| Wie schon leuchtet der Morgenstern, BWV 1 Conducteur de poche, d'étude [Conducteur d'étude / Miniature] Barenreiter
Cantata for the Feast of Annunciation Day. By Johann Sebastian Bach. Edited by M...(+)
Cantata for the Feast of
Annunciation Day. By
Johann Sebastian Bach.
Edited by Matthias Wendt.
For Soprano solo, Tenor
solo, Bass solo, Mixed
Choir-SATB, 2 Violin, 2
Horn, 2 Oboe, Organ,
Strings, Basso continuo.
(SATB). This edition:
Urtext Edition. Study
Score. 60 pages.
Published by Baerenreiter
Verlag (German import).
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Wie schon leuchtet der Morgenstern, BWV 1 Chorale SATB SATB [Vocal Score] Barenreiter
Cantata for the Feast of Annunciation Day. By Johann Sebastian Bach. Edited by M...(+)
Cantata for the Feast of
Annunciation Day. By
Johann Sebastian Bach.
Edited by Matthias Wendt.
For Soprano solo, Tenor
solo, Bass solo, Mixed
Choir-SATB, 2 Violin, 2
Horn, 2 Oboe, Organ,
Strings, Basso continuo.
(SATB). This edition:
Urtext Edition. Piano
Reduction/Vocal Score. 37
pages. Published by
Baerenreiter Verlag
(German import).
$11.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Chorale SATB [Conducteur et Parties séparées] Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB
choir, 2 oboes, 2 horns,
Taille (english horn), 3
soli violins + viola +
cello, 2 violins, viola,
basso continuo SKU:
CA.3117409 Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. 1x
31.174/21 violin/oboe 1,
1x 31.174/22 violin/oboe
2, 1x 31.174/23 taille,
2x 31.174/31 horns 1 and
2. Stuttgart Urtext
Edition: Bach vocal.
Harmony parts. Sacred
vocal music, Cantatas,
Whitsun, Praise and
thanks. Set of Orchestra
Parts. Composed 1729. BWV
174. Duration 23 minutes.
Carus Verlag #CV
31.174/09. Published by
Carus Verlag
(CA.3117409). ISBN
9790007209636. Language:
German/English. Text:
Henrici (Picander),
Christian
Friedrich. The
cantata Ich liebe den
Hochsten von ganzem
Gemute (I love the
Almighty with all of my
spirit) BWV 174 was
composed for Whit Monday
1729. It probably belongs
to Bach's fourth cycle of
cantatas, known as the
Picander cycle. Most of
the cantata is taken up
by the introductory
Sinfonia. This is a
reworking of the first
movement of the famous
third Brandenburg
Concerto BWV 1048. Bach
took the movement almost
unaltered and simply
added wind parts to
strengthen the sound to
the nine string parts
(three violins, three
violas, three
violoncelli) and basso
continuo - two corni da
caccia and two oboes,
reinforced by two
violins, an oboe da
caccia (taille) and a
viola. The following
movements (aria,
recitative, aria) form a
distinct contrast with
their chamber music
scoring (two oboes or one
or two string parts with
basso continuo). A simple
four-part chorale
concludes the cantata.
Score and parts available
separately - see item
CA.3117400. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Kommt, frohe Volker, herzu Chorale SATB [Conducteur et Parties séparées] Carus Verlag
STB vocal soli, SATB choir, 2 oboes, 2 horns, 2 violins, viola, basso continuo <...(+)
STB vocal soli, SATB
choir, 2 oboes, 2 horns,
2 violins, viola, basso
continuo SKU:
CA.3722209 Cantata
for the 4th Sunday after
Epiphany. Composed by
Gottfried August
Homilius. Edited by
Christoph Koop. 1x
37.222/21 oboe 1, 1x
37.222/22 oboe 2, 1x
37.222/31 horn 1, 1x
37.222/32 horn 2.
Gottfried August Homilius
- Selected Works. Harmony
parts. Sacred vocal
music, Cantatas,
Epiphany. Set of
Orchestra Parts. HoWV
II.40. Duration 12
minutes. Carus Verlag #CV
37.222/09. Published by
Carus Verlag
(CA.3722209). ISBN
9790007214913. Text
language:
German. As with
many cantatas by Homilius
Kommt, frohe Volker,
herzu, for the 4th Sunday
after Epiphany, is
notable for its unusual
formal structure, with
two choral movements in a
cantata of only three
movements. The generally
festive, thankful
character of the work,
without references to the
Gospel for a particular
Sunday, makes this
cantata, characterized by
its singable melodies, a
work which can be used on
many Sundays throughout
the church year. Score
and parts available
separately - see item
CA.3722200. $32.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SATB vocal soli, SATB choir, 2 basset horns, 2 bassoons, 2 contrabass, 3 trombon...(+)
SATB vocal soli, SATB
choir, 2 basset horns, 2
bassoons, 2 contrabass, 3
trombones, timpani, 2
violins, viola, basso
continuo SKU:
CA.5162609
Sussmayr-Version.
Composed by Wolfgang
Amadeus Mozart. Edited by
Ulrich Leisinger.
Arranged by Paul Horn,
Franz Xaver Sussmayr.
This edition: urtext. 1x
51.626/21 basset horn 1,
1x 51.626/22 basset horn
2, 1x 51.626/23 bassoon
1, 1x 51.626/24 bassoon
2, 1x 51.626/31 clarino
1, 1x 51.626/32 clarino
2, 1x 51.626/33 trombone
1, 1x 51.626/34 trombone
2, 1x 51.626/35 trombone
3, 1x 51.626/41 timpani.
Stuttgart Urtext Edition:
Mozart. REQUIEM (ARR.
SUssMAYR). Innovative
practice aids, Sacred
vocal music, Requiem,
Mourning, death. Set of
Orchestra Parts. Composed
1791. KV 626. 88 pages.
Carus Verlag #CV
51.626/09. Published by
Carus Verlag
(CA.5162609). ISBN
9790007225216. Key: D
minor. Language:
Latin. The history
of the genesis of the
Requiem is entwined with
legends and anecdotes.
The burdens of the
composition and
performance of La
Clemenza di Tito and Die
Zauberflote, and an acute
infection led to the
collapse and death of the
composer following a
short illness. Mozart
left his wife in
considerable debt.
Constanze therefore
turned to Mozart's
friends, asking them to
complete the fragment.
After two failed
attempts, the task passed
to Mozart's pupil Franz
Xaver Sussmayr, who
completed the Requiem in
the form known today,
using working materials
that are no longer
extant, and perhaps
verbal instructions from
the composer. Today the
Sussmayr version is still
the most well known, and
it is doubtless the one
with the closest
historical ties to
Mozart. This work is now
available in carus music,
the choir app! Score and
parts available
separately - see item
CA.5162600. $56.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem in B Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 horns, 2 clarinos/trumpets, ...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2
bassoons, 2 horns, 2
clarinos/trumpets,
timpani, 3 trombones, 2
violins, viola, basso
continuo SKU:
CA.5483809 Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext. 1x
54.838/21 oboe 1, 1x
54.838/22 oboe 2, 1x
54.838/23 bassoon 1, 1x
54.838/24 bassoon 2, 1x
54.838/31 horn 1, 1x
54.838/32 horn 2, 1x
54.838/33 trumpet 1, 1x
54.838/34 trumpet 2, 1x
54.838/35 trombone 1, 1x
54.838/36 trombone 2, 1x
54.838/37 trombone 3, .
Stuttgart Urtext Edition:
Johann Michael Haydn.
Requiem In B Mh 838.
Sacred vocal music,
Requiem, Mourning, death.
Set of Orchestra Parts.
MH 838. 192 pages.
Duration 55 minutes.
Carus Verlag #CV
54.838/09. Published by
Carus Verlag
(CA.5483809). ISBN
9790007226336. Key: B
flat major. Language:
Latin. The Requiem
in B flat major is Johann
Michael Haydn's second
setting of the liturgical
text of the Mass of the
dead (another Requiem, MH
599, has since been
identified as the work of
Father Georg Pasterwiz)
and it is also his last
work, his Opus ultimum.
On commission from
Empress Maria Theresia he
began the composition in
1805, but due to a
serious illness he made
only slow progress with
the work. Like W. A.
Mozart, he could not
complete this Requiem. In
1839 Father Gunther
Kronecker, Benedictine
Father in the monastery
of Kremsmunster in Upper
Austria, completed the
torso in the spirit and
style of Haydn. During
his student days in
Vienna Father Gunther
belonged to the circle of
friends who were
associated with Franz
Schubert. Score and parts
available separately -
see item CA.5483800. $129.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Missa in A Major Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
SATB vocal soli, SATB choir, 2 flutes, 2 horns, 2 violins, viola, basso continuo...(+)
SATB vocal soli, SATB
choir, 2 flutes, 2 horns,
2 violins, viola, basso
continuo SKU:
CA.2707109 Messe
in A. Composed by
Franz Xaver Richter.
Edited by Michael Diorio.
1x 27.071/21 flute 1, 1x
27.071/22 flute 2, 1x
27.071/31 horn 1, 1x
27.071/32 horn 2. Messe
In A 1788 (Hyemalis).
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. 60
pages. Duration 35
minutes. Carus Verlag #CV
27.071/09. Published by
Carus Verlag
(CA.2707109). ISBN
9790007199944. Key: A
major. Language:
Latin. Franz Xaver
Richter probably wrote
his Missa in A, with the
nickname Hyemalis
(winter), between 1781
and 1783, during his
tenure as Kapellmeister
at the Strasbourg
Cathedral. This peculiar
epithet leads us to
presume that the Mass was
meant to be performed
during a sacred service
in a time period between
Epiphany and the Sunday
before Ash Wednesday
(Quinquagesima). The
present work, a first
edition, is a Messe
sollenne senza Trombe, in
which Richter achieved a
festive character with
musical variety by means
of a comparably modest
ensemble. Score and parts
available separately -
see item CA.2707100. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Christians, etch this blessed day (Christen, atzet diesen Tag) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] - Facile Carus Verlag
Orchestra SATB vocal soli, SATB choir, 3 oboes, bassoon, 4 trumpets, timpani, 2 ...(+)
Orchestra SATB vocal
soli, SATB choir, 3
oboes, bassoon, 4
trumpets, timpani, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3106309
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. 1x
31.063/21 oboe 1, 1x
31.063/22 oboe 2, 1x
31.063/23 oboe 3, 1x
31.063/24 bassoon, 1x
31.063/31 trumpet 1, 1x
31.063/32 trumpet 2, 1x
31.063/33 trumpet 3, 1x
31.063/34 trumpet 4, 1x
31.063/41 timpani. German
title: Christen, atzet 9.
Sacred vocal music,
Cantatas, Christmas. Set
of Orchestra Parts.
Composed 1715. BWV 63. 30
pages. Duration 27
minutes. Carus Verlag #CV
31.063/09. Published by
Carus Verlag
(CA.3106309). ISBN
9790007043704. Key: C
major. Language:
German/English. Wit
h its scoring for a large
number of performers, who
according to earlier
practice were divided
into various groups, this
Cantata is clearly a
festive work. In the
richness of its scoring
it was equalled, but not
surpassed, by Bach's
first Leipzig Cantate for
the Election of the Town
Council, BWV 119, of
1723. It is noticeable
that the words of BWV 63
relate to Christmas only
in the recitatives, while
the choruses and arias
express the praise of God
in general terms. Score
and parts available
separately - see item
CA.3106300. $32.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| O God, what glut of care and pain (Ach Gott, wie manches Herzeleid) [Conducteur et Parties séparées] - Facile Carus Verlag
Orchestra SB vocal soli, 2 oboes, taille (english horn), 2 violins, viola, basso...(+)
Orchestra SB vocal soli,
2 oboes, taille (english
horn), 2 violins, viola,
basso continuo - Grade 3
SKU: CA.3105809
Cantata for the Sunday
after New Year.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. 1x
31.058/21 oboe 1, 1x
31.058/22 oboe 2, 1x
31.058/23 oboe d'amore.
German title: Ach Gott,
wie manches Herzeleid 3.
Sacred vocal music,
Cantatas, New year. Set
of Orchestra Parts.
Composed 1733/1734. BWV
58. 6 pages. Duration 17
minutes. Carus Verlag #CV
31.058/09. Published by
Carus Verlag
(CA.3105809). ISBN
9790007043223. Key: C
major. Language:
German/English. The
cantata O God, what glut
of care and pain BWV 58,
which Bach subtitled
Dialogus and wrote for
the Sunday after New
Year, limits itself
accordingly to the dialog
couple consisting of
soprano and bass; further
soloists or a choir are
not required. In the
framing movements, the
dialog takes on the form
of a chorale arrangement:
the soprano presents a
cantus firmus whose words
are consolingly commented
on by the bass. Both the
expansive chorale
arrangements leave room
for an aria which is
framed by two
recitatives. The cantata
was composed for the
Sunday after New Year
1727, but the received
form is from a subsequent
performance that took
place six or seven years
later. For this
performance, Bach not
only expanded the
instrumentation but also
replaced an entire aria.
Later, he assigned the
cantata to his annual
cycle of chorale
cantatas, probably due to
its high proportion of
chorales; this Sunday was
missing in that annual
cycle as there was no
Sunday between New Year
and Epiphany in 1725.
Score and parts available
separately - see item
CA.3105800. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Were God not with us here today (War Gott nicht mit uns diese Zeit) Chorale SATB Carus Verlag
STB vocal soli, SATB choir, 2 oboes, horn, 2 violins, viola, basso continuo S...(+)
STB vocal soli, SATB
choir, 2 oboes, horn, 2
violins, viola, basso
continuo SKU:
CA.3101409 Cantata
for the 4th Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. 1x 31.014/21 oboe
1, 1x 31.014/22 oboe 2,
1x 31.014/31 horn.
Stuttgart Urtext Edition:
Bach vocal; Hymns by
Martin Luther: War Gott
nicht mit uns diese Zeit.
German title: War Gott
nicht mit uns diese Zeit
KV 3. Sacred vocal music,
Cantatas, Epiphany. Set
of Orchestra Parts.
Composed 1735. BWV 14. 12
pages. Duration 18
minutes. Carus Verlag #CV
31.014/09. Published by
Carus Verlag
(CA.3101409). ISBN
9790007204716. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther. Score
available separately -
see item CA.3101400. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Christians, etch this blessed day (Christen, atzet diesen Tag) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre - Facile Carus Verlag
Orchestra SATB vocal soli, SATB choir, 3 oboes, bassoon, 4 trumpets, timpani, 2 ...(+)
Orchestra SATB vocal
soli, SATB choir, 3
oboes, bassoon, 4
trumpets, timpani, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3106311
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Christen, atzet.
Sacred vocal music,
Cantatas, Christmas.
Single Part, Violin 1.
Composed 1715. BWV 63. 8
pages. Duration 27
minutes. Carus Verlag #CV
31.063/11. Published by
Carus Verlag
(CA.3106311). ISBN
9790007043711. Key: C
major. Language:
German/English. Wit
h its scoring for a large
number of performers, who
according to earlier
practice were divided
into various groups, this
Cantata is clearly a
festive work. In the
richness of its scoring
it was equalled, but not
surpassed, by Bach's
first Leipzig Cantate for
the Election of the Town
Council, BWV 119, of
1723. It is noticeable
that the words of BWV 63
relate to Christmas only
in the recitatives, while
the choruses and arias
express the praise of God
in general terms. Score
and part available
separately - see item
CA.3106300. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| My God alone this heart possesses (Gott soll allein mein Herze haben) Chorale SATB [Conducteur et Parties séparées] Carus Verlag
Alto vocal soli, SATB choir, 2 oboes d'amore, Taille (english horn), 2 violins, ...(+)
Alto vocal soli, SATB
choir, 2 oboes d'amore,
Taille (english horn), 2
violins, viola, basso
continuo, organ obligato
SKU: CA.3116909
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext. 1x
31.169/21 oboe d'amore 1,
1x 31.169/22 oboe d'amore
2, 1x 31.169/23 English
horn. Stuttgart Urtext
Edition: Bach vocal.
Harmony parts. Sacred
vocal music, Whitsun. Set
of Orchestra Parts.
Composed 1726. BWV 169.
Duration 17 minutes.
Carus Verlag #CV
31.169/09. Published by
Carus Verlag
(CA.3116909). ISBN
9790007209315. Text
language: German/English.
Text: Birkmann,
Christoph. Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
parts available
separately - see item
CA.3116900. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| My God alone this heart possesses (Gott soll allein mein Herze haben) Chorale SATB Carus Verlag
Alto vocal soli, SATB choir, 2 oboes d'amore, Taille (english horn), 2 violins, ...(+)
Alto vocal soli, SATB
choir, 2 oboes d'amore,
Taille (english horn), 2
violins, viola, basso
continuo, organ obligato
SKU: CA.3116911
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Whitsun. Single Part,
Violin 1. Composed 1726.
BWV 169. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.169/11. Published by
Carus Verlag
(CA.3116911). ISBN
9790007209322. Text
language: German/English.
Text: Birkmann,
Christoph. Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Were God not with us here today (War Gott nicht mit uns diese Zeit) Chorale SATB Carus Verlag
STB vocal soli, SATB choir, 2 oboes, horn, 2 violins, viola, basso continuo S...(+)
STB vocal soli, SATB
choir, 2 oboes, horn, 2
violins, viola, basso
continuo SKU:
CA.3101411 Cantata
for the 4th Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal;
Hymns by Martin Luther:
War Gott nicht mit uns
diese Zeit. German title:
War Gott nicht mit uns
diese Zeit. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Violin 1. Composed 1735.
BWV 14. 8 pages. Duration
18 minutes. Carus Verlag
#CV 31.014/11. Published
by Carus Verlag
(CA.3101411). ISBN
9790007204723. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther. Score
available separately -
see item CA.3101400. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Flute in D major (Concerto per il Flauto traverso in D / Flotenkonzert in D) [Conducteur et Parties séparées] Carus Verlag
Solo flute, 2 horn, 2 violin, viola, cello/bass, basso continuo SKU: CA.38404...(+)
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo SKU:
CA.3840409
Flotenkonzert in
D. Composed by Johann
Christian Bach. Edited by
Ulrich Leisinger. 1x
38.404/21 flute, 1x
38.404/31 horn 1, 1x
38.404/32 horn 2.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Set of Orchestra
Parts. Composed 1768.
Warb C 79. 24 pages.
Duration 20 minutes.
Carus Verlag #CV
38.404/09. Published by
Carus Verlag
(CA.3840409). ISBN
9790007215187. Key: D
major. Language: all
languages. Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude. Score and
parts available
separately - see item
CA.3840400. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| O Jesu Christ, my Life and Light BWV 118 Breitkopf & Härtel
Basso continuo (1. version: 0.0.0.0. - 2litui.0.corn.3.0 - db / 2. version: 0.2(...(+)
Basso continuo (1.
version: 0.0.0.0. -
2litui.0.corn.3.0 - db /
2. version: 0.2(ad
lib.).ob.da cac(cor
ang.)0.1 - 2litui. 0.0.0
- str - db) SKU:
BR.OB-4618-11 1st
and 2nd Version -
Urtext. Composed by
Johann Sebastian Bach.
Edited by Wolfram
Ensslin. Arranged by
Matthias (Bc) Grunert.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
The new edition of BWV
118 presents the work in
the two different
instrumental settings
that are authenticated
through the autograph
scores: the earlier
version with solely brass
instruments, and the
later one with mixed
instruments. Have a
look. Motet; Baroque.
Part. 4 pages. Duration
8'. Breitkopf and Haertel
#OB 4618-11. Published by
Breitkopf and Haertel
(BR.OB-4618-11). ISBN
9790004341520. 12 x 9
inches. The new
edition of BWV 118
presents the work in the
two different
instrumental settings
that are authenticated
through the autograph
scores: the earlier
version with solely brass
instruments, and the
later one with mixed
instruments. Both
versions are printed
consecutively. Of
particular interest for
an authentic performance
are two Litui, which are
called for in both
versions. To this day it
has been impossible to
determine what
instruments are meant
here: high horns in B
flat? Or trumpets? The
work has more unanswered
questions for us for
example, the occasion for
which the first version
was written in ca.
1736/37, and the reason
why the work was newly
orchestrated after
1740. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ah Lord, spare thou this sinner (Ach Herr, mich armen Sunder) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
SATB vocal soli, SATB choir, 2 oboes, [cornet, trombone], 2 violins, viola, bass...(+)
SATB vocal soli, SATB
choir, 2 oboes, [cornet,
trombone], 2 violins,
viola, basso continuo
SKU: CA.3113509
Cantata for the 3rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Wolfram Ensslin, Wolfram
Ensslin. Arranged by Paul
Horn. This edition:
urtext. 1x 31.135/21 oboe
1, 1x 31.135/22 oboe 2,
1x 31.135/31 clarino, 1x
31.135/32 trombone.
Stuttgart Urtext Edition:
Bach vocal. German title:
Ach Herr, mich armen
Sunder 4. Sacred vocal
music, Trinity. Set of
Orchestra Parts. Composed
1724. BWV 135. 12 pages.
Duration 17 minutes.
Carus Verlag #CV
31.135/09. Published by
Carus Verlag
(CA.3113509). ISBN
9790007208042. Language:
German/English. Bac
h composed BWV 135 as the
fourth cantata in the
second annual cycle of
Leipzig cantatas. The
hymn Ach Herr, mich armen
Sunder was written in the
16th century to the tune
of Herzlich tut mich
verlangen. The
unidentified Leipzig
librettist of the 2nd
cycle of chorale cantatas
made free use of this
hymn as the basis of an
exemplary cantata text.
Score and parts available
separately - see item
CA.3113500. $13.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| What has this world to give (Was frag ich nach der Welt) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre - Facile Carus Verlag
Orchestra SATB vocal soli, SATB choir, flute, 2 oboes/2 oboe d'amore, 2 violins,...(+)
Orchestra SATB vocal
soli, SATB choir, flute,
2 oboes/2 oboe d'amore, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3109411
Cantata for the 9th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Was frag ich nach
der Welt. Sacred vocal
music, Cantatas,
Mourning, death. Single
Part, Violin 1. Composed
1724. BWV 94. 8 pages.
Duration 23 minutes.
Carus Verlag #CV
31.094/11. Published by
Carus Verlag
(CA.3109411). ISBN
9790007046668. Key: D
major. Language:
German/English. Text:
Kindermann, Balthasar.
Text: Balthasar
Kindermann. Score
available separately -
see item CA.3109400. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ah Lord, spare thou this sinner Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Partie séparée] Carus Verlag
(Cantata for the 3rd Sunday after Trinity). By Johann Sebastian Bach (1685-1750)...(+)
(Cantata for the 3rd
Sunday after Trinity). By
Johann Sebastian Bach
(1685-1750). Edited by
Wolfram Enlin. Arranged
by Paul Horn. For SATB
vocal soli, SATB choir, 2
oboes, [cornet,
trombone], 2 violins,
viola, basso continuo.
Stuttgart Urtext
editions. Score available
separately - see item
CA.3113500. Trinity.
Part: violin 1. Language:
German/English. Composed
1724. BWV 135. 4 pages.
Duration 17 min.
Published by Carus Verlag
$4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| What has this world to give (Was frag ich nach der Welt) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre - Facile Carus Verlag
Orchestra SATB vocal soli, SATB choir, flute, 2 oboes/2 oboe d'amore, 2 violins,...(+)
Orchestra SATB vocal
soli, SATB choir, flute,
2 oboes/2 oboe d'amore, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3109409
Cantata for the 9th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. 1x
31.094/21 flute, 1x
31.094/22 oboe d'amore 1,
1x 31.094/23 oboe d'amore
2. German title: Was frag
ich nach der Welt 3.
Sacred vocal music,
Cantatas, Mourning,
death. Set of Orchestra
Parts. Composed 1724. BWV
94. 24 pages. Duration 23
minutes. Carus Verlag #CV
31.094/09. Published by
Carus Verlag
(CA.3109409). ISBN
9790007046651. Key: D
major. Language:
German/English. Text:
Kindermann, Balthasar.
Text: Balthasar
Kindermann. Score
available separately -
see item CA.3109400. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| God the Lord is sun and shield (Gott, der Herr, ist Sonn und Schild) Chorale SATB - Facile Carus Verlag
Orchestra SAB vocal soli, SATB choir, [2 flutes], 2 oboes, 2 horns, timpani, 2 v...(+)
Orchestra SAB vocal soli,
SATB choir, [2 flutes], 2
oboes, 2 horns, timpani,
2 violins, viola, basso
continuo - Grade 3
SKU: CA.3107911
Cantata for
Reformation Day.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. Arranged by
Paul Horn. German title:
Gott, Der Herr, Ist Sonn
Und Schild Rev.
Innovative practice aids,
Sacred vocal music,
Cantatas, Psalms, German,
Special days, Reformation
day, Praise and thanks.
Single Part, Violin 1.
Composed circa 1725. BWV
79. 8 pages. Duration 17
minutes. Carus Verlag #CV
31.079/11. Published by
Carus Verlag
(CA.3107911). ISBN
9790007045258. Key: G
major. Language:
German/English. Aft
er the really well-known
cantata Ein feste Burg
ist unser Gott BWV 80,
Bach's only other cantata
for Reformation Day is
Gott, der Herr, ist Sonn
und Schild BWV 79. The
central chorale movement
Nun danket alle Gott has
become extremely famous
separately from the
cantata. This movement is
characterised by the
catchy melody of the two
horn parts with their
interludes between the
lines of the chorale.
These in turn are taken
from the freely-composed
opening chorus, thus
forming a surprising link
between the movement for
chorus and the chorale.
The chorus and both the
arias in the cantata were
used later in a Latin
parody in the so-called
Lutheran Masses. Score
and part available
separately - see item
CA.3107900. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB
choir, 2 oboes, 2 horns,
Taille (english horn), 3
soli violins + viola +
cello, 2 violins, viola,
basso continuo SKU:
CA.3117415 Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Violoncello solo
1-3. Sacred vocal music,
Cantatas, Whitsun, Praise
and thanks. Single Part,
Cello 1-3. Composed 1729.
BWV 174. 12 pages.
Duration 23 minutes.
Carus Verlag #CV
31.174/15. Published by
Carus Verlag
(CA.3117415). ISBN
9790007209681. Text
language: German/English.
Text: Henrici (Picander),
Christian
Friedrich. The
cantata Ich liebe den
Hochsten von ganzem
Gemute (I love the
Almighty with all of my
spirit) BWV 174 was
composed for Whit Monday
1729. It probably belongs
to Bach's fourth cycle of
cantatas, known as the
Picander cycle. Most of
the cantata is taken up
by the introductory
Sinfonia. This is a
reworking of the first
movement of the famous
third Brandenburg
Concerto BWV 1048. Bach
took the movement almost
unaltered and simply
added wind parts to
strengthen the sound to
the nine string parts
(three violins, three
violas, three
violoncelli) and basso
continuo - two corni da
caccia and two oboes,
reinforced by two
violins, an oboe da
caccia (taille) and a
viola. The following
movements (aria,
recitative, aria) form a
distinct contrast with
their chamber music
scoring (two oboes or one
or two string parts with
basso continuo). A simple
four-part chorale
concludes the cantata.
Score and part available
separately - see item
CA.3117400. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB
choir, 2 oboes, 2 horns,
Taille (english horn), 3
soli violins + viola +
cello, 2 violins, viola,
basso continuo SKU:
CA.3117414 Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Viola solo 1-3.
Sacred vocal music,
Cantatas, Whitsun, Praise
and thanks. Single Part,
Viola solo 1-3. Composed
1729. BWV 174. 16 pages.
Duration 23 minutes.
Carus Verlag #CV
31.174/14. Published by
Carus Verlag
(CA.3117414). ISBN
9790007209674. Text
language: German/English.
Text: Henrici (Picander),
Christian
Friedrich. The
cantata Ich liebe den
Hochsten von ganzem
Gemute (I love the
Almighty with all of my
spirit) BWV 174 was
composed for Whit Monday
1729. It probably belongs
to Bach's fourth cycle of
cantatas, known as the
Picander cycle. Most of
the cantata is taken up
by the introductory
Sinfonia. This is a
reworking of the first
movement of the famous
third Brandenburg
Concerto BWV 1048. Bach
took the movement almost
unaltered and simply
added wind parts to
strengthen the sound to
the nine string parts
(three violins, three
violas, three
violoncelli) and basso
continuo - two corni da
caccia and two oboes,
reinforced by two
violins, an oboe da
caccia (taille) and a
viola. The following
movements (aria,
recitative, aria) form a
distinct contrast with
their chamber music
scoring (two oboes or one
or two string parts with
basso continuo). A simple
four-part chorale
concludes the cantata.
Score and part available
separately - see item
CA.3117400. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB
choir, 2 oboes, 2 horns,
Taille (english horn), 3
soli violins + viola +
cello, 2 violins, viola,
basso continuo SKU:
CA.3117411 Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Violin solo 1.
Sacred vocal music,
Cantatas, Whitsun, Praise
and thanks. Single Part,
Violin Solo 1. Composed
1729. BWV 174. 12 pages.
Duration 23 minutes.
Carus Verlag #CV
31.174/11. Published by
Carus Verlag
(CA.3117411). ISBN
9790007209643. Text
language: German/English.
Text: Henrici (Picander),
Christian
Friedrich. The
cantata Ich liebe den
Hochsten von ganzem
Gemute (I love the
Almighty with all of my
spirit) BWV 174 was
composed for Whit Monday
1729. It probably belongs
to Bach's fourth cycle of
cantatas, known as the
Picander cycle. Most of
the cantata is taken up
by the introductory
Sinfonia. This is a
reworking of the first
movement of the famous
third Brandenburg
Concerto BWV 1048. Bach
took the movement almost
unaltered and simply
added wind parts to
strengthen the sound to
the nine string parts
(three violins, three
violas, three
violoncelli) and basso
continuo - two corni da
caccia and two oboes,
reinforced by two
violins, an oboe da
caccia (taille) and a
viola. The following
movements (aria,
recitative, aria) form a
distinct contrast with
their chamber music
scoring (two oboes or one
or two string parts with
basso continuo). A simple
four-part chorale
concludes the cantata.
Score and part available
separately - see item
CA.3117400. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A mighty fortress is our God (Ein feste Burg ist unser Gott) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre - Facile Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 oboes/2 oboe d'amore, oboe d'caccia, [3...(+)
Orchestra SATB vocal
soli, SATB choir, 2
oboes/2 oboe d'amore,
oboe d'caccia, [3
trumpets, timpani], 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3108013
Cantata for
Reformation Day.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. Arranged
by Paul Horn. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal; Hymns by
Martin Luther: Ein feste
Burg ist unser Gott.
German title: Ein feste
Burg. Innovative practice
aids, Sacred vocal music,
Cantatas, Reformation
day. Single Part, Viola.
BWV 80. 12 pages.
Duration 30 minutes.
Carus Verlag #CV
31.080/13. Published by
Carus Verlag
(CA.3108013). ISBN
9790007045371. Key: D
major. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther, Salomo
Franck. Bach's
Reformation cantata,
based on what is probably
Martin Luther's most
famous hymn, evolved over
a period of several
years. At the beginning
was a Weimar cantata for
Oculi Sunday 1716, now
missing, which was based
on the hymn with an
instrumental quotation in
the opening aria and with
the final chorale. In the
Leipzig years around
1730, Bach wrote a
cantata for Reformation
Day using this material.
It began with the first
verses of Luther's hymn
in a simple four-part
setting and also included
the other verses. Later
on, in the 1730s or
1740s, Bach replaced the
introductory chorale
movement with a chorale
setting which was unique,
spacious and motet-like
in its style; this -
uniquely in this respect
- incorporated the choral
writing in an
instrumental canon for
oboes and organ continuo.
The powerful opening
chorus is followed by
recitatives and arias
which reflect the full
breadth of Bach's art of
word painting and
emotion. One of Bach's
most magnificent
cantatas, one of the
greatest works in the
history of music. In
addition to the complete
performance material the
arrangements of movements
1 and 5 (with 3 trumpets,
timpani as playing score)
by Wilhelm Friedemann
Bach are available (Carus
3108089). Score and part
available separately -
see item CA.3108000. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The heavens are telling the Father's glory (Die Himmel erzahlen die Ehre Gottes) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre - Intermédiaire Carus Verlag
SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, v...(+)
SATB vocal soli, SATB
choir, oboe I/oboe
d'amore, oboe II,
trumpet, 2 violins,
viola, basso continuo -
Level 3 SKU:
CA.3107611 Cantata
for the 2nd Sunday afer
Trinity / Reformation
Day. Composed by
Johann Sebastian Bach.
Edited by Ulrich
Leisinger. Arranged by
Paul Horn. German title:
Die Himmel erzahlen die
Ehre Gottes. Sacred vocal
music, Cantatas, Psalms,
German. Single Part,
Violin 1. Composed 1723.
BWV 76. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
31.076/11. Published by
Carus Verlag
(CA.3107611). ISBN
9790007044947. Key: C
major / a minor.
Language:
German/English. The
cantata Die Himmel
erzahlen die Ehre Gottes
(The heavens are telling
of God in glory) BWV 76
by Johann Sebastian Bach
was written for the 2nd
Sunday after Trinity,
which fell on 6 June 1723
in the year it was first
performed. This ambitious
two-part work was the
second cantata which Bach
wrote after taking up the
position of Kantor of St.
Thomas's in Leipzig.
Bach's aim was evidently
to demonstrate a
particularly wide range
of musical forms in both
the arias and the
recitatives in this
cantata. The opening
chorus is based on verses
2 and 4 of Psalm 19, with
verse 4 structured as a
choral fugue. Both parts
of the cantata end with a
chorale movement with
different verses from the
Lutheran hymn Es woll uns
Gott genadig sein. The
text refers loosely to
the epistle reading from
the 1st letter of St
John, but deals more with
general thoughts about
the temptations of the
Christian which can be
overcome through love.
Bach also performed the
first part of the cantata
later with minor
revisions, but evidently
no alterations to the
text, on Reformation Day
in Leipzig. Score and
part available separately
- see item
CA.3107600. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blessed ist the man (Selig ist der Mann) Chorale SATB Carus Verlag
Soli SB, SATB Choir, 2 Oboes, English Horn, 2 Violins, Viola, Basso continuo ...(+)
Soli SB, SATB Choir, 2
Oboes, English Horn, 2
Violins, Viola, Basso
continuo SKU:
CA.3105711 Cantata
for the 2nd day of
Christmas. Composed
by Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Christmas. Single Part,
Violin 1. Composed 1725.
BWV 57. 12 pages.
Duration 28 minutes.
Carus Verlag #CV
31.057/11. Published by
Carus Verlag
(CA.3105711). ISBN
9790007206567. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. The first
performance of this
cantata, which belongs to
Bach's third annual cycle
of cantatas, took place
on the 2nd day of
Christmas in 1725. With
the exception of the
closing chorale, with a
text from 1711 by Georg
Christian Lehms, the text
of the cantata refers to
St. Stephan, the first
martyr of the New
Testament and patron
saint whose name day
occurs on 26 December. In
a dialog between the Soul
(Soprano) and Jesus
(bass) the struggle with
sin is recounted
respectively in two
expressive arias arias.
The entire orchestra is
involved in the first
movement as well as in in
the closing chorale
together with the choir.
Score and part available
separately - see item
CA.3105700. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Blessed ist the man (Selig ist der Mann) Chorale SATB [Conducteur et Parties séparées] Carus Verlag
Soli SB, SATB Choir, 2 Oboes, English Horn, 2 Violins, Viola, Basso continuo ...(+)
Soli SB, SATB Choir, 2
Oboes, English Horn, 2
Violins, Viola, Basso
continuo SKU:
CA.3105709 Cantata
for the 2nd day of
Christmas. Composed
by Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext. 1x
31.057/21 oboe 1, 1x
31.057/22 oboe 2, 1x
31.057/23 oboe. Stuttgart
Urtext Edition: Bach
vocal. Harmony parts.
Sacred vocal music,
Christmas. Set of
Orchestra Parts. Composed
1725. BWV 57. Duration 28
minutes. Carus Verlag #CV
31.057/09. Published by
Carus Verlag
(CA.3105709). ISBN
9790007206550. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. The first
performance of this
cantata, which belongs to
Bach's third annual cycle
of cantatas, took place
on the 2nd day of
Christmas in 1725. With
the exception of the
closing chorale, with a
text from 1711 by Georg
Christian Lehms, the text
of the cantata refers to
St. Stephan, the first
martyr of the New
Testament and patron
saint whose name day
occurs on 26 December. In
a dialog between the Soul
(Soprano) and Jesus
(bass) the struggle with
sin is recounted
respectively in two
expressive arias arias.
The entire orchestra is
involved in the first
movement as well as in in
the closing chorale
together with the choir.
Score and parts available
separately - see item
CA.3105700. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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