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.

Mixed choir (SATB) or female choir (S/SA) and organ or orchestra or wind band (Orchester: 1.0.2.0 - 2.2.1.0 - Pk - Str / Blasorchester: 2 FlgHn-b, 2 Hn-es, T-Hn-b, Trp-b, Bar (Pos), Tb, Pk) - easy

SKU: HL.49004481

Composed by Franz Schubert. Arranged by Joseph Haas. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Organ reduction. 20 pages. Duration 25'. Schott Music #ED 3883. Published by Schott Music (HL.49004481).

ISBN 9790001046589. 7.5x11.0x0.083 inches. German.

Ein Tonbeispiel des Heilig aus der Deutschen Messe finden Sie unten in einem Live-Mitschnitt der ev. Jugendkantorei der Pfalz, Dir.: Jochen Steuerwald.

Vocal soli, SATB choir, orchestra (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.EOS-8047-15

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).

Soloists, speakers, mixed choir (SATB) and combo (Score) - easy

SKU: HL.49006394

Eine satirische Chor-Revue in 10 Abteilungen. Composed by Pete Seeger. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Vocal score (also full score). 40 pages. Duration 30'. Schott Music #ED 6524. Published by Schott Music (HL.49006394).

ISBN 9790001069380.

Ware house-Life wurde zum ersten Mal in einem Studio der 'Internationalen Begegnung singender Jugend' des Deutschen Sangerbundes in Berlin aus dem Manuskript aufgefuhrt. Drei Gestalten haben besondere Bedeutung: das Mannequin - ein Reklame- Girl, klischeehaft schon, unpersonlich sexy, in warenbezogenen Kostumen auftretend; der Tenor, der Kaufertyp, der den Lockungen des Girls verfallt; und schliesslich der Dressman, das maskuline Gegenstuck zum Mannequin. Sing- und Spielstil sollten Song und Kabarett parodieren. Im Ubrigen lebt Warehouse- Life vom flotten, luckenlosen und temperamentvollen Ablauf der 10 Abteilungen, von Laune, Witz und Spielfreude der Akteure, sowie von gezielten Uberraschungen optischer und akustischer Art. Der Fantasie sind keine Grenzen gesetzt.'(Fritz Grasshoff) Die Absurditaten der Warenasthetik, die Perfidie der Reklamewelten, das schonungslose Einhammern von Werbespruchen, das rettungslose Ausgeliefertsein an einen Mechanismus des Verkaufens, Anpreisens und An-den-Mann-Bringens um jeden Preis sind Thema dieser Revue und werden mit den Mitteln textlicher wie musikalischer Ironie, Parodie und Persiflage blossgestellt. Die offene Form bietet vielfaltige, unbegrenzte Moglichkeiten zur szenischen Gestaltung; die Einbeziehung anderer Medien (Video, Film) bietet gute Moglichkeiten fur facherubergreifende Arbeit mit Kindern und Jugendlichen ab 10 Jahren.

SATB Choir - Grade 4

SKU: HL.14018195

Composed by Walter Kraft. Music Sales America. Hymns & Chorals. Vocal Score. Composed 2002. 58 pages. Edition Wilhelm Hansen #WH28971. Published by Edition Wilhelm Hansen (HL.14018195).

ISBN 9788759870747. 8.5x11.75x0.428 inches. International (more than one language).

For SATB Choir (with Divisions). These works may be performed ad libitum with instruments regular with renaissance performance practice.

By Johannes Brahms. Arranged by M Klein. (SATB). Choral Large Works. Size 9x12 inches. 32 pages. Published by G. Schirmer.

ATB vocal soli, SATB choir, horn, oboe, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3113613

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.

ATB vocal soli, SATB choir, horn, oboe, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3113614

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, horn, oboe, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3113612

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.

ATB vocal soli, SATB choir, horn, oboe, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3113611

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.

ATB vocal soli, SATB choir, horn, oboe, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3113609

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.

(Volume 2 of 3) Composed by Johannes Brahms (1833-1897), edited by Kurt Soldan. For SATB voices (see songlist for voicings) and one piano four-hands. Format: piano/vocal score (parts not included). With choral notation and piano duet accompaniment. Romantic period. Text language German. 90 pages. 9x12 inches. Published by C.F. Peters.

ATB vocal soli, SATB choir, bass flute f1,violin, 2 viola, cello, basso continuo

SKU: CA.3118257

First Leipzig version. Cantata for Palm Sunday and the feast of the Annunciation Cantata for Palm Sunday and the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Himmelskonig, Sei Willkommen G-Dur. Sacred vocal music, Cantatas, Lent and Passiontide. Study score. BWV 182. 60 pages. Duration 30 minutes. Carus Verlag #CV 31.182/57. Published by Carus Verlag (CA.3118257).

ISBN 9790007142872. Key: G major. Text language: German/English.

Ver sion in G major (A major = Carus 31.182/00) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.

ATB vocal soli, SATB choir, bass flute f1,violin, 2 viola, cello, basso continuo

SKU: CA.3118255

First Leipzig version. Cantata for Palm Sunday and the feast of the Annunciation Cantata for Palm Sunday and the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Himmelskonig, Sei Willkommen G-Dur. Sacred vocal music, Cantatas, Lent and Passiontide. Choral Score. BWV 182. 12 pages. Duration 30 minutes. Carus Verlag #CV 31.182/55. Published by Carus Verlag (CA.3118255).

ISBN 9790007209865. Key: G major. Text language: German/English.

Ver sion in G major (A major = Carus 31.182/00) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.

ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso continuo - Level 3

SKU: CA.3118219

Cantata for Palm Sunday or for the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Himmelskonig, Sei Willkommen A-Dur. Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Set of Orchestra Parts. Composed 1714. BWV 182. Duration 30 minutes. Carus Verlag #CV 31.182/19. Published by Carus Verlag (CA.3118219).

ISBN 9790007136949. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.

Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and parts available separately - see item CA.3118200.

ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso continuo - Level 3

SKU: CA.3118213

Cantata for Palm Sunday or for the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Himmelskonig, Sei Willkommen A-Dur. Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Viola 2. Composed 1714. BWV 182. 8 pages. Duration 30 minutes. Carus Verlag #CV 31.182/13. Published by Carus Verlag (CA.3118213).

ISBN 9790007050306. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.

Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and part available separately - see item CA.3118200.

Orchestra Soli ATB, SATB Choir, Recorder, Violin solo, Violin, 2 Viola, Cello, Basso Continuo - Level 3

SKU: CA.3118207

Cantata for Palm Sunday or for the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. This edition: paperbound. BWV 182. Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Study score. Composed 1714. BWV 182. Duration 30 minutes. Carus Verlag #CV 31.182/07. Published by Carus Verlag (CA.3118207).

ISBN 9790007050276. Key: A major. Language: German/English. Text: Franck, Salomo.

Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.

Composed by Gabriel Jackson (1962-). For SSATB choir, unaccompanied. New Horizons. Vocal score. 28 pages. Duration 8 minutes. Published by Oxford University Press

ATB vocal soli, SATB choir, 2 oboe d'amore, [horn], 2 violins, viola, basso continuo - Level 3

SKU: CA.3106014

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.

Orchestra ATB vocal soli, SATB choir, 2 oboe d'amore, [horn], 2 violins, viola, basso continuo - Level 3

SKU: CA.3106007

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.

ATB vocal soli, SATB choir, 2 oboe d'amore, [horn], 2 violins, viola, basso continuo - Level 3

SKU: CA.3106019

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.