Feel the Spirit Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] Oxford University Press
(A cycle of spirituals). Composed by John Rutter (1945-). For mezzo-soprano voic...(+)
(A cycle of spirituals).
Composed by John Rutter
(1945-). For
mezzo-soprano voice solo,
SATB choir, large
orchestra/chamber
orchestra. Mixed Voices.
Vocal score. Duration 30
minutes. Published by
Oxford University Press
Spiritual Settings for SATB Choir, Soloist and Orchestra. Composed by Mar...(+)
Spiritual Settings for
SATB Choir, Soloist and
Orchestra. Composed
by Mark Hayes. Major
Work, Spiritual,
Sacred. Orchestral score
and parts. Roger Dean
Publishing #30/2278R.
Published by Roger Dean
Publishing (LO.30-2278R).
Arrangement for chamber orchestra (Linckelmann). Composed by Felix Bartholdy ...(+)
Arrangement for chamber
orchestra (Linckelmann).
Composed by Felix
Bartholdy
Mendelssohn (1809-1847).
Arranged by Joachim
Linckelmann. Gattungen
vokal:
Sacred vocal music. Full
Score. MWV A 25, Op. 70.
Duration 130 minutes.
Published by Carus Verlag
Arrangement for
chamber orchestra (arr.
J. Linckelmann).
Composed by Franz
Schubert. Arranged by
Joachim Linckelmann.
Carus digital: Extra
digital products. Full
Score. D 950. 216 pages.
Duration 50 minutes.
Carus Verlag #4066050.
Published by Carus Verlag
(CA.4066050).
ISBN
9790007294533. Key: E
flat major.
Latin.
Schubertâ??
s Mass in E-flat major is
the last of his six
settings of the
Ordinarium Missae (Mass
ordinary) and also his
most important work in
this genre. The mass is
full of color and drama,
infused with the spirit
of confession. For many
choirs, it is on the wish
list of those works they
would like to sing
someday. But what happens
if you donâ??t have
enough singers, money is
tight, and your venue is
on the small side?
Here the experienced
arranger and orchestral
musician Joachim
Linckelmann has a great
solution. His version for
soloists, choir and
chamber orchestra
requires only 7 winds
rather than the original
13. The string parts,
while identical to the
original, can now also be
scaled back. The vocal
parts (soloists and
chorus) are completely
untouched by the
arrangement, so that the
vocal scores and choral
scores of the Carus
Urtext edition can also
be used for
performanceâ?¢,A
large-scale work now
arranged for smaller
choirs â?¢,13 winds
of the original version
reduced to 7
instrumentsâ?¢,Voca
l scores and choral
scores of the original
version can still be
usedâ?¢,carus plus:
The work (original
version) is available in
the app carus music, the
Choir Coach, as well as
in our Carus Choir Coach
series (audio only)..
Score available
separately - see item
CA.4066000.
Arrangement for
chamber orchestra
(Homolka). Composed
by Felix Bartholdy
Mendelssohn. Arranged by
Jan-Benjamin Homolka.
Carus sheet music series:
Great choral works in
small scorings. Foreword
in German and English.
Sacred vocal music,
Psalms, German. Full
Score. Op. 42, MWV A 15.
Duration 24 minutes.
Carus Verlag #CV
40.072/50. Published by
Carus Verlag
(CA.4007250).
ISBN
9790007240059.
German/English.
Psa
lm texts inspired
Mendelssohn throughout
his composing career. In
1837 Robert Schumann
judged Mendelssohn's
setting of Psalm 42 as
the highest level that he
has achieved as a
composer of church music,
indeed the highest level
that modern church music
has ever reached. With
this arrangement of
Mendelssohn's cantata Wie
der Hirsch schreit (As
the hart longs) smaller
choirs and choirs with
more limited resources of
space or finance can now
perform this popular
work. The original
symphonic wind and brass
forces have been reduced
from 15 to 5 wind and
brass forces. All the
vocal parts (soloists and
chorus) are identical
with the original
version, so that the
vocal scores and chorus
scores of that version
can be used. Can be
performed by smaller
choirs with smaller
instrumental forces
Usable with the vocal
scores and choral scores
from the original
version. Complete
performance material
available on loan. carus
plus: the work is also
available in carus music,
the choir app, and the
practice CD series Carus
Choir Coach. Score
available separately -
see item CA.4007200.
Version
for chamber
orchestra. Composed
by Antonin Dvorak. Edited
by Joachim Linckelmann.
Arranged by Joachim
Linckelmann. Carus sheet
music series: Great
choral works in small
scorings. Sacred vocal
music, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Choral
Score. Composed
1876/1877. Op. 58. 36
pages. Duration 90
minutes. Carus Verlag #CV
27.293/05. Published by
Carus Verlag
(CA.2729305).
ISBN
9790007181086. Text
language:
Latin.
Antonin
Dvorak's impressive
Stabat Mater for
soloists, chorus and
orchestra is probably the
best-known of the
composer's sacred works.
Some painful experiences
- in 1875 his first
daughter died, and in
1877 he lost two other
children in quick
succession - may have led
to Dvorak's preoccupation
with the suffering of the
Mother of God, who stands
weeping beneath the cross
of her son. The music
enters into the different
moods of the liturgical
texts with great
sensitivity. Nine
movements in slow to
moderate tempi serve as a
kind of Passion
meditation, before the
ecstasy of a vision of
the resurrection wins the
upper hand at the end of
the tenth movement. With
our newly-published
arrangement for chamber
orchestra (flute, oboe,
clarinet, horn, bassoon,
timpani, and strings),
smaller choirs now have
the opportunity of
performing this work
without the choir being
drowned out by a
large-scale symphony
orchestra. The symphonic
character of the work is
nevertheless preserved.
This scoring offers an
optimal balance between
transparency and
orchestral sound. All
vocal parts (soloists and
chorus) are identical
with the original
version. Vocal score and
choral score can be used
also together with the
original version, which
is in preparation.
Version
for chamber
orchestra. Composed
by Antonin Dvorak. Edited
by Joachim Linckelmann.
Arranged by Joachim
Linckelmann. Carus sheet
music series: Great
choral works in small
scorings. Sacred vocal
music, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Vocal score.
Composed 1876/1877. Op.
58. 120 pages. Duration
90 minutes. Carus Verlag
#CV 27.293/03. Published
by Carus Verlag
(CA.2729303).
ISBN
9790007171797. Text
language:
Latin.
Antonin
Dvorak's impressive
Stabat Mater for
soloists, chorus and
orchestra is probably the
best-known of the
composer's sacred works.
Some painful experiences
- in 1875 his first
daughter died, and in
1877 he lost two other
children in quick
succession - may have led
to Dvorak's preoccupation
with the suffering of the
Mother of God, who stands
weeping beneath the cross
of her son. The music
enters into the different
moods of the liturgical
texts with great
sensitivity. Nine
movements in slow to
moderate tempi serve as a
kind of Passion
meditation, before the
ecstasy of a vision of
the resurrection wins the
upper hand at the end of
the tenth movement. With
our newly-published
arrangement for chamber
orchestra (flute, oboe,
clarinet, horn, bassoon,
timpani, and strings),
smaller choirs now have
the opportunity of
performing this work
without the choir being
drowned out by a
large-scale symphony
orchestra. The symphonic
character of the work is
nevertheless preserved.
This scoring offers an
optimal balance between
transparency and
orchestral sound. All
vocal parts (soloists and
chorus) are identical
with the original
version. Vocal score and
choral score can be used
also together with the
original version, which
is in preparation.
Composed by Antonin Dvorak (1841-1904). Arranged by Joachim Linckelmann. Stapled...(+)
Composed by Antonin
Dvorak (1841-1904).
Arranged by Joachim
Linckelmann. Stapled.
Bearbeitung fur Soli,
Chor und Kammerorchester.
Part(s). Opus 89. 27
pages. Published by
Baerenreiter Verlag
(BA.BA9582-85).
Composed by Antonin Dvorak (1841-1904). Arranged by Joachim Linckelmann. Stapled...(+)
Composed by Antonin
Dvorak (1841-1904).
Arranged by Joachim
Linckelmann. Stapled.
Bearbeitung fur Soli,
Chor und Kammerorchester.
Part(s). Opus 89. 27
pages. Published by
Baerenreiter Verlag
(BA.BA9582-75).
Composed by Antonin Dvorak (1841-1904). Arranged by Joachim Linckelmann. Stapled...(+)
Composed by Antonin
Dvorak (1841-1904).
Arranged by Joachim
Linckelmann. Stapled.
Bearbeitung fur Soli,
Chor und Kammerorchester.
Part(s). Opus 89. 31
pages. Published by
Baerenreiter Verlag
(BA.BA9582-74).
Seven
sacred compositions.
Composed by George
Frideric Handel. Edited
by Gerald Hendrie. This
edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series III,
Volume 9. Complete
edition, Score. Duration
3 hours. Baerenreiter
Verlag #BA04051_00.
Published by Baerenreiter
Verlag (BA.BA04051).
ISBN 9790006443611. 33
x 26 cm inches. Text
Language: English,
German.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Te Deum and Jubilate Deo in D Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] - Intermédiaire/avancé Oxford University Press
By Henry Purcell (1659-1695). Arranged by Robert King. For SSATB soloists, SSATB...(+)
By Henry Purcell
(1659-1695). Arranged by
Robert King. For SSATB
soloists, SSATB choir, 2
trumpets, strings and
continuo (2 trumpets,
violin 1, violin 2,
viola, cello, double
bass, organ, theorbo
(optional)). Mixed
Voices. Classic Choral
Works. Standard Choral
Works. Vocal score. 40
pages. Duration 20'.
Published by Oxford
University Press
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Study score.
Composed 1725. BWV 151.
28 pages. Duration 19
minutes. Carus Verlag #CV
31.151/07. Published by
Carus Verlag
(CA.3115107).
ISBN
9790007092474. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score available
separately - see item
CA.3115100.
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext. 1x
31.151/21 flute, 1x
31.151/22 oboe d'amore.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Set of
Orchestra Parts. Composed
1725. BWV 151. 8 pages.
Duration 19 minutes.
Carus Verlag #CV
31.151/09. Published by
Carus Verlag
(CA.3115109).
ISBN
9790007208615. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and parts
available separately -
see item CA.3115100.
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Choral Score.
Composed 1725. BWV 151. 2
pages. Duration 19
minutes. Carus Verlag #CV
31.151/05. Published by
Carus Verlag
(CA.3115105).
ISBN
9790007049379. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score available
separately - see item
CA.3115100.
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Viola. Composed 1725. BWV
151. 4 pages. Duration 19
minutes. Carus Verlag #CV
31.151/13. Published by
Carus Verlag
(CA.3115113).
ISBN
9790007049409. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100.
Cantata
for the 23rd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Arranged by Thomas
Riegler. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music, End
of the church year. Study
score. Composed 1715. BWV
163. 24 pages. Duration
18 minutes. Carus Verlag
#CV 31.163/07. Published
by Carus Verlag
(CA.3116307).
ISBN
9790007141516. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo Franck.
The
cantata Nur jedem das
Seine (Do justice to all
men) BWV 163, for the
last Sunday of the Church
Year 1714/15, belongs
among to those chamber
music works which Bach
composed for the Weimar
Schlosskirche. The
instruments are limited
to strings, although two
obbligato violoncellos
are included which
together with the solo
bass singer and the
continuo form a bass
quartet unique in Bach's
works. The final chorale
of the cantata is handed
down only as a fragment
and was newly
reconstructed for our
edition by Thomas
Riegler. Score available
separately - see item
CA.3116300.
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Organ. Composed 1725. BWV
151. 8 pages. Duration 19
minutes. Carus Verlag #CV
31.151/49. Published by
Carus Verlag
(CA.3115149).
ISBN
9790007049430. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100.
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Cello/Double Bass.
Composed 1725. BWV 151. 8
pages. Duration 19
minutes. Carus Verlag #CV
31.151/14. Published by
Carus Verlag
(CA.3115114).
ISBN
9790007049416. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100.
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Violin 1. Composed 1725.
BWV 151. 4 pages.
Duration 19 minutes.
Carus Verlag #CV
31.151/11. Published by
Carus Verlag
(CA.3115111).
ISBN
9790007049386. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100.
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Violin 2. Composed 1725.
BWV 151. 4 pages.
Duration 19 minutes.
Carus Verlag #CV
31.151/12. Published by
Carus Verlag
(CA.3115112).
ISBN
9790007049393. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Whitsun.
Single Part, basso
continuo. Composed 1725.
BWV 164. 12 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/14. Published by
Carus Verlag
(CA.3116414).
ISBN
9790007209056. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Whitsun. Single
Part, Violin 2. Composed
1725. BWV 164. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/12. Published by
Carus Verlag
(CA.3116412).
ISBN
9790007209032. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Via crucis Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur] Carus Verlag
Die 14 Stationen des Kreuzwegs. By Franz Liszt. Edited by Kohlhase, Thomas. For ...(+)
Die 14 Stationen des
Kreuzwegs. By Franz
Liszt. Edited by
Kohlhase, Thomas. For
Soli SATB, SATB Choir,
Organ. S 53. Chamber
Choir - Recommended by
Frieder Bernius;
Occasions: Stations of
the Cross (7 words); Use
during church year: Holy
Week. Score. Language:
Latin/German. Composed
1879. 36 pages. Duration
40 min. Published by
Carus Verlag (German
import).
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Whitsun. Single Part,
Viola. Composed 1725. BWV
164. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.164/13. Published by
Carus Verlag
(CA.3116413).
ISBN
9790007209049. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Via crucis Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Vocal Score] Carus Verlag
Die 14 Stationen des Kreuzwegs. By Franz Liszt. Edited by Kohlhase, Thomas. For ...(+)
Die 14 Stationen des
Kreuzwegs. By Franz
Liszt. Edited by
Kohlhase, Thomas. For
Soli SATB, SATB Choir,
Organ. S 53. Full score
available separately -
see item CA.4017300.
Chamber Choir -
Recommended by Frieder
Bernius; Occasions:
Stations of the Cross (7
words); Use during church
year: Holy Week. Choral
score. Language:
Latin/German. Composed
1879. 12 pages. Duration
40 min. Published by
Carus Verlag (German
import).