Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
Viola. Sacred vocal
music, Cantatas,
Christmas. Single Part,
Viola. TVWV 1:1452. 8
pages. Duration 22
minutes. Carus Verlag #CV
39.115/13. Published by
Carus Verlag
(CA.3911513).
ISBN
9790007215620. Language:
German.
Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score and part
available separately -
see item CA.3911500.
Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
Organ. Sacred vocal
music, Cantatas,
Christmas. Single Part,
Organ. Composed 1744.
TVWV 1:1452. Duration 22
minutes. Carus Verlag #CV
39.115/49. Published by
Carus Verlag
(CA.3911549).
ISBN
9790007215644. Language:
German.
Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score and part
available separately -
see item CA.3911500.
Cantata
for St. Michael.
Composed by Johann
Sebastian Bach. Edited by
Ingrid Jach. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
German title: Man singet
mit Freuden vom Sieg.
Sacred vocal music,
Cantatas, Special days.
Choral Score. BWV 149. 8
pages. Duration 22
minutes. Carus Verlag #CV
31.149/05. Published by
Carus Verlag
(CA.3114905).
ISBN
9790007161958. Key: D
major. Language:
German/English. Text:
Henrici (Picander),
Christian Friedrich.
Text: Christian Friedrich
Henrici
(Picander).
In
composing the Cantata BWV
149 Bach reverted to
parts of an earlier work:
The opening chorus is a
parody of the Jadgkantate
BWV 208 (Hunting
Cantata). In addition to
smaller changes which
were made necessary due
to the text, Bach used
trumpets instead of
horns. For this purpose
he transposed the
movement from F major to
C major. Musically, the
form of the three arias
and their instrumentation
is rich in variety. The
bass aria (2nd mvt.) is
characterized by an
active continuo
accompaniment. After the
secco recitative an
extended dance like
soprano aria with string
accompaniment follows.
The third aria (6th mvt.)
is impressive due to the
animated melody and the
forming of a canon
between the voices, and
especially through the
entry of the bassoon as
the instrumental
counterpart to a duet
between the alto and
tenor. Score available
separately - see item
CA.3114900.
Cantata
for Exaudi. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas.
Single Part, Viola.
Composed circa 1724? BWV
44. 4 pages. Duration 22
minutes. Carus Verlag #CV
31.044/13. Published by
Carus Verlag
(CA.3104413).
ISBN
9790007205980. Language:
German/English.
The
cantata Sie werden euch
in den Bann tun, part of
Bach's first Leipzig
annual cycle of cantatas
and the earlier of two
compositions of the same
name, was probably first
performed on the last
Sunday after Ascension in
May 1724. The text is
concerned with suffering
and the Antichrist, both
of which are overcome by
Christian faith. By
employing all four ranges
in solo capacities Bach
creates the greatest
possible variety. It
opens, unusually, with a
duet for tenor and bass,
accompanied by two oboes
and basso continuo. Score
and part available
separately - see item
CA.3104400.
Cantata
for Exaudi. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Sie werden euch in den
Bann tun. Sacred vocal
music, Cantatas. Set of
Orchestra Parts. Composed
circa 1724? BWV 44.
Duration 22 minutes.
Carus Verlag #CV
31.044/19. Published by
Carus Verlag
(CA.3104419).
ISBN
9790007136130. Language:
German/English.
The
cantata Sie werden euch
in den Bann tun, part of
Bach's first Leipzig
annual cycle of cantatas
and the earlier of two
compositions of the same
name, was probably first
performed on the last
Sunday after Ascension in
May 1724. The text is
concerned with suffering
and the Antichrist, both
of which are overcome by
Christian faith. By
employing all four ranges
in solo capacities Bach
creates the greatest
possible variety. It
opens, unusually, with a
duet for tenor and bass,
accompanied by two oboes
and basso continuo. Score
and parts available
separately - see item
CA.3104400.
Cantata for the 1st
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Liebster Jesu. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Viola. Composed 1726. BWV
32. 4 pages. Duration 24
minutes. Carus Verlag #CV
31.032/13. Published by
Carus Verlag
(CA.3103213).
ISBN
9790007042523. Key: E
minor / g major.
Language: German/English.
Text: Lehms, Georg
Christian. Text: Georg
Christian
Lehms.
The text of
the cantata Dearest
Jesus, sore I need Thee
for the 1st Epiphany
Sunday 1726 was written
by the Darmstadt poet
Georg Christian Lehms. It
is conceived as a dialog
between Jesus and the
Faithful Soul. Bach
titled his cantata
Concerto in Dialogo and
accordingly, it is
structured as a dialog
between soprano and bass,
set in the voice types
that were - not only for
Bach - typically used for
the soul (soprano) and
Jesus (bass). The cantata
is based on the narrative
of the twelve-year-old
boy Jesus in the temple;
however, in spite of
closely following the
gospel text, it is
interpreted more widely
here: it is through Jesus
that the believer finds
God's dwelling. Bach
creates a great arch from
the opening aria full of
yearning and searching
through to the joyful
duet Nun verschwinden
alle Plagen. He himself
added the four-part
closing chorale to the
text model, thus
communicating the sense
of joyous certainty to
the congregation of
believers. Score and part
available separately -
see item CA.3103200.
Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. 2x 39.115/21
flute 1, 2x 39.115/22
flute 2, 1x 39.115/23
oboe 1, 1x 39.115/24 oboe
2. Stuttgart Urtext
Edition: Telemann-Archiv.
Harmony parts. Sacred
vocal music, Cantatas,
Christmas. Set of
Orchestra Parts. TVWV
1:1452. 16 pages.
Duration 22 minutes.
Carus Verlag #CV
39.115/09. Published by
Carus Verlag
(CA.3911509).
ISBN
9790007215590. Language:
German.
Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score and parts
available separately -
see item CA.3911500.
Cantata
for harvest festivals
(Tempore Messis) and
other festivals of
thanksgiving.
Composed by Georg Philipp
Telemann. Edited by
Jurgen Neubacher. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Nun danket alle
Gott. Sacred vocal music,
Cantatas, Praise and
thanks. Set of Orchestra
Parts. TVWV 1:1166.
Duration 15 minutes.
Carus Verlag #CV
39.109/19. Published by
Carus Verlag
(CA.3910919).
ISBN
9790007139278. Language:
German/English.
Tel
emann's cantata Now thank
we all our God cannot be
assigned to any of the
composer's known annual
cycles of cantatas. The
given designation,
Tempore Messis, which
appears in the title in
the sole surviving
source, suggests it was
composed on the occasion
of a harvest thanksgiving
festival, but the general
nature of the text means
that other occasions for
performance such as New
Year, Reformation Day,
church or organ
consecrations and
weddings are conceivable.
Musically, the work is
distinguished by two
spirited choral movements
reinforced by trumpets
which frame a duet for
tenor and bass and an
aria for alto and
transverse flute. Score
and parts available
separately - see item
CA.3910900.
Cantata for the 3rd
Sunday of Pentecost.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Erwunschtes
Freudenlicht. Sacred
vocal music, Cantatas,
Whitsun. Set of Orchestra
Parts. Composed 1724. BWV
184. Duration 25 minutes.
Carus Verlag #CV
31.184/19. Published by
Carus Verlag
(CA.3118419).
ISBN
9790007134235. Key: G
major / e minor.
Language:
German/English.
The
Pentecost cantata Desired
ray of light BWV 184 is
based on a Kothen
composition, probably a
congratulatory cantata,
whose instrumental parts
(only these have
survived) Bach reused in
the Leipzig Pentecost
cantata. Only the chorale
setting was evidently
newly composed. Despite
the narrow leeway that
the already finished
composition left for the
librettist, he
nevertheless succeeded in
crafting a coherent
Pentecost text. The fact
that the cantata begins
with a long tenor
accompagnato with two
flutes followed by a
pastoral duet is
surprising. The placing
of the chorale not at the
end of the work but
before the concluding
chorus is unusual. Bach
was evidently aware of
the effect that the
ending of this lively
movement would have and
wanted to retain this in
its sacred form as well.
The sacred version was
first performed on the
third day of Pentecost in
1724, probably after a
parody version of another
Kothen cantata (BWV 173)
had already been
performed on the second
day of Pentecost. Score
and parts available
separately - see item
CA.3118400.
Cantata
for Exaudi. Composed
by Johann Sebastian Bach.
Edited by Karin
Wollschlager. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas. Study
score. Composed circa
1724? BWV 44. 36 pages.
Duration 22 minutes.
Carus Verlag #CV
31.044/07. Published by
Carus Verlag
(CA.3104407).
ISBN
9790007092948. Language:
German/English.
The
cantata Sie werden euch
in den Bann tun, part of
Bach's first Leipzig
annual cycle of cantatas
and the earlier of two
compositions of the same
name, was probably first
performed on the last
Sunday after Ascension in
May 1724. The text is
concerned with suffering
and the Antichrist, both
of which are overcome by
Christian faith. By
employing all four ranges
in solo capacities Bach
creates the greatest
possible variety. It
opens, unusually, with a
duet for tenor and bass,
accompanied by two oboes
and basso continuo. Score
available separately -
see item CA.3104400.
2nd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. German title: Ach
Gott, wie manches
Herzeleid. Sacred vocal
music, Cantatas,
Epiphany. Choral Score.
Composed 1725. BWV 3. 12
pages. Duration 27
minutes. Carus Verlag #CV
31.003/05. Published by
Carus Verlag
(CA.3100305).
ISBN
9790007041410. Key: A
major. Language:
German/English. Text:
Moller, Martin. Text:
Martin Moller.
For
the 2nd Epiphany Sunday
1725, Bach composed the
cantata O God, what glut
of care and pain. It
forms part of the annual
cycle of chorale
cantatas. In the
large-scale opening
movement, a choral
setting full of anguish
with expansive orchestral
sections, the bass
presents the cantus
firmus in segments,
reinforced by one
trombone. This is
followed directly by the
second chorale verse in a
four-part setting in
which, however, each
chorale line is
interrupted by a short
recitative (each one sung
by a different voice).
The bass, who closes the
recitative, also sings
the following continuo
aria which is rich in
melismatic passages. The
second aria is a duet
expanded into a quartet
setting by the addition
of oboes d'amore and
continuo; it leads into
the closing chorale
containing a wealth of
transitions. Score
available separately -
see item CA.3100300.
Cantata
for harvest festivals
(Tempore Messis) and
other festivals of
thanksgiving.
Composed by Georg Philipp
Telemann. Edited by
Jurgen Neubacher. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Nun danket alle
Gott. Sacred vocal music,
Cantatas, Praise and
thanks. Single Part,
Cello. TVWV 1:1166. 8
pages. Duration 15
minutes. Carus Verlag #CV
39.109/14. Published by
Carus Verlag
(CA.3910914).
ISBN
9790007215460. Language:
German/English.
Tel
emann's cantata Now thank
we all our God cannot be
assigned to any of the
composer's known annual
cycles of cantatas. The
given designation,
Tempore Messis, which
appears in the title in
the sole surviving
source, suggests it was
composed on the occasion
of a harvest thanksgiving
festival, but the general
nature of the text means
that other occasions for
performance such as New
Year, Reformation Day,
church or organ
consecrations and
weddings are conceivable.
Musically, the work is
distinguished by two
spirited choral movements
reinforced by trumpets
which frame a duet for
tenor and bass and an
aria for alto and
transverse flute. Score
and part available
separately - see item
CA.3910900.
Cantata for the 9th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Trinity.
Study score. Composed
1725. BWV 168. 28 pages.
Duration 17 minutes.
Carus Verlag #CV
31.168/07. Published by
Carus Verlag
(CA.3116807).
ISBN
9790007242220. Language:
German/English. Text:
Franck, Salomo.
The
text of Bach's cantata
Tue Rechnung! Donnerwort
was published in 1715,
that is during Bach's
Weimar period, in the
Evangelisches
Andachts-Opffer by
Salomon Frank. This
concisely-written but
powerful work was,
however, only composed
ten years later in
Leipzig, and was heard
for the first time on 29
July 1725, the 9th Sunday
after Trinity. Its main
dramatic-musical emphasis
lies clearly in the first
movement, a dark, almost
operatic movement for
baritone and string
orchestra in B minor. By
contrast, the ensuing
aria for tenor with
obbligato oboe
accompaniment is
distinctly more intimate,
and the duet between
soprano and alto - just
accompanied by continuo -
is more restrained in its
musical language and
expression than the first
movement. In between
there are two extended
recitatives, the first of
which leads into an
arioso. The breadth of
expression within the
cantata is striking, its
opening movement a
masterpiece of Bach's
dramatic writing. Score
available separately -
see item CA.3116800.
Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
German title: Uns ist ein
Kind geboren. Sacred
vocal music, Cantatas,
Christmas. Full score.
TVWV 1:1452. 36 pages.
Duration 22 minutes.
Carus Verlag #CV
39.115/00. Published by
Carus Verlag
(CA.3911500).
ISBN
9790007059828. Language:
German.
Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present.
Cantata
for harvest festivals
(Tempore Messis) and
other festivals of
thanksgiving.
Composed by Georg Philipp
Telemann. Edited by
Jurgen Neubacher. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Nun danket alle
Gott. Sacred vocal music,
Cantatas, Praise and
thanks. Single Part,
Viola. TVWV 1:1166. 4
pages. Duration 15
minutes. Carus Verlag #CV
39.109/13. Published by
Carus Verlag
(CA.3910913).
ISBN
9790007215453. Language:
German/English.
Tel
emann's cantata Now thank
we all our God cannot be
assigned to any of the
composer's known annual
cycles of cantatas. The
given designation,
Tempore Messis, which
appears in the title in
the sole surviving
source, suggests it was
composed on the occasion
of a harvest thanksgiving
festival, but the general
nature of the text means
that other occasions for
performance such as New
Year, Reformation Day,
church or organ
consecrations and
weddings are conceivable.
Musically, the work is
distinguished by two
spirited choral movements
reinforced by trumpets
which frame a duet for
tenor and bass and an
aria for alto and
transverse flute. Score
and part available
separately - see item
CA.3910900.
Vocal Duet SKU: HP.9185 Composed by William Runyan. Arranged by Mary McDo...(+)
Vocal Duet
SKU:
HP.9185
Composed by
William Runyan. Arranged
by Mary McDonald. Piano
Accompaniment with
Optional Orchestra. Vocal
Score. 12 pages. Hope
Publishing Company #9185.
Published by Hope
Publishing Company
(HP.9185).
UPC:
763628191856. Thomas O.
Chisholm.
Classic
hymn tune Fully
expressing God's
unchangeable faithfulness
in any circumstance, this
epic choral setting
displays the power and
grandeur of this
cherished hymn. The
orchestration by Michael
Lawrence magnifies the
dramatic sweep of this
ebullient, raise the
rooftops setting.
Orchestration:
Conductor's Score, 2
Flutes, Oboe, 2
Clarinets, Bassoon, 3
Trumpets, 2 Horns, 2
Trombones, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola, Cello
and String Bass.
Cantata
for the 9th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Ulrich Bartels.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Tue Rechnung,
Donnerwort. Sacred vocal
music, Cantatas, Trinity.
Set of Orchestra Parts.
Composed 1725. BWV 168.
Duration 17 minutes.
Carus Verlag #CV
31.168/19. Published by
Carus Verlag
(CA.3116819).
ISBN
9790007166786. Language:
German/English. Text:
Franck, Salomo. Text by
Salomo Franck.
The
text of Bach's cantata
Tue Rechnung! Donnerwort
was published in 1715,
that is during Bach's
Weimar period, in the
Evangelisches
Andachts-Opffer by
Salomon Frank. This
concisely-written but
powerful work was,
however, only composed
ten years later in
Leipzig, and was heard
for the first time on 29
July 1725, the 9th Sunday
after Trinity. Its main
dramatic-musical emphasis
lies clearly in the first
movement, a dark, almost
operatic movement for
baritone and string
orchestra in B minor. By
contrast, the ensuing
aria for tenor with
obbligato oboe
accompaniment is
distinctly more intimate,
and the duet between
soprano and alto - just
accompanied by continuo -
is more restrained in its
musical language and
expression than the first
movement. In between
there are two extended
recitatives, the first of
which leads into an
arioso. The breadth of
expression within the
cantata is striking, its
opening movement a
masterpiece of Bach's
dramatic writing. Score
and parts available
separately - see item
CA.3116800.
Orchestra solo voices, SATB chorus, chamber orchestra SKU: CA.2046105 Com...(+)
Orchestra solo voices,
SATB chorus, chamber
orchestra
SKU:
CA.2046105
Composed
by Heinrich Schutz.
Edited by Uwe Wolf.
Choral Score. SWV 461.
Duration 12 minutes.
Carus Verlag #2046100.
Published by Carus Verlag
(CA.2046105).
ISBN
9790007293826. Key: E
phrygian. German.
A
psalm concerto by
Heinrich Schutz for solo
voices, choir, 2 violins,
3 trombones, and basso
continuo which is too
little known. It can also
alternatively be
performed by smaller
forces. Schutz
probably wrote the
concerto for a major
political occasion in
connection with the
Thirty Years' War. He
hauntingly set the plea
for God's help and peace
throughout the land,
sometimes in unison or
for duet with echo
passages, sometimes for
tutti, but always in
harmonically exciting
fashion leading to the
vision that finally
justice and peace kiss.
An exciting work for
concerts on the theme of
psalms and peace.
Vocal duet SKU: HP.8967 Composed by Joel Raney. Piano Accompaniment with ...(+)
Vocal duet
SKU:
HP.8967
Composed by
Joel Raney. Piano
Accompaniment with
Optional Orchestra. Vocal
Score. 12 pages. Hope
Publishing Company #8967.
Published by Hope
Publishing Company
(HP.8967).
UPC:
763628189679.
Origi
nal hymn tune Thomas
Chisholm's beloved hymn
text is given a new
melody and dynamic choral
treatment by Joel Raney,
complete with a powerful
orchestral accompaniment,
now also available for
medium-high voice vocal
soloists. . The familiar
words of this classic
hymn come to life afresh
in this compelling new
treatment. The
orchestration by Brant
Adams includes parts for
conductor's score, 2
flutes, oboe, 2 clarinets
in B-flat, bassoon, 2
horns in F, 3 trumpets in
B-flat, 2 trombones, bass
trombone or tuba,
timpani, percussion 1 and
2, harp, 2 violins,
viola, cello, and double
bass.
Cantata for the 3rd
Sunday of Pentecost.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. This
edition: Paperbound.
German title: Erwunschtes
Freudenlicht. Sacred
vocal music, Cantatas,
Whitsun. Study score.
Composed 1724. BWV 184.
68 pages. Duration 25
minutes. Carus Verlag #CV
31.184/07. Published by
Carus Verlag
(CA.3118407).
ISBN
9790007050481. Key: G
major / e minor.
Language:
German/English.
The
Pentecost cantata Desired
ray of light BWV 184 is
based on a Kothen
composition, probably a
congratulatory cantata,
whose instrumental parts
(only these have
survived) Bach reused in
the Leipzig Pentecost
cantata. Only the chorale
setting was evidently
newly composed. Despite
the narrow leeway that
the already finished
composition left for the
librettist, he
nevertheless succeeded in
crafting a coherent
Pentecost text. The fact
that the cantata begins
with a long tenor
accompagnato with two
flutes followed by a
pastoral duet is
surprising. The placing
of the chorale not at the
end of the work but
before the concluding
chorus is unusual. Bach
was evidently aware of
the effect that the
ending of this lively
movement would have and
wanted to retain this in
its sacred form as well.
The sacred version was
first performed on the
third day of Pentecost in
1724, probably after a
parody version of another
Kothen cantata (BWV 173)
had already been
performed on the second
day of Pentecost. Score
available separately -
see item CA.3118400.
Cello ad lib.. Composed by Henry Purcell (1659-1695). Duet or Duo; Masterworks; ...(+)
Cello ad lib.. Composed
by Henry Purcell
(1659-1695). Duet or Duo;
Masterworks; Solo Small
Ensembles; String - 2
Violins and Piano. Kalmus
Edition. Baroque;
Masterwork. Book. 28
pages. Kalmus Classic
Edition #00-K04646.
Published by Kalmus
Classic Edition
2nd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. 1x 31.003/21 oboe
1, 1x 31.003/22 oboe 2,
1x 31.003/31 horn, 1x
31.003/32 trombone.
German title: Ach Gott,
wie manches Herzeleid 4.
Sacred vocal music,
Cantatas, Epiphany. Set
of Orchestra Parts.
Composed 1725. BWV 3. 12
pages. Duration 27
minutes. Carus Verlag #CV
31.003/09. Published by
Carus Verlag
(CA.3100309).
ISBN
9790007041434. Key: A
major. Language:
German/English. Text:
Moller, Martin. Text:
Martin Moller.
For
the 2nd Epiphany Sunday
1725, Bach composed the
cantata O God, what glut
of care and pain. It
forms part of the annual
cycle of chorale
cantatas. In the
large-scale opening
movement, a choral
setting full of anguish
with expansive orchestral
sections, the bass
presents the cantus
firmus in segments,
reinforced by one
trombone. This is
followed directly by the
second chorale verse in a
four-part setting in
which, however, each
chorale line is
interrupted by a short
recitative (each one sung
by a different voice).
The bass, who closes the
recitative, also sings
the following continuo
aria which is rich in
melismatic passages. The
second aria is a duet
expanded into a quartet
setting by the addition
of oboes d'amore and
continuo; it leads into
the closing chorale
containing a wealth of
transitions. Score and
parts available
separately - see item
CA.3100300.
Arrangement for
chamber orchestra.
Composed by Gioachino
Rossini. Arranged by
Joachim Linckelmann.
Carus sheet music series:
Great choral works in
small scorings. Stabat
Mater, Arr. Fur
Kammerensemble. Sacred
vocal music. Full score.
200 pages. Duration 66
minutes. Carus Verlag #CV
70.089/50. Published by
Carus Verlag
(CA.7008950).
ISBN
9790007167646. Text
language:
Latin.
Following
his early departure from
the opera stage in 1829,
besides chamber music
Gioachino Rossini
composed only larger
scored works of church
music. The Stabat Mater
is among these. It was
composed in two different
phases between 1831 and
1841 and received its
premiere in Paris in
1842. The text is
fashioned as a prayer
describing Mary's pain in
the face of the crucified
Christ. Time and again
the vivid language of
this text, a Latin poem
probably from the 13th
century, has inspired
settings by composers
including illustrious
names such as Pergolesi,
Joseph Haydn and Verdi.
In 10 movements Rossini
unites different forms
such as aria, duet,
quartet and chorus, an
operatic aria-like style
of writing as well as a
strict a cappella style
resulting in one of the
highpoints of this genre.
For this arrangement, the
vocal score (CV
70.089/03), choral score
(CV 70.089/05) and parts
for strings and timpani
from the original
orchestral version can
also be used. Score
available separately -
see item CA.7008900.
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, wahr' Mensch
und Gott. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Set of
Orchestra Parts. Composed
1725. BWV 127. Duration
21 minutes. Carus Verlag
#CV 31.127/19. Published
by Carus Verlag
(CA.3112719).
ISBN
9790007136703. 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 parts
available separately -
see item CA.3112700.
Cantata
for the 2nd day of
Pentecost. Composed
by Johann Sebastian Bach.
Edited by Frauke Heinze.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Whitsun.
Study score. Composed
1728ca. BWV 173. 40
pages. Duration 15
minutes. Carus Verlag #CV
31.173/07. Published by
Carus Verlag
(CA.3117307).
ISBN
9790007165710. Language:
German/English.
Bac
h created the cantata
Erhohtes Fleisch und Blut
by setting the sacred
words to what had
originally been the music
of a secular cantata,
presumably for the
festival of Pentecost in
1727. Bach made few
alterations to the
musical structure, but he
enlarged the original
solo scoring for soprano
and bass to a four-voice
ensemble. Particularly
notable among the solo
movements is the
extensive duet for
soprano and bass in the
form of a minuet, which
in its musical language
is certainly unique in
Bach's cantatas. The
dancelike final chorus
brings the four voices
together, and gives
highly effective
expression to the joy of
Pentecost. Score
available separately -
see item CA.3117300.
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.
Cantata
for St. Michael.
Composed by Johann
Sebastian Bach. Edited by
Ingrid Jach. Arranged by
Paul Horn. This edition:
urtext. 1x 31.149/21 oboe
1, 1x 31.149/22 oboe 2,
1x 31.149/23 oboe 3, 1x
31.149/24 bassoon, 4x
31.149/31
trumpet/timpani.
Stuttgart Urtext Edition:
Bach vocal. German title:
Man singet mit Freuden
vom Sieg. Sacred vocal
music, Cantatas, Special
days. Set of Orchestra
Parts. BWV 149. Duration
22 minutes. Carus Verlag
#CV 31.149/09. Published
by Carus Verlag
(CA.3114909).
ISBN
9790007208554. Key: D
major. Language:
German/English. Text:
Henrici (Picander),
Christian Friedrich.
Text: Christian Friedrich
Henrici
(Picander).
In
composing the Cantata BWV
149 Bach reverted to
parts of an earlier work:
The opening chorus is a
parody of the Jadgkantate
BWV 208 (Hunting
Cantata). In addition to
smaller changes which
were made necessary due
to the text, Bach used
trumpets instead of
horns. For this purpose
he transposed the
movement from F major to
C major. Musically, the
form of the three arias
and their instrumentation
is rich in variety. The
bass aria (2nd mvt.) is
characterized by an
active continuo
accompaniment. After the
secco recitative an
extended dance like
soprano aria with string
accompaniment follows.
The third aria (6th mvt.)
is impressive due to the
animated melody and the
forming of a canon
between the voices, and
especially through the
entry of the bassoon as
the instrumental
counterpart to a duet
between the alto and
tenor. Score and parts
available separately -
see item CA.3114900.
Cantata for the 1st
Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Hans Grischkat.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Liebster Jesu, mein
Verlangen. Sacred vocal
music, Cantatas,
Epiphany. Choral Score.
Composed 1726. BWV 32. 2
pages. Duration 24
minutes. Carus Verlag #CV
31.032/05. Published by
Carus Verlag
(CA.3103205).
ISBN
9790007042493. Key: E
minor / g major.
Language: German/English.
Text: Lehms, Georg
Christian. Text: Georg
Christian
Lehms.
The text of
the cantata Dearest
Jesus, sore I need Thee
for the 1st Epiphany
Sunday 1726 was written
by the Darmstadt poet
Georg Christian Lehms. It
is conceived as a dialog
between Jesus and the
Faithful Soul. Bach
titled his cantata
Concerto in Dialogo and
accordingly, it is
structured as a dialog
between soprano and bass,
set in the voice types
that were - not only for
Bach - typically used for
the soul (soprano) and
Jesus (bass). The cantata
is based on the narrative
of the twelve-year-old
boy Jesus in the temple;
however, in spite of
closely following the
gospel text, it is
interpreted more widely
here: it is through Jesus
that the believer finds
God's dwelling. Bach
creates a great arch from
the opening aria full of
yearning and searching
through to the joyful
duet Nun verschwinden
alle Plagen. He himself
added the four-part
closing chorale to the
text model, thus
communicating the sense
of joyous certainty to
the congregation of
believers. Score
available separately -
see item CA.3103200.