass solo voice, SATB
choir and piano
accompaniment. Baroque
and Sacred. Difficulty:
medium-difficult. Vocal
score. Choral notation,
piano reduction and
introductory text. BWV
244. 304 pages. Published
by Baerenreiter Verlag
(Cantata For The 27th Sunday After Trinity) Composed by Johann Sebastian Bach (1...(+)
(Cantata For The 27th
Sunday After Trinity)
Composed by Johann
Sebastian Bach
(1685-1750), Johann
Sebastian Bach
(1685-1750), edited by
Alfred Durr. BWV 140. For
STB solos, SATB choir,
piano accompaniment, STB
solos, SATB choir and
piano accompaniment.
Urtext of the New Bach
Edition. Includes vocal
score and vocal score.
With choral notation,
piano reduction,
introductory text, choral
notation, piano reduction
and introductory text.
Baroque and baroque. Eb
Major. Text language
German/English. 62 pages.
7.5x10.5 inches. Duration
30m. Published by
Baerenreiter-Ausgaben
(German Import).
Chorale SATB SATB, Orchestre [Octavo] Walton Music
Composed by Antonio Vivaldi (1678-1741), edited by Mason Martens. Octavo for sol...(+)
Composed by Antonio
Vivaldi (1678-1741),
edited by Mason Martens.
Octavo for solo voices,
SATB choir and orchestra.
With piano reduction.
Choral. 80 pages.
Published by Walton
Music.
Composed by George Frideric Handel (1685-1759), edited by Karl Straube, Max Seif...(+)
Composed by George
Frideric Handel
(1685-1759), edited by
Karl Straube, Max
Seiffert. For baritone
voice solo, SSATB choir
and piano accompaniment.
Format: vocal score. With
choral notation and piano
reduction. Baroque. Text
language German. 88
pages. 7.5x10.5 inches.
Published by C.F. Peters.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Single Part,
Cello/Double Bass.
Composed 1723. BWV 60. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.060/14. Published by
Carus Verlag
(CA.3106014).
ISBN
9790007043452. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and part available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Study score.
Composed 1723. BWV 60. 64
pages. Duration 20
minutes. Carus Verlag #CV
31.060/07. Published by
Carus Verlag
(CA.3106007).
ISBN
9790007043407. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Set of Orchestra
Parts. Composed 1723. BWV
60. Duration 20 minutes.
Carus Verlag #CV
31.060/19. Published by
Carus Verlag
(CA.3106019).
ISBN
9790007134044. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and parts available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Single Part,
Viola. Composed 1723. BWV
60. 4 pages. Duration 20
minutes. Carus Verlag #CV
31.060/13. Published by
Carus Verlag
(CA.3106013).
ISBN
9790007043445. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and part available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Choral Score.
Composed 1723. BWV 60. 2
pages. Duration 20
minutes. Carus Verlag #CV
31.060/05. Published by
Carus Verlag
(CA.3106005).
ISBN
9790007043391. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score available
separately - see item
CA.3106000.
Soli ATB, SATB Choir, 2 Obda, Cor, 2 Vl, Va, Bc - Level 3 SKU: CA.3106049 ...(+)
Soli ATB, SATB Choir, 2
Obda, Cor, 2 Vl, Va, Bc -
Level 3
SKU:
CA.3106049
Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
Organ. Sacred vocal
music, Cantatas, End of
the church year, Whitsun.
Single Part, Organ.
Composed 1723. BWV 60. 24
pages. Duration 20
minutes. Carus Verlag #CV
31.060/49. Published by
Carus Verlag
(CA.3106049).
Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and part available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Full score.
Composed 1723. BWV 60. 60
pages. Duration 20
minutes. Carus Verlag #CV
31.060/00. Published by
Carus Verlag
(CA.3106000).
ISBN
9790007043377. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen
Geist..
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
German title: O Ewigkeit,
du Donnerwort. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Single Part,
Violin 1. Composed 1723.
BWV 60. 8 pages. Duration
20 minutes. Carus Verlag
#CV 31.060/11. Published
by Carus Verlag
(CA.3106011).
ISBN
9790007043421. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and part available
separately - see item
CA.3106000.
Kantate zum 24.
Sonntag nach
Trinitatis. Composed
by Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn. 1x
31.060/21 oboe d'amore 1,
1x 31.060/22 oboe d'amore
2, 1x 31.060/31 horn, 1x
31.060/32 trumpet. German
title: O Ewigkeit, du
Donnerwort 4. Sacred
vocal music, Cantatas,
End of the church year,
Whitsun. Set of Orchestra
Parts. Composed 1723. BWV
60. 16 pages. Duration 20
minutes. Carus Verlag #CV
31.060/09. Published by
Carus Verlag
(CA.3106009).
ISBN
9790007043414. Key: D
major / a major.
Language:
German/English.
The
cantata Eternity, O
awesome word BWV 60,
which belongs to Bach's
first Leipzig annual
cycle and was written for
the 24th Sunday after
Trinity Sunday, is one of
Bach's few dialog
cantatas. It deals with
the conflict between
Dread (contralto) and
Hope (tenor) in the face
of death, which is
already the topic of the
expansive opening chorale
arrangement . Using a
device which was
surprisingly dramatic for
a Baroque church cantata,
the bass joins in as a
third vocal part
(functioning as Vox
Christi) in the
penultimate movement -
the recitative Der Tod
bleibt doch der
menschlichen Natur
verhasst (Dread) - with
the Bible quote Blessed
are the dead which die in
the Lord. This also
convinces Dread and leads
into the concluding
chorale Es ist genug, so
nimm Herr meinen Geist..
Score and parts available
separately - see item
CA.3106000.
(Laudate Pueri Dominum) Composed by George Frideric Handel (1685-1759), edited b...(+)
(Laudate Pueri Dominum)
Composed by George
Frideric Handel
(1685-1759), edited by
Fritz Stein. For soprano
voice solo, SSATB choir
and piano accompaniment.
Format: vocal score. With
choral notation and piano
reduction. Baroque. Text
language Latin. 44 pages.
7.5x10.5 inches.
Published by C.F. Peters
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. Arranged
by Sven Hiemke. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, End of
the church year, Trinity,
Praise and thanks. Vocal
score. Composed 1724. BWV
139. 32 pages. Duration
20 minutes. Carus Verlag
#CV 31.139/03. Published
by Carus Verlag
(CA.3113903).
ISBN
9790007181192. Language:
German/English. Text:
Rube, Johann
Chr.
Bach's chorale
cantata with its opening
text Wohl dem, der sich
auf seinen Gott recht
kindlich kann verlassen
(Tis well with him who on
the Lord trusts just like
a child) BWV 139 was
performed for the first
time on 12 November 1724
in the main Leipzig
church service. The
cantata text, based on
the hymn of the same name
by Johann Christoph Rube
(1665-1746), is in praise
of trust in God. In the
opening chorus, full of
depth of feeling, the
hymn melody is heard
throughout; this is
followed by a lively
tenor aria Gott ist mein
Freund (God is my friend)
with a musical depiction
of the adversary raging
in vain, and in the bass
aria Das Ungluck schlagt
auf allen Seiten
(Misfortune assails me on
every side) Bach presents
both drama and Baroque
imagery. One of the two
solo violin parts for the
tenor aria is lost, so
our edition offers a
reconstruction. The
virtuoso violin part of
the bass aria was
evidently based on a part
for violoncello piccolo,
now lost. The edition
provides for performance
by violin or violoncello.
Score available
separately - see item
CA.3113900.
SATB and SSATB with ST Soli (Orch.) and SATB and SAATTB with SATB Soli (Orch.) (...(+)
SATB and SSATB with ST
Soli (Orch.) and SATB and
SAATTB with SATB Soli
(Orch.) (English Language
Edition). Composed by
George Frideric Handel
(1685-1759). Choral
(Sacred); Choral Worship
Cantata (Miniature
Score); Larger Works;
Masterworks; Performance
Music Ensemble; Worship
Resources. Kalmus
Edition. Baroque;
Masterwork; Sacred.
Score. 156 pages. Kalmus
Classic Edition
#00-K01333. Published by
Kalmus Classic Edition
(Bach Gesellschaft Ausgabe). Composed by Johann Sebastian Bach (1685-1750). Edit...(+)
(Bach Gesellschaft
Ausgabe). Composed by
Johann Sebastian Bach
(1685-1750). Edited by
Wilhelm Rust. Arranged by
Gustav Rosler. Choir and
piano. For Soprano voice,
Alto voice, Tenor voice,
and Bass voice (Soli),
SATB Choir, Piano. This
edition: Paperback.
Sacred Cantata, Original
Works, Transcriptions,
Choral. Baroque Period;
Sacred/Hymns, German.
Vocal Score. Text
Language: German.
Composed 1715. 32 pages.
Duration 21 minutes.
Published by Serenissima