122 Songs & Choruses
in 22 Extended Medleys
for Choir &
Congregation.
Composed by Mike Speck.
Choral, cantatas.
Southern Gospel. Book.
Word Music #080689309175.
Published by Word Music
(WD.080689309175).
UPC: 080689309175.
Orchestrated by Rick
Averill.
Mike Speck
fulfills his dream to
compile and create
medleys of the most loved
classic hymns,
contemporary choruses,
and old-time gospel songs
in Timeless
Praise, creating
a collection for worship
leaders that allows the
varying styles to flow
together seamlessly. Each
medley utilizes about six
songs and is five to
seven minutes in length.
They are organized by the
great themes of our faith
including The Cross, The
Resurrection, Second
Coming, Grace, and more.
Each medley includes
repeat endings and song
endings so that they can
be adapted to any worship
situation. The choral
edition contains easy
four-part voicing with
chord symbols. The
Piano/Vocal edition also
includes a complete
accompaniment in addition
to the contents of the
choral book and is
contained in a three ring
binder. The preview paks
contain special editions
which preview 10 of the
22 medleys.
Composed by Ken Bible. For SATB choir, hymnal style. This edition: Paperback, Wo...(+)
Composed by Ken Bible.
For SATB choir, hymnal
style. This edition:
Paperback, Words Only
Edition. Songbook.
Multicultural and Sacred.
Words only. 30 pages.
Published by Lillenas
Publishing Company
Festival Te Deum Chorale Soprano seul, SATB, Clavier Boosey and Hawkes
(Treble Solo, SATB Chorus and Organ). By Benjamin Britten (1913-1976). For Chora...(+)
(Treble Solo, SATB Chorus
and Organ). By Benjamin
Britten (1913-1976). For
Choral (SATB, Organ). BH
Large Choral. 24 pages.
Boosey and Hawkes
#M051481699. Published by
Boosey and Hawkes
By Elizabeth Alexander. For Men's Chorus (TTBB choir a cappella). Collegiate Rep...(+)
By Elizabeth Alexander.
For Men's Chorus (TTBB
choir a cappella).
Collegiate Repertoire,
Community Chorus, Concert
Music. Courage, Hardship,
Sacred (Worship and
Praise), Choral.
Moderately Advanced.
Octavo. Text language:
English. Duration 6
minutes. Published by
Seafarer Press
Keyboard - Beginning SKU: GI.G-5632 Hymn Tunes, Songs, and Carols by R...(+)
Keyboard - Beginning
SKU: GI.G-5632
Hymn Tunes, Songs, and
Carols by Randall
Sensmeier. Composed
by Randall Sensmeier.
Hymn Tune Collection.
Sacred. Hymn tune
collection. 112 pages.
GIA Publications #5632.
Published by GIA
Publications (GI.G-5632).
ISBN 9781579991579.
English. Text source:
Various authors. Text by
Various.
Martin E.
Marty, Emeritus Professor
at the University of
Chicago, says it best in
the forward of this new
hymn tune collection,
“Teach Our Hearts
is full of music that
will indeed belong in
cathedrals and inspire
their choirs. But I am
here called upon to
witness to the fact that
everything in this book
is singable among smaller
worshipping communities,
where volunteer choirs
help lead ordinary
congregations-if there
are such-in
singing.†54 new
hymns, songs and carols
are presented here texts
by a plethora of
well-known writers.
CONTENTS: BEFORE THE
FRUIT IS RIPENED BY THE
SUN • YOU, LORD,
ARE BOTH LAMB AND
SHEPHERD • YOU ARE
SALT, WHICH, SHAKEN OUT
• THE HILLS ARE
STILL • GO TO THE
WORLD • FAR FROM
HOME • TO
BETHLEHEM TWO STRANGERS
• O RISEN CHRIST
• LORD, HELP US
WALK • A WOUNDED
MAN • BESIDE THE
ALIEN RIVER • FOR
THE MUSIC • MEET
THE WOMAN WHO ANOINTED
• O GOD, WHOSE
HEALING POWER • YOU
ARE CALLED • FAR
MORE THAN PASSION •
ONE WITH GOD •
GLORY GILDS THE EASTERN
• CREATING GOD
• LOVING SPIRIT
• O GOD, YOU KNOW
US • WHEN JESUS
CAME • ALL
PRAISE BE TO GOD •
REMEMBER AND REJOICE
• A CHRISTMAS
PRAYER • ALL PEOPLE
JOIN • BECAUSE
CHRIST LIVES •
CRASHING WATERS •
MOTHERING GOD
• HOW SHOCKING
• IT STARTED
WITH • O GOD WHO
MADE • THEY
CAME, A MILLING CROWD
• THOUGH WE MAY
SPEAK HYMN • WE
PRAISE YOU, GOD! •
WEEP FOR EVE
• MARTHA MARY
• MAY
GOD’S LOVE BE
FIXED • THE TEMPLE
RANG • TELL ME
AGAIN • AS WE
GATHER AT YOUR TABLE
• COME, JOIN IN
CANA’S FEAST
• IN ALL OUR
GRIEF • HOLY GOD
• BLEST BE THE GOD
• NOW, O LORD,
DISMISS YOUR SERVANTS
• SHADOWS FROM
THE CROSS • STAY
WITH US, LORD
• REST, O CHRIST
• THESE THINGS
DID THOMAS
• COME TO TEND
GOD’S GARDEN
• AND DID YOU RISK
YOURSELF, O CHRIST
• BLESS THE LORD
IN PSALM AND CHORUS
• CHRIST, YOU
FORMED THE CHURCH.
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus
SKU:
CF.CM9588
Composed by
Tomas Luis de Victoria.
Arranged by Jeb Mueller.
Fold. Performance Score.
8 pages. Duration 1
minute, 59 seconds. Carl
Fischer Music #CM9588.
Published by Carl Fischer
Music (CF.CM9588).
ISBN 9781491154106.
UPC: 680160912605. 6.875
x 10.5 inches. Key: Eb
major. Latin. Traditional
Latin.
Tomas Luis
de Victoria (15481611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victorias time. It should
be noted that dynamics
are largely subjective,
so performers may make
alternative choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[v??bum k??? p?n?m v?rum]
verbo carnem efficit:
fitque sanguis Christi
merum. [v??b? k??n?m
??fit?it fitkw? s??gwis
k?isti m??um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[?t si s?nsus ?d?fit?it,
?d fi??m?ndum k?? sin
t???um] Jeb
Mueller. TomA!s Luis
de Victoria (1548a1611)
is widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoriaas time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is ao,a which
sounds similar to the
English words bought and
got. The letter ata
should be produced
dentally: lift the tongue
to the top of the mouth
as in English, but
aspirate less on the
release. All occurrences
of asa should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum, [vEE
3/4 bum kEE 3/4 E pEnEm
vErum] verbo carnem
efficit: fitque sanguis
Christi merum. [vEE 3/4
bE kEE 3/4 nEm EEfitEit
fitkwE sEAgwis kE 3/4
isti mEE 3/4 um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[Et si sEnsus EdEfitEit,
Ed fiE 3/4 EmEndum kEE
3/4 sin tEEE 3/4 um] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange lingua based
on a Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano. The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomás Luis
de Victoria
(1548–1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano.The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance.Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria’s time.
It should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and
clarity.PRONUNCIATION
GUIDEVictoria received
much of his training in
Italy, therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is
“o,†which
sounds similar to the
English words bought and
got. The letter
“t†should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of “s†should
be soft and never
hardened to [z], such as
in praise.Verbum caro,
panem
verum,[vɛɾbum
kɑɾɔ
pɑnɛm
vɛrum]verbo carnem
efficit: fitque sanguis
Christi
merum.[vɛɾbɔ
kɑɾnɛm
ˈɛfitʃit
fitkwÉ›
sɑŋgwis kɾisti
mɛɾum]Et si sensus
deficit, ad firmandum cor
sin cerum.[ɛt si
sɛnsus
ˈdɛfitʃit,
É‘d
fiɾˈmɑndum
kɔɾ sin
tʃɛɾum]Jeb
Mueller.
Sei Lob
und Ehr dem hochsten
Gut. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
1x 31.117/21 flute 1, 1x
31.117/22 flute 2, 1x
31.117/23 oboe 1, 1x
31.117/24 oboe 2. Harmony
parts. Sacred vocal
music, Cantatas, Praise
and thanks. Set of
Orchestra Parts. Composed
1728/1731. BWV 117. 16
pages. Duration 26
minutes. Carus Verlag #CV
31.117/09. Published by
Carus Verlag
(CA.3111709).
ISBN
9790007048662. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score and parts
available separately -
see item CA.3111700.
Sei Lob
und Ehr dem hochsten
Gut. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
Organ. Sacred vocal
music, Cantatas, Praise
and thanks. Single Part,
Organ. Composed
1728/1731. BWV 117. 24
pages. Duration 26
minutes. Carus Verlag #CV
31.117/49. Published by
Carus Verlag
(CA.3111749).
ISBN
9790007048716. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score and part
available separately -
see item CA.3111700.
Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat.
Sacred vocal music,
Cantatas, Praise and
thanks. Study score.
Composed 1728/1731. BWV
117. 52 pages. Duration
26 minutes. Carus Verlag
#CV 31.117/07. Published
by Carus Verlag
(CA.3111707).
ISBN
9790007091651. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score available
separately - see item
CA.3111700.
Sei Lob
und Ehr dem hochsten
Gut. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
Viola. Sacred vocal
music, Cantatas, Praise
and thanks. Single Part,
Viola. Composed
1728/1731. BWV 117. 4
pages. Duration 26
minutes. Carus Verlag #CV
31.117/13. Published by
Carus Verlag
(CA.3111713).
ISBN
9790007048693. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score and part
available separately -
see item CA.3111700.
Sei Lob
und Ehr dem hochsten
Gut. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
Violin 1. Sacred vocal
music, Cantatas, Praise
and thanks. Single Part,
Violin 1. Composed
1728/1731. BWV 117. 8
pages. Duration 26
minutes. Carus Verlag #CV
31.117/11. Published by
Carus Verlag
(CA.3111711).
ISBN
9790007048679. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score and part
available separately -
see item CA.3111700.
Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat.
This edition: Paperbound.
German title: Sei Lob und
Ehr dem hochsten Gut.
Sacred vocal music,
Cantatas, Praise and
thanks. Full score.
Composed 1728/1731. BWV
117. 52 pages. Duration
26 minutes. Carus Verlag
#CV 31.117/00. Published
by Carus Verlag
(CA.3111700).
ISBN
9790007048631. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections.
Sei Lob
und Ehr dem hochsten
Gut. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
Violin 2. Sacred vocal
music, Cantatas, Praise
and thanks. Single Part,
Violin 2. Composed
1728/1731. BWV 117. 4
pages. Duration 26
minutes. Carus Verlag #CV
31.117/12. Published by
Carus Verlag
(CA.3111712).
ISBN
9790007048686. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score and part
available separately -
see item CA.3111700.
Sei Lob
und Ehr dem hochsten Gut
neu. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
Sacred vocal music,
Cantatas, Praise and
thanks. Choral Score.
Composed 1728/1731. BWV
117. 4 pages. Duration 26
minutes. Carus Verlag #CV
31.117/05. Published by
Carus Verlag
(CA.3111705).
ISBN
9790007048655. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score available
separately - see item
CA.3111700.
Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat.
German title: Sei Lob und
Ehr dem hochsten Gut.
Sacred vocal music,
Cantatas, Praise and
thanks. Set of Orchestra
Parts. Composed
1728/1731. BWV 117.
Duration 26 minutes.
Carus Verlag #CV
31.117/19. Published by
Carus Verlag
(CA.3111719).
ISBN
9790007136666. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score and parts
available separately -
see item CA.3111700.
Sei Lob
und Ehr dem hochsten
Gut. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
This edition: Paperbound.
Sacred vocal music,
Cantatas, Praise and
thanks. Vocal score.
Composed 1728/1731. BWV
117. 28 pages. Duration
26 minutes. Carus Verlag
#CV 31.117/03. Published
by Carus Verlag
(CA.3111703).
ISBN
9790007048648. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score available
separately - see item
CA.3111700.
Sei Lob
und Ehr dem hochsten
Gut. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
Violoncello/double bass.
Sacred vocal music,
Cantatas, Praise and
thanks. Single Part,
Cello/Double Bass.
Composed 1728/1731. BWV
117. 16 pages. Duration
26 minutes. Carus Verlag
#CV 31.117/14. Published
by Carus Verlag
(CA.3111714).
ISBN
9790007048709. Key: G
major. Language:
German/English. Text:
Schutz, Johann Jakob.
Text: Johann Jakob
Schutz.
The cantata
Sei Lob und Ehr dem
hochsten Gut (All glory
to the Lord of Lords) BWV
117 is one of a small
group of Bach's chorale
cantatas which use
exclusively the text of
the chorale, including in
the three recitatives and
three arias. Only the
autograph score of the
cantata survives;
although this enables an
approximate dating to be
made (c. 1730), it does
not give the occasion for
which the cantata was
written. The choice of
chorale may indicate it
was composed for a
wedding. Recently it has
been suggested that the
occasion for its
composition was the
birthday of the Duke of
Weissenfels in 1731; but
there is no firm evidence
to support either theory.
The cantata opens with an
extended movement for
chorus in which Bach
contrasts the concertante
orchestra with festive,
almost homophonic choral
writing. This chorus
movement is repeated at
the end. A simple chorale
movement which comes
fourth indicates that the
nine-movement cantata was
performed in two
sections. Score and part
available separately -
see item CA.3111700.
Soprano voice solo (tenor voice), recorder f1 (violin), oboe (violin), basso con...(+)
Soprano voice solo (tenor
voice), recorder f1
(violin), oboe (violin),
basso continuo, [SATB
choir, 2 violins, viola,
cello/contrabass]
SKU:
CA.3912013
Kantate
zum 12. Sonntag nach
Trinitatis. Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. Arranged by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Da, Jesu, deinen
Ruhm zu mehren. Sacred
vocal music, Cantatas,
Trinity, Praise and
thanks. Single Part,
Cello/Double Bass. TVWV
1:531a. 4 pages. Duration
12 minutes. Carus Verlag
#CV 39.120/13. Published
by Carus Verlag
(CA.3912013).
ISBN
9790007055653. Language:
German/English.
Thi
s three-movement solo
cantata can be performed
in several ways. The
instruments basically
required are the trio
sonata ensemble of
recorder, oboe and
keyboard instrument (+ a
continuo melody
instrument ad lib.). If
necessary, as Telemann
stated, the two woodwind
parts can be placed by
violins. The instrumental
parts can also be
augmented by a body of
strings, playing in the
ritornello sections of
the two arias. Moreover,
the new edition expands
the performance
possibilities for the
work by adding a
four-part chorus from the
more fully scored
original version, which
Telemann did not publish.
Score and part available
separately - see item
CA.3912000.
Soprano voice solo (tenor voice), recorder f1 (violin), oboe (violin), basso con...(+)
Soprano voice solo (tenor
voice), recorder f1
(violin), oboe (violin),
basso continuo, [SATB
choir, 2 violins, viola,
cello/contrabass]
SKU:
CA.3912019
Kantate
zum 12. Sonntag nach
Trinitatis. Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. Arranged by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Trinity, Praise and
thanks. Set of Orchestra
Parts. TVWV 1:531a.
Duration 12 minutes.
Carus Verlag #CV
39.120/19. Published by
Carus Verlag
(CA.3912019).
ISBN
9790007144296. Text
language:
German/English.
Thi
s three-movement solo
cantata can be performed
in several ways. The
instruments basically
required are the trio
sonata ensemble of
recorder, oboe and
keyboard instrument (+ a
continuo melody
instrument ad lib.). If
necessary, as Telemann
stated, the two woodwind
parts can be placed by
violins. The instrumental
parts can also be
augmented by a body of
strings, playing in the
ritornello sections of
the two arias. Moreover,
the new edition expands
the performance
possibilities for the
work by adding a
four-part chorus from the
more fully scored
original version, which
Telemann did not publish.
Score and parts available
separately - see item
CA.3912000.
Soprano voice solo (tenor voice), recorder f1 (violin), oboe (violin), basso con...(+)
Soprano voice solo (tenor
voice), recorder f1
(violin), oboe (violin),
basso continuo, [SATB
choir, 2 violins, viola,
cello/contrabass]
SKU:
CA.3912005
Kantate
zum 12. Sonntag nach
Trinitatis. Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. Arranged by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Da, Jesu, deinen
Ruhm zu mehren. Sacred
vocal music, Cantatas,
Trinity, Praise and
thanks. Choral Score.
TVWV 1:531a. 2 pages.
Duration 12 minutes.
Carus Verlag #CV
39.120/05. Published by
Carus Verlag
(CA.3912005).
ISBN
9790007055622. Language:
German/English.
Thi
s three-movement solo
cantata can be performed
in several ways. The
instruments basically
required are the trio
sonata ensemble of
recorder, oboe and
keyboard instrument (+ a
continuo melody
instrument ad lib.). If
necessary, as Telemann
stated, the two woodwind
parts can be placed by
violins. The instrumental
parts can also be
augmented by a body of
strings, playing in the
ritornello sections of
the two arias. Moreover,
the new edition expands
the performance
possibilities for the
work by adding a
four-part chorus from the
more fully scored
original version, which
Telemann did not publish.
Score available
separately - see item
CA.3912000.
Soli SATB, SATB Choir, Obda, Ctto, 3 Trb, 2 Vl, Va, Bc SKU: CA.3112109 (+)
Soli SATB, SATB Choir,
Obda, Ctto, 3 Trb, 2 Vl,
Va, Bc
SKU:
CA.3112109
Cantata
for the 2nd day of
Christmas. Composed
by Johann Sebastian Bach
and Martin Luther. Edited
by Frieder Rempp. 1x
31.121/21 oboe d'amore,
2x 31.121/31 Cornetto,
Trombone 1, 2x 31.121/32
trombone 2 and 3. Hymns
by Martin Luther:
Christum wir sollen loben
schon; Stuttgart Urtext
Edition: Bach vocal.
Harmony parts. Sacred
vocal music, Cantatas,
Christmas. Set of
Orchestra Parts. Composed
1724. BWV 121. Duration
21 minutes. Carus Verlag
#CV 31.121/09. Published
by Carus Verlag
(CA.3112109).
ISBN
9790007207335. Language:
German/English.
Thi
s six-movement chorale
cantata was first
performed on 26 December
1724. The text is based
on the Lutheran
translation of the early
Christian hymn A solis
ortus cardinem. The outer
movements frame two arias
for tenor and bass, and
two secco recitatives for
alto and soprano. The
first and sixth movements
are in old-fashioned
style, with four-part
vocal writing and colla
parte instruments. In the
aria (movement 2) the
tenor is accompanied by
an obbligato oboe
d'amore, and in the 4th
and most striking
movement, the three
string parts accompany
the bass. The demands on
the singers,
instrumentalists, and
chorus are typical of a
Bach cantata. Score and
parts available
separately - see item
CA.3112100.
Soli SATB, SATB Choir, Obda, Ctto, 3 Trb, 2 Vl, Va, Bc SKU: CA.3112100 (+)
Soli SATB, SATB Choir,
Obda, Ctto, 3 Trb, 2 Vl,
Va, Bc
SKU:
CA.3112100
Cantata
for the 2nd day of
Christmas. Composed
by Johann Sebastian Bach
and Martin Luther. Edited
by Frieder Rempp. Hymns
by Martin Luther:
Christum wir sollen loben
schon; Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Christmas. Full
score. Composed 1724. BWV
121. 32 pages. Duration
21 minutes. Carus Verlag
#CV 31.121/00. Published
by Carus Verlag
(CA.3112100).
ISBN
9790007181536. Language:
German/English.
Thi
s six-movement chorale
cantata was first
performed on 26 December
1724. The text is based
on the Lutheran
translation of the early
Christian hymn A solis
ortus cardinem. The outer
movements frame two arias
for tenor and bass, and
two secco recitatives for
alto and soprano. The
first and sixth movements
are in old-fashioned
style, with four-part
vocal writing and colla
parte instruments. In the
aria (movement 2) the
tenor is accompanied by
an obbligato oboe
d'amore, and in the 4th
and most striking
movement, the three
string parts accompany
the bass. The demands on
the singers,
instrumentalists, and
chorus are typical of a
Bach cantata.
Soli SATB, SATB Choir, Obda, Ctto, 3 Trb, 2 Vl, Va, Bc SKU: CA.3112111 (+)
Soli SATB, SATB Choir,
Obda, Ctto, 3 Trb, 2 Vl,
Va, Bc
SKU:
CA.3112111
Cantata
for the 2nd day of
Christmas. Composed
by Johann Sebastian Bach
and Martin Luther. Edited
by Frieder Rempp. Hymns
by Martin Luther:
Christum wir sollen loben
schon; Stuttgart Urtext
Edition: Bach vocal.
Violin 1. Sacred vocal
music, Cantatas,
Christmas. Single Part,
Violin 1. Composed 1724.
BWV 121. 8 pages.
Duration 21 minutes.
Carus Verlag #CV
31.121/11. Published by
Carus Verlag
(CA.3112111).
ISBN
9790007207342. Language:
German/English.
Thi
s six-movement chorale
cantata was first
performed on 26 December
1724. The text is based
on the Lutheran
translation of the early
Christian hymn A solis
ortus cardinem. The outer
movements frame two arias
for tenor and bass, and
two secco recitatives for
alto and soprano. The
first and sixth movements
are in old-fashioned
style, with four-part
vocal writing and colla
parte instruments. In the
aria (movement 2) the
tenor is accompanied by
an obbligato oboe
d'amore, and in the 4th
and most striking
movement, the three
string parts accompany
the bass. The demands on
the singers,
instrumentalists, and
chorus are typical of a
Bach cantata. Score and
part available separately
- see item
CA.3112100.
Soli SATB, SATB Choir, Obda, Ctto, 3 Trb, 2 Vl, Va, Bc SKU: CA.3112105 (+)
Soli SATB, SATB Choir,
Obda, Ctto, 3 Trb, 2 Vl,
Va, Bc
SKU:
CA.3112105
Cantata
for the 2nd day of
Christmas. Composed
by Johann Sebastian Bach
and Martin Luther. Edited
by Frieder Rempp. Hymns
by Martin Luther:
Christum wir sollen loben
schon; Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Christmas.
Choral Score. Composed
1724. BWV 121. 8 pages.
Duration 21 minutes.
Carus Verlag #CV
31.121/05. Published by
Carus Verlag
(CA.3112105).
ISBN
9790007186302. Language:
German/English.
Thi
s six-movement chorale
cantata was first
performed on 26 December
1724. The text is based
on the Lutheran
translation of the early
Christian hymn A solis
ortus cardinem. The outer
movements frame two arias
for tenor and bass, and
two secco recitatives for
alto and soprano. The
first and sixth movements
are in old-fashioned
style, with four-part
vocal writing and colla
parte instruments. In the
aria (movement 2) the
tenor is accompanied by
an obbligato oboe
d'amore, and in the 4th
and most striking
movement, the three
string parts accompany
the bass. The demands on
the singers,
instrumentalists, and
chorus are typical of a
Bach cantata. Score
available separately -
see item CA.3112100.
Orchestra Soli SATB Voices, SATB Choir, Obda, Ctto, 3 Trb, 2 Vl, Va, Bc SKU: ...(+)
Orchestra Soli SATB
Voices, SATB Choir, Obda,
Ctto, 3 Trb, 2 Vl, Va, Bc
SKU: CA.3112107
Cantata for the 2nd
day of Christmas.
Composed by Johann
Sebastian Bach and Martin
Luther. Edited by Frieder
Rempp. Sacred vocal
music, Cantatas; use
during church year:
Christmas; Hymns by
Martin Luther: Christum
wir sollen loben schon;
Stuttgart Editions
(Urtext): Stuttgart Bach
Edition - Bach vocal.
Hymns by Martin Luther:
Christum wir sollen loben
schon; Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Christmas.
Study score. Composed
1724. BWV 121. 32 pages.
Duration 21 minutes.
Carus Verlag #CV
31.121/07. Published by
Carus Verlag
(CA.3112107).
ISBN
9790007241544. Language:
German/English.
Thi
s six-movement chorale
cantata was first
performed on 26 December
1724. The text is based
on the Lutheran
translation of the early
Christian hymn A solis
ortus cardinem. The outer
movements frame two arias
for tenor and bass, and
two secco recitatives for
alto and soprano. The
first and sixth movements
are in old-fashioned
style, with four-part
vocal writing and colla
parte instruments. In the
aria (movement 2) the
tenor is accompanied by
an obbligato oboe
d'amore, and in the 4th
and most striking
movement, the three
string parts accompany
the bass. The demands on
the singers,
instrumentalists, and
chorus are typical of a
Bach cantata. Score
available separately -
see item CA.3112100.
Soli SATB, SATB Choir, Obda, Ctto, 3 Trb, 2 Vl, Va, Bc SKU: CA.3112114 (+)
Soli SATB, SATB Choir,
Obda, Ctto, 3 Trb, 2 Vl,
Va, Bc
SKU:
CA.3112114
Cantata
for the 2nd day of
Christmas. Composed
by Johann Sebastian Bach
and Martin Luther. Edited
by Frieder Rempp. Hymns
by Martin Luther:
Christum wir sollen loben
schon; Stuttgart Urtext
Edition: Bach vocal.
Basso continuo. Sacred
vocal music, Cantatas,
Christmas. Single Part,
basso continuo. Composed
1724. BWV 121. 12 pages.
Duration 21 minutes.
Carus Verlag #CV
31.121/14. Published by
Carus Verlag
(CA.3112114).
ISBN
9790007207373. Language:
German/English.
Thi
s six-movement chorale
cantata was first
performed on 26 December
1724. The text is based
on the Lutheran
translation of the early
Christian hymn A solis
ortus cardinem. The outer
movements frame two arias
for tenor and bass, and
two secco recitatives for
alto and soprano. The
first and sixth movements
are in old-fashioned
style, with four-part
vocal writing and colla
parte instruments. In the
aria (movement 2) the
tenor is accompanied by
an obbligato oboe
d'amore, and in the 4th
and most striking
movement, the three
string parts accompany
the bass. The demands on
the singers,
instrumentalists, and
chorus are typical of a
Bach cantata. Score and
part available separately
- see item
CA.3112100.