Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Viola. Sacred
vocal music, Cantatas,
Whitsun, Praise and
thanks. Single Part,
Viola. Composed 1729. BWV
174. 4 pages. Duration 23
minutes. Carus Verlag #CV
31.174/16. Published by
Carus Verlag
(CA.3117416).
ISBN
9790007209698. 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.
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.
Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Whitsun, Praise and
thanks. Set of Orchestra
Parts. Composed 1729. BWV
174. Duration 23 minutes.
Carus Verlag #CV
31.174/19. Published by
Carus Verlag
(CA.3117419).
ISBN
9790007187248. 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.
Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Organ. Sacred
vocal music, Cantatas,
Whitsun, Praise and
thanks. Single Part,
Organ. Composed 1729. BWV
174. 16 pages. Duration
23 minutes. Carus Verlag
#CV 31.174/49. Published
by Carus Verlag
(CA.3117449).
ISBN
9790007209711. 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.
Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Basso continuo.
Sacred vocal music,
Cantatas, Whitsun, Praise
and thanks. Single Part,
basso continuo. Composed
1729. BWV 174. 12 pages.
Duration 23 minutes.
Carus Verlag #CV
31.174/17. Published by
Carus Verlag
(CA.3117417).
ISBN
9790007209704. 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.
Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Violin solo 2.
Sacred vocal music,
Cantatas, Whitsun, Praise
and thanks. Single Part,
Violin Solo 2. Composed
1729. BWV 174. 12 pages.
Duration 23 minutes.
Carus Verlag #CV
31.174/12. Published by
Carus Verlag
(CA.3117412).
ISBN
9790007209650. 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.
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.
Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Whitsun,
Praise and thanks. Full
score. Composed 1729. BWV
174. 68 pages. Duration
23 minutes. Carus Verlag
#CV 31.174/00. Published
by Carus Verlag
(CA.3117400).
ISBN
9790007171643. 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.
Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Whitsun,
Praise and thanks. Vocal
score. Composed 1729. BWV
174. 28 pages. Duration
23 minutes. Carus Verlag
#CV 31.174/03. Published
by Carus Verlag
(CA.3117403).
ISBN
9790007183554. 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 available
separately - see item
CA.3117400.
Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Whitsun,
Praise and thanks. Choral
Score. Composed 1729. BWV
174. 2 pages. Duration 23
minutes. Carus Verlag #CV
31.174/05. Published by
Carus Verlag
(CA.3117405).
ISBN
9790007186111. 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 available
separately - see item
CA.3117400.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Jesu Christ. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Single
Part, Cello/Double Bass.
Composed 1725. BWV 127. 8
pages. Duration 21
minutes. Carus Verlag #CV
31.127/14. Published by
Carus Verlag
(CA.3112714).
ISBN
9790007048891. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score and part
available separately -
see item CA.3112700.
Kantate zum 1.
Advent. Composed by
Georg Philipp Telemann.
Edited by Traugott
Fedtke, Klaus Hofmann.
Arranged by Traugott
Fedtke. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
German title: Machet die
Tore weit. Innovative
practice aids, Sacred
vocal music, Cantatas,
Psalms, German, Advent,
Praise and thanks. Single
Part, Cello/Double Bass.
TVWV 1:1074. 8 pages.
Duration 16 minutes.
Carus Verlag #CV
39.105/14. Published by
Carus Verlag
(CA.3910514).
ISBN
9790007055257. Language:
German/English.
The
Advent cantata Machet die
Tore weit has long been
one of the most
frequently performed of
Telemann's sacred works.
Among the copies of this
cantata which have been
handed down is a copy by
J. S. Bach which bears
testimony to the high
respect he paid to his
then more celebrated
colleague from Hamburg:
It is a copy of the score
in the hand of the
Thomaskantor which was
made for a performance in
Leipzig on Avent Sunday
in 1734 (therefore during
the same period as the
first performance of
Bach's Christmas
Oratorio). Of the four
solo singers the soprano
and bass, each of whom
has an aria, are
indispensable. The brief
alto solos in the opening
chorus can be sung by a
member of the choir, and
the tenor recitative can
be sung by the soprano
soloist. This work is now
available in carus music,
the choir app! Score and
part available separately
- see item
CA.3910500.
O
Heiland, reiss die Himmel
auf. Composed by Max
Bruch. Edited by Minkus
Teske. Violin 2. Sacred
vocal music, Cantatas,
Advent. Single Part,
Violin 2. Composed
1868/1869. Op. 29. 8
pages. Duration 14
minutes. Carus Verlag #CV
10.364/12. Published by
Carus Verlag
(CA.1036412).
ISBN
9790007190392. Text
language: German. Text:
von Spee, Friedrich /
Simrock, Karl.
Max
Bruch succeeded in
composing an impressive
setting of the well known
Advent text, O Heiland,
reiss die Himmel auf (O
Saviour, tear open the
heavens). Compositionally
it is extremely
sophisticated in its
construction; Bruch
combines both the choir
and orchestra in a
powerfully expressive and
moving portrayal of
mankind waiting for the
coming of the Saviour.
Following the premiere of
the work in 1869 it was
celebrated as Bruch's
most important choral
work, but later it fell
largely into oblivion.
Almost 150 years after it
was composed, for the
first time a
critical-scholarly
edition is now available
to the public. Score and
part available separately
- see item
CA.1036400.
O
Heiland, reiss die Himmel
auf. Composed by Max
Bruch. Edited by Minkus
Teske. Organ. Sacred
vocal music, Cantatas,
Advent. Single Part,
Organ. Composed
1868/1869. Op. 29. 4
pages. Duration 14
minutes. Carus Verlag #CV
10.364/49. Published by
Carus Verlag
(CA.1036449).
ISBN
9790007190439. Language:
German. Text: von Spee,
Friedrich / Simrock,
Karl. Text by Friedrich
von Spee / Karl
Simrock.
Max Bruch
succeeded in composing an
impressive setting of the
well known Advent text, O
Heiland, reiss die Himmel
auf (O Saviour, tear open
the heavens).
Compositionally it is
extremely sophisticated
in its construction;
Bruch combines both the
choir and orchestra in a
powerfully expressive and
moving portrayal of
mankind waiting for the
coming of the Saviour.
Following the premiere of
the work in 1869 it was
celebrated as Bruch's
most important choral
work, but later it fell
largely into oblivion.
Almost 150 years after it
was composed, for the
first time a
critical-scholarly
edition is now available
to the public. Score and
part available separately
- see item
CA.1036400.
Chorale cantata.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Oswald Bill.
This edition: urtext.
Stuttgart Urtext Edition:
Mendelssohn. German
title: O Haupt voll Blut.
Innovative practice aids,
Sacred vocal music,
Cantatas, Lent and
Passiontide, Holy Week,
Eucharist, Communion.
Single Part, Viola 2.
Composed 1830. MWV. 8
pages. Duration 12
minutes. Carus Verlag #CV
40.186/14. Published by
Carus Verlag
(CA.4018614).
ISBN
9790007064402. Language:
German/English. Text:
Gerhardt, Paul. Text:
Paul
Gerhardt.
During
Mendelssohns years of
study with Zelter, the
arrangement of chorales
already played an
important role, and he
continued to be occupied
with the protestant
chorale throughout his
symphonic and oratorical
work. The break Bach's
works in connection with
the reperformance of the
St. Matthew Passion led
to a series of cantatas
based on well-known
chorale melodies for
choir, instruments, and
sometimes also for
soloists. Score and part
available separately -
see item CA.4018600.
Zum
Osterfest Christ lag in
Todes Banden.
Composed by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
German title: Missa
Brevis Uber Christ Lag In
Todes. Sacred vocal
music, Missa brevis in
Latin, Easter and
Eastertide. Single Part,
Viola. Composed 1720.
TVWV 9:3. 4 pages.
Duration 10 minutes.
Carus Verlag #CV
39.098/13. Published by
Carus Verlag
(CA.3909813).
ISBN
9790007215347. Language:
Latin.
Telemann's
Missa brevis on the
Easter chorale Christ lag
in Todes Banden is one of
his eleven surviving
Latin Missae breves based
on church hymns. The
motet-like composition
calls for a mixed choir
accompanied by a basso
continuo, reinforced by
colla-parte instruments.
However, the mass can
also be performed solely
with an organ
accompaniment. Score and
part available separately
- see item
CA.3909800.
Erstausgabe nach den
Klosterneuburger
Stimmen. Composed by
Franz Schubert. Edited by
Bernhard Paul. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Messe In G-Dur
(Klosterneuburg).
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Single
Part, Viola. D 167. 8
pages. Duration 25
minutes. Carus Verlag #CV
40.675/63. Published by
Carus Verlag
(CA.4067563).
ISBN
9790007220068. Key: G
major. Language:
Latin.
Franz
Schubert's Mass in G
major is one of the most
popular settings of the
mass ordinary: the
charming song-like
melodic writing,
especially in the Kyrie
and the Credo, forms a
magical counterpoint to
more concertante passages
in the Gloria and the
Sanctus. For a long time
it was thought that
Schubert's final version
was scored for purely
string orchestra, whilst
a version with wind,
brass, and timpani was
thought to be an expanded
orchestration by his
brother Ferdinand
Schubert. However, since
the mid-1990s it has been
known that the parts for
trumpets and timpani were
additionally composed by
Franz Schubert himself
for use ad libitum. The
present edition offers
this Klosterneuburg
Version - with trumpets
and timpani ad libitum,
but without Ferdinand's
wind parts - in an Urtext
edition reflecting
Schubert's own intended
orchestration. This work
is available in carus
music, the choir app!
Score and part available
separately - see item
CA.4067500.
Erstausgabe nach den
Klosterneuburger
Stimmen. Composed by
Franz Schubert. Edited by
Bernhard Paul. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Messe In G-Dur
(Klosterneuburg).
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Single
Part, Cello/Double Bass.
Composed 1696. D 167. 8
pages. Duration 25
minutes. Carus Verlag #CV
40.675/64. Published by
Carus Verlag
(CA.4067564).
ISBN
9790007220075. Key: G
major. Language:
Latin.
Franz
Schubert's Mass in G
major is one of the most
popular settings of the
mass ordinary: the
charming song-like
melodic writing,
especially in the Kyrie
and the Credo, forms a
magical counterpoint to
more concertante passages
in the Gloria and the
Sanctus. For a long time
it was thought that
Schubert's final version
was scored for purely
string orchestra, whilst
a version with wind,
brass, and timpani was
thought to be an expanded
orchestration by his
brother Ferdinand
Schubert. However, since
the mid-1990s it has been
known that the parts for
trumpets and timpani were
additionally composed by
Franz Schubert himself
for use ad libitum. The
present edition offers
this Klosterneuburg
Version - with trumpets
and timpani ad libitum,
but without Ferdinand's
wind parts - in an Urtext
edition reflecting
Schubert's own intended
orchestration. This work
is available in carus
music, the choir app!
Score and part available
separately - see item
CA.4067500.
Zum
Osterfest Christ lag in
Todes Banden.
Composed by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
German title: Missa
Brevis Uber Christ Lag In
Todes. Sacred vocal
music, Missa brevis in
Latin, Easter and
Eastertide. Choral Score.
Composed 1720. TVWV 9:3.
12 pages. Duration 10
minutes. Carus Verlag #CV
39.098/05. Published by
Carus Verlag
(CA.3909805).
ISBN
9790007162122. Language:
Latin.
Telemann's
Missa brevis on the
Easter chorale Christ lag
in Todes Banden is one of
his eleven surviving
Latin Missae breves based
on church hymns. The
motet-like composition
calls for a mixed choir
accompanied by a basso
continuo, reinforced by
colla-parte instruments.
However, the mass can
also be performed solely
with an organ
accompaniment. Score
available separately -
see item CA.3909800.
Version
for choir and
orchestra. Composed
by Gabriel Faure. Edited
by Jean-Michel Nectoux.
Cantique De Jean
Racine.Sinfon.Orch.
Sacred vocal music,
Hymns. Single Part,
Viola. Composed 1865. Op.
11. 4 pages. Duration 6
minutes. Carus Verlag #CV
70.303/13. Published by
Carus Verlag
(CA.7030313).
ISBN
9790007228934. Key: D
flat major. Text
language:
German/French.
Caru
s 70.301/10, which is
part of the material
associated with this
piece, can be used as the
choral score. Gabriel
Faure composed the
Cantique de Jean Racine
in 1865, the prizewinning
work for the completion
of his musical training.
The composer expanded the
original scoring for
choir and organ by adding
a string accompaniment;
the version with
orchestra was first
performed in 1906. As a
text Faure chose a French
adaptation by Jean Racine
of the Latin hymn Consors
paterni luminis. The
Cantique already displays
the characteristics of an
expressive choral setting
typical for Faure, as
well as the finely worked
out orchestral
accompaniment, and
together with the
Requiem, composed
considerably later, it is
among the most popular
works of the composer.
Score and part available
separately - see item
CA.7030300.
Version
for choir and
orchestra. Composed
by Gabriel Faure. Edited
by Jean-Michel Nectoux.
Cantique De Jean
Racine.Sinfon.Orch.
Sacred vocal music,
Hymns. Single Part,
Cello. Composed 1865. Op.
11. 4 pages. Duration 6
minutes. Carus Verlag #CV
70.303/14. Published by
Carus Verlag
(CA.7030314).
ISBN
9790007228941. Key: D
flat major. Text
language:
German/French.
Caru
s 70.301/10, which is
part of the material
associated with this
piece, can be used as the
choral score. Gabriel
Faure composed the
Cantique de Jean Racine
in 1865, the prizewinning
work for the completion
of his musical training.
The composer expanded the
original scoring for
choir and organ by adding
a string accompaniment;
the version with
orchestra was first
performed in 1906. As a
text Faure chose a French
adaptation by Jean Racine
of the Latin hymn Consors
paterni luminis. The
Cantique already displays
the characteristics of an
expressive choral setting
typical for Faure, as
well as the finely worked
out orchestral
accompaniment, and
together with the
Requiem, composed
considerably later, it is
among the most popular
works of the composer.
Score and part available
separately - see item
CA.7030300.
Zum
Osterfest Christ lag in
Todes Banden.
Composed by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
German title: Missa
Brevis Uber Christ Lag In
Todes. Sacred vocal
music, Missa brevis in
Latin, Easter and
Eastertide. Set of
Orchestra Parts. Composed
1720. TVWV 9:3. Duration
10 minutes. Carus Verlag
#CV 39.098/19. Published
by Carus Verlag
(CA.3909819).
ISBN
9790007134747. Language:
Latin.
Telemann's
Missa brevis on the
Easter chorale Christ lag
in Todes Banden is one of
his eleven surviving
Latin Missae breves based
on church hymns. The
motet-like composition
calls for a mixed choir
accompanied by a basso
continuo, reinforced by
colla-parte instruments.
However, the mass can
also be performed solely
with an organ
accompaniment. Score and
parts available
separately - see item
CA.3909800.
Zum
Osterfest Christ lag in
Todes Banden.
Composed by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
German title: Missa
Brevis Uber Christ Lag In
Todes. Sacred vocal
music, Missa brevis in
Latin, Easter and
Eastertide. Single Part,
Violin 2. Composed 1720.
TVWV 9:3. 4 pages.
Duration 10 minutes.
Carus Verlag #CV
39.098/12. Published by
Carus Verlag
(CA.3909812).
ISBN
9790007215330. Language:
Latin.
Telemann's
Missa brevis on the
Easter chorale Christ lag
in Todes Banden is one of
his eleven surviving
Latin Missae breves based
on church hymns. The
motet-like composition
calls for a mixed choir
accompanied by a basso
continuo, reinforced by
colla-parte instruments.
However, the mass can
also be performed solely
with an organ
accompaniment. Score and
part available separately
- see item
CA.3909800.
Zum
Osterfest Christ lag in
Todes Banden.
Composed by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
German title: Missa
Brevis Uber Christ Lag In
Todes. Sacred vocal
music, Missa brevis in
Latin, Easter and
Eastertide. Single Part,
Violin 1. Composed 1720.
TVWV 9:3. 4 pages.
Duration 10 minutes.
Carus Verlag #CV
39.098/11. Published by
Carus Verlag
(CA.3909811).
ISBN
9790007215323. Language:
Latin.
Telemann's
Missa brevis on the
Easter chorale Christ lag
in Todes Banden is one of
his eleven surviving
Latin Missae breves based
on church hymns. The
motet-like composition
calls for a mixed choir
accompanied by a basso
continuo, reinforced by
colla-parte instruments.
However, the mass can
also be performed solely
with an organ
accompaniment. Score and
part available separately
- see item
CA.3909800.
SATB choir; orchestra SKU: HP.C5875O Composed by Mary McDonald. Piano Acc...(+)
SATB choir; orchestra
SKU: HP.C5875O
Composed by Mary
McDonald. Piano
Accompaniment with
Optional Orchestra.
General Worship, Sacred.
Set of Instrumental
Parts. Hope Publishing
Company #C5875O.
Published by Hope
Publishing Company
(HP.C5875O).
UPC:
763628258757. Words by
Charles H. Gabriel.
Isaiah 53:4, Matthew
26:39, Mark 2:12, Mark
14:36, Luke 5:26, Luke
22:39, Luke 22:40, Luke
22:41, Luke 22:42, Luke
22:43, Luke 22:44, 1
Corinthians 13:12, 2
Corinthians 5:21,
Ephesians 2:4, Ephesians
5:2, 1 Peter 2:24, 1 John
3:1.
Original
anthem with words by
Charles H. Gabriel Charles Gabriel
penned the words I stand
amazed in the presence of
Jesus the Nazarene in
1905, and did so as an
expression of his own awe
and amazement of Jesus'
love. Mary McDonald has
taken that hymn text and
expertly crafted a new
melody befitting of
soaring choral lines that
more adequately express
How marvelous! How
wonderful! my song shall
ever be.
>The
Orchestration includes a
Conductor's Score and
parts for: 2 flutes,
oboe, 2 clarinets in
B-flat, bassoon, 3
trumpets in B-flat, 2
trombones, tuba, timpani,
percussion, harp, piano,
2 violins, viola, cello,
and string bass.
(Choralkantate). By Felix Bartholdy Mendelssohn (1809-1847). Edited by Oswald Bi...(+)
(Choralkantate). By Felix
Bartholdy Mendelssohn
(1809-1847). Edited by
Oswald Bill. For Bass
Solo, SATB Choir, 2
Flutes, 2 Oboes, 2
Clarinets, 2 Bassoons, 2
Horns, 2 Violins, 2
Violas, 2 Cellos,
Contrabass. Full score
available separately -
see item CA.4018600.
Genres: Cantatas;
Stuttgart Urtext
Editions; Use / Occasion:
Eucharist; Use during
church year: Lent and
Passiontide, Holy Week.
Level 3. Part: Viola 1.
Language: German/English.
Composed 1830. 8 pages.
Duration 12 min.
Published by Carus Verlag
Erstausgabe nach den
Klosterneuburger
Stimmen. Composed by
Franz Schubert. Edited by
Bernhard Paul. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Messe In G-Dur
(Klosterneuburg).
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Single
Part, Violin 2. D 167. 8
pages. Duration 25
minutes. Carus Verlag #CV
40.675/62. Published by
Carus Verlag
(CA.4067562).
ISBN
9790007220051. Key: G
major. Language:
Latin.
Franz
Schubert's Mass in G
major is one of the most
popular settings of the
mass ordinary: the
charming song-like
melodic writing,
especially in the Kyrie
and the Credo, forms a
magical counterpoint to
more concertante passages
in the Gloria and the
Sanctus. For a long time
it was thought that
Schubert's final version
was scored for purely
string orchestra, whilst
a version with wind,
brass, and timpani was
thought to be an expanded
orchestration by his
brother Ferdinand
Schubert. However, since
the mid-1990s it has been
known that the parts for
trumpets and timpani were
additionally composed by
Franz Schubert himself
for use ad libitum. The
present edition offers
this Klosterneuburg
Version - with trumpets
and timpani ad libitum,
but without Ferdinand's
wind parts - in an Urtext
edition reflecting
Schubert's own intended
orchestration. This work
is available in carus
music, the choir app!
Score and part available
separately - see item
CA.4067500.
Version
for choir and
orchestra. Composed
by Gabriel Faure. Edited
by Jean-Michel Nectoux.
Cantique De Jean
Racine.Sinfon.Orch.
Sacred vocal music,
Hymns. Single Part,
Violin 1. Composed 1865.
Op. 11. 4 pages. Duration
6 minutes. Carus Verlag
#CV 70.303/11. Published
by Carus Verlag
(CA.7030311).
ISBN
9790007228910. Key: D
flat major. Text
language:
German/French.
Caru
s 70.301/10, which is
part of the material
associated with this
piece, can be used as the
choral score. Gabriel
Faure composed the
Cantique de Jean Racine
in 1865, the prizewinning
work for the completion
of his musical training.
The composer expanded the
original scoring for
choir and organ by adding
a string accompaniment;
the version with
orchestra was first
performed in 1906. As a
text Faure chose a French
adaptation by Jean Racine
of the Latin hymn Consors
paterni luminis. The
Cantique already displays
the characteristics of an
expressive choral setting
typical for Faure, as
well as the finely worked
out orchestral
accompaniment, and
together with the
Requiem, composed
considerably later, it is
among the most popular
works of the composer.
Score and part available
separately - see item
CA.7030300.
Version
for choir and
orchestra. Composed
by Gabriel Faure. Edited
by Jean-Michel Nectoux.
Cantique De Jean
Racine.Sinfon.Orch.
Sacred vocal music,
Hymns. Single Part,
Violin 2. Composed 1865.
Op. 11. 4 pages. Duration
6 minutes. Carus Verlag
#CV 70.303/12. Published
by Carus Verlag
(CA.7030312).
ISBN
9790007228927. Key: D
flat major. Text
language:
German/French.
Caru
s 70.301/10, which is
part of the material
associated with this
piece, can be used as the
choral score. Gabriel
Faure composed the
Cantique de Jean Racine
in 1865, the prizewinning
work for the completion
of his musical training.
The composer expanded the
original scoring for
choir and organ by adding
a string accompaniment;
the version with
orchestra was first
performed in 1906. As a
text Faure chose a French
adaptation by Jean Racine
of the Latin hymn Consors
paterni luminis. The
Cantique already displays
the characteristics of an
expressive choral setting
typical for Faure, as
well as the finely worked
out orchestral
accompaniment, and
together with the
Requiem, composed
considerably later, it is
among the most popular
works of the composer.
Score and part available
separately - see item
CA.7030300.