Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115600 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc
SKU:
CA.3115600
Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas,
Epiphany. Full score.
Composed 1729. BWV 156.
28 pages. Duration 17
minutes. Carus Verlag #CV
31.156/00. Published by
Carus Verlag
(CA.3115600).
ISBN
9790007186777. Language:
German/English.
Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale.
Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115619 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc
SKU:
CA.3115619
Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Epiphany. Set of
Orchestra Parts. Composed
1729. BWV 156. Duration
17 minutes. Carus Verlag
#CV 31.156/19. Published
by Carus Verlag
(CA.3115619).
ISBN
9790007208813. Language:
German/English.
Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and parts available
separately - see item
CA.3115600.
Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115603 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc
SKU:
CA.3115603
Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas,
Epiphany. Vocal score.
Composed 1729. BWV 156.
24 pages. Duration 17
minutes. Carus Verlag #CV
31.156/03. Published by
Carus Verlag
(CA.3115603).
ISBN
9790007186784. Language:
German/English.
Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
available separately -
see item CA.3115600.
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Oboe. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Oboe. Composed 1729. BWV
156. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.156/21. Published by
Carus Verlag
(CA.3115621).
Text
language:
German/English.
Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600.
Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc SKU: CA.3115649 Cantata for th...(+)
Soli SATB, SATB Choir,
Ob, 2 Vl, Va, Bc
SKU:
CA.3115649
Cantata
for the 3rd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Organ. Composed 1729. BWV
156. 12 pages. Duration
17 minutes. Carus Verlag
#CV 31.156/49. Published
by Carus Verlag
(CA.3115649).
ISBN
9790007208820. Language:
German/English.
Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600.
Cantata for the 3rd
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Viola. Composed 1729. BWV
156. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.156/13. Published by
Carus Verlag
(CA.3115613).
ISBN
9790007208790. Text
language:
German/English.
Ich
steh mit einem Fuss im
Grabe (I stand with my
open grave before me) BWV
156 is one of the few
surviving cantatas of
Johann Sebastian Bach
that is based on texts
from the so-called
Picander cycle. As in
several other cantatas
that use texts from this
poet, Bach opens the work
with a sinfonia, most
likely taken from an
earlier concerto that
didn't survive and is
later reused as the slow
movement of the famous
harpsichord concerto in F
minor BWV 1056. In the
first aria, the poet
combines his text with a
well-known chorale, a
technique that is often
found in Bach's cantatas,
particularly those from
the pre-Leipzig period.
The cantata is comprised
of six short movements;
the choir is used only in
the final chorale. Score
and part available
separately - see item
CA.3115600.
Violin 2 SKU: KU.OCT-10021_VL2 Composed by Antonio Vivaldi. Edited by Las...(+)
Violin 2
SKU:
KU.OCT-10021_VL2
Composed by Antonio
Vivaldi. Edited by Laszlo
Hara. Bach format (230 x
302). Rv 497, Pv 72, F.
Viii/7, Ric. 72. Staple
Bound. Part. 5 pages.
Edition Kunzelmann
#OCT-10021_VL2. Published
by Edition Kunzelmann
(KU.OCT-10021_VL2).
Irish Mood Ensemble de cuivres - Intermédiaire/avancé De Haske Publications
Brass Band and Horn Solo - Grade 4 SKU: BT.DHP-1104941-030 Solo for Eb...(+)
Brass Band and Horn Solo
- Grade 4
SKU:
BT.DHP-1104941-030
Solo for Eb Horn and
Brass Band. Composed
by Stijn Roels. Solo
Spectrum. Solo and
Concerto. Set (Score and
Parts). Composed 2010. De
Haske Publications #DHP
1104941-030. Published by
De Haske Publications
(BT.DHP-1104941-030).
9x12 inches.
English-German-French-Dut
ch.
Irish Mood was
written in a classic
â??theme and
variationsâ??
construction, opening
with an Irish-inspired
melodic theme, which is
then followed by four
variations of divergent
character. After the
introduction of the theme
by the soloist, the
cornets and trombones
play the main melody in
Variation 1, while the
soloist provides a
flowing counter melody.
Next comes the highly
extrovert and lively
Variation 2, contrasted
by an introverted
Variation 3 in a minor
key. A masterful tutti
(Variation 4) then leads
the piece toward a
brilliant
ending.
Irish Mood
ist in einer klassischen
Thema und
Variationâ??-Struktur
komponiert, beginnend mit
einem irisch inspirierten
melodischen Thema,
welchem vier Variationen
unterschiedlichen
Charakters folgen:
Nachdem der Solist das
Thema vorgestellt hat,
tragen die Cornets und
Posaunen die Hauptmelodie
in der ersten Variation
vor, während das
Tenorhorn eine
flieÃ?ende Gegenmelodie
dazu spielt. Dann folgt
eine sehr extrovertierte,
lebhafte Variation,
kontrastiert von einer
introvertierten dritten
Variation in Moll.
Variation vier ist ein
meisterliches Tutti,
welches das Werk zu
seinem glanzvollen
Schluss führt.
Composed by Antonio Vivaldi (1678-1741). Edited by Wolfgang Birtel. For Orchestr...(+)
Composed by Antonio
Vivaldi (1678-1741).
Edited by Wolfgang
Birtel. For Orchestra,
Score (Study Score).
Study Score. Softcover.
Eulenburg Edition
#ETP1812. Published by
Eulenburg Edition