ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111749

Sei Lob und Ehr dem hochsten Gut. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. Organ. Sacred vocal music, Cantatas, Praise and thanks. Single Part, Organ. Composed 1728/1731. BWV 117. 24 pages. Duration 26 minutes. Carus Verlag #CV 31.117/49. Published by Carus Verlag (CA.3111749).

ISBN 9790007048716. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score and part available separately - see item CA.3111700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002709

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. 1x 10.027/31 trombone 1, 1x 10.027/32 2 trombones, 1x 10.027/33 trombone 3, 1x 10.027/34 trombone 4. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Set of Orchestra Parts. Duration 8 minutes. Carus Verlag #CV 10.027/09. Published by Carus Verlag (CA.1002709).

ISBN 9790007189310. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and parts available separately - see item CA.1002700.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111713

Sei Lob und Ehr dem hochsten Gut. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. Viola. Sacred vocal music, Cantatas, Praise and thanks. Single Part, Viola. Composed 1728/1731. BWV 117. 4 pages. Duration 26 minutes. Carus Verlag #CV 31.117/13. Published by Carus Verlag (CA.3111713).

ISBN 9790007048693. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score and part available separately - see item CA.3111700.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111711

Sei Lob und Ehr dem hochsten Gut. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. Violin 1. Sacred vocal music, Cantatas, Praise and thanks. Single Part, Violin 1. Composed 1728/1731. BWV 117. 8 pages. Duration 26 minutes. Carus Verlag #CV 31.117/11. Published by Carus Verlag (CA.3111711).

ISBN 9790007048679. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score and part available separately - see item CA.3111700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002719

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Set of Orchestra Parts. Duration 8 minutes. Carus Verlag #CV 10.027/19. Published by Carus Verlag (CA.1002719).

ISBN 9790007181413. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and parts available separately - see item CA.1002700.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111700

Composed by Johann Sebastian Bach. Edited by Hans Grischkat. This edition: Paperbound. German title: Sei Lob und Ehr dem hochsten Gut. Sacred vocal music, Cantatas, Praise and thanks. Full score. Composed 1728/1731. BWV 117. 52 pages. Duration 26 minutes. Carus Verlag #CV 31.117/00. Published by Carus Verlag (CA.3111700).

ISBN 9790007048631. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111712

Sei Lob und Ehr dem hochsten Gut. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. Violin 2. Sacred vocal music, Cantatas, Praise and thanks. Single Part, Violin 2. Composed 1728/1731. BWV 117. 4 pages. Duration 26 minutes. Carus Verlag #CV 31.117/12. Published by Carus Verlag (CA.3111712).

ISBN 9790007048686. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score and part available separately - see item CA.3111700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002714

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Viola 4. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/14. Published by Carus Verlag (CA.1002714).

ISBN 9790007189358. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111705

Sei Lob und Ehr dem hochsten Gut neu. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. Sacred vocal music, Cantatas, Praise and thanks. Choral Score. Composed 1728/1731. BWV 117. 4 pages. Duration 26 minutes. Carus Verlag #CV 31.117/05. Published by Carus Verlag (CA.3111705).

ISBN 9790007048655. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score available separately - see item CA.3111700.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111719

Composed by Johann Sebastian Bach. Edited by Hans Grischkat. German title: Sei Lob und Ehr dem hochsten Gut. Sacred vocal music, Cantatas, Praise and thanks. Set of Orchestra Parts. Composed 1728/1731. BWV 117. Duration 26 minutes. Carus Verlag #CV 31.117/19. Published by Carus Verlag (CA.3111719).

ISBN 9790007136666. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score and parts available separately - see item CA.3111700.

Grade 4

SKU: CL.CTS-8022-00

Composed by Claude T. Smith. Arranged by Earp. Concert Band. Score and set of parts. Composed 2022. Claude T. Smith Publications #CTS-8022-00. Published by Claude T. Smith Publications (CL.CTS-8022-00).

Chorale and Allegro captivates the imagination with a solemn chorale. As this lush chorale closes, the mood quickly transforms into an energetic allegro section filled with excitement throughout. Claude T. Smith concludes the composition with intertwines the ideas from the allegro section with portions of the opening chorale leading to an enthusiastic ending. This flexible arrangement allows ensembles to perform the work with as few as thirteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002715

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, basso continuo. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/15. Published by Carus Verlag (CA.1002715).

ISBN 9790007189365. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002706

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Choral Score. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/06. Published by Carus Verlag (CA.1002706).

ISBN 9790007181345. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score available separately - see item CA.1002700.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111703

Sei Lob und Ehr dem hochsten Gut. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. This edition: Paperbound. Sacred vocal music, Cantatas, Praise and thanks. Vocal score. Composed 1728/1731. BWV 117. 28 pages. Duration 26 minutes. Carus Verlag #CV 31.117/03. Published by Carus Verlag (CA.3111703).

ISBN 9790007048648. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score available separately - see item CA.3111700.

By Philip Sparke. (Score). ANGLO MUSIC PRESS. 56 pages. Published by Anglo Music.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002712

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Viola 2. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/12. Published by Carus Verlag (CA.1002712).

ISBN 9790007189334. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002749

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Organ. 8 pages. Duration 8 minutes. Carus Verlag #CV 10.027/49. Published by Carus Verlag (CA.1002749).

ISBN 9790007189372. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

ATB vocal soli, SATB choir, 2 flutes, 2 oboes/2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3111714

Sei Lob und Ehr dem hochsten Gut. Composed by Johann Sebastian Bach. Edited by Hans Grischkat. Violoncello/double bass. Sacred vocal music, Cantatas, Praise and thanks. Single Part, Cello/Double Bass. Composed 1728/1731. BWV 117. 16 pages. Duration 26 minutes. Carus Verlag #CV 31.117/14. Published by Carus Verlag (CA.3111714).

ISBN 9790007048709. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.

The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score and part available separately - see item CA.3111700.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002713

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Single Part, Viola 3. 4 pages. Duration 8 minutes. Carus Verlag #CV 10.027/13. Published by Carus Verlag (CA.1002713).

ISBN 9790007189341. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.

Organ

SKU: BR.EB-8938

Urtext. Composed by Heinrich Scheidemann. Edited by Pieter Dirksen. Solo instruments; Softbound. Edition Breitkopf. Baroque period. Sheet Music. 92 pages. Breitkopf and Haertel #EB 8938. Published by Breitkopf and Haertel (BR.EB-8938).

ISBN 9790004186077. 12 x 9 inches.

Heinrich Scheidemann is regarded as one of the most influential organists of the 17th century. His most significant achievement lies within his further developing of his teacher J. P. Sweelinck's chorale arrangements into a wide-ranging chorale fantasia primarily to display in full the organ's sound. The present volume constitutes a complete edition of all nine Chorale Fantasias based on Lutheran chorales that, except for one, are extant as individual works. The authenticity of six fantasias is considered certain, with the attribution of the three anonymously transmitted works being based on the source situation and style. The repertoire as a whole provides an insight into the progressive development of the chorale fantasia and concurrently represents Scheidemann's three main creative phases.

SSATB choir, [SATB/SATB], 8 instruments ad lib., basso continuo

SKU: CA.1002700

Chorale concert. Composed by Michael Praetorius. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Halleluja, Christ Ist Erstanden. Sacred concertos, Sacred vocal music, Praise and thanks. Full score. 24 pages. Duration 8 minutes. Carus Verlag #CV 10.027/00. Published by Carus Verlag (CA.1002700).

ISBN 9790007171728. Text language: German.

The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course.

Composed by Dietrich Buxtehude (1637-1707). Edited by Thomas Schlage. For SATB choir, 2 violins, basso continuo. Score available separately - see item CA.3601700. Cantatas. Choral score. Language: German. BuxWV 102. 4 pages. Duration 4 minutes. Published by Carus Verlag

Soli SATB, SATB Choir, 2 Obda, Cor (Ctto), Trb, 2 Vl, Va, Bc - Level 4

SKU: CA.3100349

2nd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Reinhold Kubik. Organ. Sacred vocal music, Cantatas, Epiphany. Single Part, Organ. Composed 1725. BWV 3. 20 pages. Duration 27 minutes. Carus Verlag #CV 31.003/49. Published by Carus Verlag (CA.3100349).

ISBN 9790007204426. Key: A major. Language: German/English. Text: Moller, Martin.

For the 2nd Epiphany Sunday 1725, Bach composed the cantata O God, what glut of care and pain. It forms part of the annual cycle of chorale cantatas. In the large-scale opening movement, a choral setting full of anguish with expansive orchestral sections, the bass presents the cantus firmus in segments, reinforced by one trombone. This is followed directly by the second chorale verse in a four-part setting in which, however, each chorale line is interrupted by a short recitative (each one sung by a different voice). The bass, who closes the recitative, also sings the following continuo aria which is rich in melismatic passages. The second aria is a duet expanded into a quartet setting by the addition of oboes d'amore and continuo; it leads into the closing chorale containing a wealth of transitions. Score and part available separately - see item CA.3100300.

By Philip Sparke. (Score and Parts). ANGLO MUSIC PRESS. Published by Anglo Music.

Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 violins, 2 violas, 2 cellos, contrabass - Grade 3

SKU: CA.4018607

Chorale cantata. Composed by Felix Bartholdy Mendelssohn. Edited by Oswald Bill. This edition: urtext. Stuttgart Urtext Edition: Mendelssohn. German title: O Haupt voll Blut und Wunden. Innovative practice aids, Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Eucharist, Communion. Study score. Composed 1830. MWV. Duration 12 minutes. Carus Verlag #CV 40.186/07. Published by Carus Verlag (CA.4018607).

ISBN 9790007092573. Language: German/English. Text: Gerhardt, Paul. Text: Paul Gerhardt.

During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score available separately - see item CA.4018600.

Orchestra baritone voice solo, SATB choir, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, 2 violins, viola, cello/contrabass - Grade 3

SKU: CA.4018511

Chorale cantata. Composed by Felix Bartholdy Mendelssohn. Edited by Gunter Graulich. This edition: urtext. Hymns by Martin Luther: Ach Gott, vom Himmel sieh darein; Stuttgart Urtext Edition: Mendelssohn. German title: Ach Gott, vom Himmel sieh darein. Sacred vocal music, Cantatas. Single Part, Violin 1. Composed 1832. MWV A 13. 8 pages. Duration 14 minutes. Carus Verlag #CV 40.185/11. Published by Carus Verlag (CA.4018511).

ISBN 9790007064303. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score and part available separately - see item CA.4018500.

Organ

SKU: CA.5280400

Composed by Max Reger. Edited by Alexander Becker, Christopher Grafschmidt, Stefan Konig, and Stefanie Steiner-Grage. This edition: Complete edition. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern; Complete editions / Selected works: Max Reger. Hybrid Edition of works. With DVD. Organ music based on hymns. Full score (complete edition / selected edition). 224 pages. Carus Verlag #CV 52.804/00. Published by Carus Verlag (CA.5280400).

ISBN 9790007139384.

The fourth volume of the section of the Reger Edition devoted to his organ works comprises, in chronological order, the chorale preludes composed between October 1893 and November 1914 in Wiesbaden, Weiden, Munich, Leipzig, and Meiningen. The composition of chorale preludes accompanied Reger throughout his entire career, even though they were composed primarily in the years from 1900 to 1902 and 1914 (Opus 135a). As almost no other composer at the turn of the century, he dedicated himself to the chorale prelude, composing around 100 works in this genre. Since January 2008, the first scholarly, critical edition of the works of Max Reger (RWA) is being produced at the Max-Reger-Institute, Karlsruhe. Its design as a hybrid edition breaks new ground in the methods of editorial practice. It comprises three areas of Reger's compositional output: Organ works, Lieder and choruses and, for the first time, Max Reger's arrangements of works by other composers. To begin the series, the first seven volumes have been published and contain the organ works, which have been eagerly awaited by many.