(with Pine Cones and Holly Berries). By Meredith Willson. Arranged by Mac Huff. ...(+)
(with Pine Cones and
Holly Berries). By
Meredith Willson.
Arranged by Mac Huff.
(SATB). Choral. Size
6.75x10.5 inches. 12
pages. Published by Hal
Leonard.
Composed by Alan Bullard (1947-). For SATB choir (with opt. solos) & o...(+)
Composed by Alan Bullard
(1947-). For SATB choir
(with
opt. solos) &
organ/piano/small
orchestra/chamber group
(flute, clarinet,
trumpet,
trombone, percussion, and
either strings quintet,
or
strings orchestra, or
keyboard
(organ/piano)).
Contemporary.
Vocal score. Duration 30
minutes. Published by
Oxford
University Press
Choral SATB Choir and Piano SKU: CF.CM9740 Composed by Mark Burrows. 16 p...(+)
Choral SATB Choir and
Piano
SKU:
CF.CM9740
Composed by
Mark Burrows. 16 pages.
Duration 4 minutes, 22
seconds. Carl Fischer
Music #CM9740. Published
by Carl Fischer Music
(CF.CM9740).
ISBN
9781491161203. UPC:
680160919789. Key: Bb
major. English. Siegfried
Sasson.
Everyone
suddenly burst out
singing; And I was filled
with such delight As
prisoned birds must find
in freedom... These
opening lines to Everyone
Sang by the British war
poet Siegfried Sassoon
feel as relevant today as
they did when the poem
was first published in
1919. It was after the
end of World War I and
these words capture so
much of the collective
exhilaration, relief, and
pure joy about the Great
War finally coming to an
end. And yet Sassoon
himself felt none of that
when he wrote this poem.
In his own words, he was
feeling dull-minded and
depressed. Perhaps his
time in the trenches was
still too recent. One of
the reasons the creative
arts are so powerful is
that a poet like Sassoon
(or a painter like Van
Gogh or a composer like
Mahler) can take their
own feelings of deep
sadness or pain and
transform them into
something beautiful, even
uplifting. Everyone Sang
is a celebration of the
promise that things can
get better, that there
are things worth looking
forward to. The
poem itself has so much
rhythm and musicality.
The appearance of
suddenly in the first
line of each verse gives
those verses a rush of
energy. Attention to the
crescendo in measure 7,
and again in measure 37,
from mf to f will help
the listener experience
that rush. There are
expressive opportunities
with so many of the
poet's bold choices of
action words - burst,
winging, and shaken. Then
there's alliteration - a
poetic device that can be
overdone, but Sassoon
strikes a wonderful
balance. Suddenly/singing
(measures 6-7 and 10-11)
Find/freedom (measure
21-22) Winging/wildly
(measure 23) Setting/sun
(measures 47-49)
Was/wordless (measures
65-75) Give these
alliterations just a hint
of emphasis (without
overdoing) to bring out
the natural rhythm of the
text. And just as
O is set apart in the
poem by punctuation, I
wanted the musical
setting - in measure 57 -
to honor that feeling of
wonder - ...O, but
Everyone Was a bird; and
the song was wordless;
the singing will Never be
done. Friends, there is
so much good ahead, so
much to be excited about.
May the singing never be
done. Everyone
suddenly burst out
singingAnd I was filled
with such delightAs
prisoned birds must find
in freedom…These
opening lines to Everyone
Sang by the British war
poet Siegfried Sassoon
feel as relevant today as
they did when the poem
was first published in
1919. It was after the
end of World War I and
these words capture so
much of the collective
exhilaration, relief, and
pure joy about the
“Great Warâ€
finally coming to an end.
And yet Sassoon himself
felt none of that when he
wrote this poem. In his
own words, he “was
feeling dull-minded and
depressed.†Perhaps
his time in the trenches
was still too recent.One
of the reasons the
creative arts are so
powerful is that a poet
like Sassoon (or a
painter like Van Gogh or
a composer like Mahler)
can take their own
feelings of deep sadness
or pain and transform
them into something
beautiful, even
uplifting. Everyone Sang
is a celebration of the
promise that things can
get better, that there
are things worth looking
forward to. The poem
itself has so much rhythm
and musicality.The
appearance of
“suddenly†in
the first line of each
verse gives those verses
a rush of energy.
Attention to the
crescendo in measure 7,
and again in measure 37,
from mf to f will help
the listener experience
that rush.There are
expressive opportunities
with so many of the
poet’s bold
choices of action words
– burst, winging,
and shaken.Then
there’s
alliteration - a poetic
device that can be
overdone, but Sassoon
strikes a wonderful
balance.Suddenly/singing
(measures 6-7 and
10-11)Find/freedom
(measure
21-22)Winging/wildly
(measure 23)Setting/sun
(measures
47-49)Was/wordless
(measures 65-75)Give
these alliterations just
a hint of emphasis
(without overdoing) to
bring out the natural
rhythm of the
text. And just as
“O†is set
apart in the poem by
punctuation, I wanted the
musical setting –
in measure 57 - to honor
that feeling of wonder
–…O, but
EveryoneWas a bird; and
the song was wordless;
the singing willNever be
done. Friends, there
is so much good ahead, so
much to be excited
about.May the singing
never be done.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230).
ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English.
Looking Up Chorale SATB SATB, Piano St Rose Music Publishing
Choir, Piano Accompaniment (SATB Choir) SKU: HL.277282 SATB and Piano ...(+)
Choir, Piano
Accompaniment (SATB
Choir)
SKU:
HL.277282
SATB and
Piano Vocal Score.
Composed by Nico Muhly.
Music Sales America.
Classical. Softcover. 60
pages. St. Rose Music
#SRO10015201. Published
by St. Rose Music
(HL.277282).
UPC:
840126915006. 6.75x10.5
inches.
Program
note:
Looking Up
is a piece for large
chorus and orchestra, and
is in three sections,
played without pause. In
the 16th century, a
variety of psalters in
meter were printed in
England, with the idea of
making psalm-singing
something that could
happen easily at home,
with the rhyming meter
being an aid to
memorization. These
translations are
wonderful exercises in
brevity and sometimes
clumsy rhymemaking, and
were usually prefaced by
a lengthy explanation as
to their merits; the
title of one of the first
such volumes in English
is: The Psalter of Dauid
newely translated into
Englysh metre in such
sort that it maye the
more decently, and wyth
more delyte of the mynde,
be reade and songe of al
men. I thought it would
be appropriate to set one
of these introductions,
and the first section of
Looking Up sets the
preface to Thomas
Ravenscroft's psalter
(1621), in which he
writes: “The
singing of Psalmes (assay
the Doctors) comforteth
the sorrowfull, pacifieth
the angry, strengtheneth
the weake, humbleth the
proud, gladdeth the
humble, stirres up the
slow, reconcileth
enemies, lifteth up the
heart to heavenly things,
and uniteth the Creature
to his
Creator.”
It
begins meditatively, but
eventually grows agitated
and fervent, with a
vision of the
“quire of Angels
and Saints”
“redoubling
anddescanting” - an
ecstatic and terrifying
vision of the skies
opening up. Ravenscroft
then encourages the use
of instrumental musicfor
worship, at which point,
a long, acrobatic
orchestral interlude with
jagged edges antagonizes
the choir, who sing a
kind of private, anxious
meditation on two
pitches.
One of
the most delicious
biblical texts is an
Apocryphal prayer known
as the Benedicite or the
Prayer of the Three
Children (the same who
were rescued by an angel
after King Nebuchadnezzar
tried to have them burnt
in an oven for not bowing
to his image). The text
is repetitive, obsessive,
and a gift to composers -
each line is an
invocation of an element
of the natural world,
followed by the phrase,
“blesse ye the
Lord, praise him &
magnify him for
ever.” In Looking
Up, the setting begins
with three solo voices,
and then grows to include
the whole choir,
itemizing the whole of
creation. The idea that
these boys are spared
from the furnace and then
five minutes later are
saying, “O ye the
fire and warming heate,
blesse ye the
Lord...” has always
felt very loaded to me,
and the orchestra plays
with this conflict
between joyful praise and
a more terrible (in the
16th-century sense)
awefor the
divine.
The text
for the third, and
shortest, section is
taken from Christopher
Smart's (1722-1771) A
Song to David,
purportedly written
during his confinement in
a mental asylum. This ode
to King David points out
how David, as the author
of some of the Psalms,
observes the whole world
from the
“clustering
spheres” to the
“nosegay in the
vale.&rdquo.
Piano (SATB) - early intermediate SKU: CR.984388 Composed by Jeffrey Bler...(+)
Piano (SATB) - early
intermediate
SKU:
CR.984388
Composed by
Jeffrey Blersch. Choral.
Octavo. With music.
Concordia Publishing
House #984388. Published
by Concordia Publishing
House (CR.984388).
ISBN 9780758672858. 7
X 10.25
inches.
A text
by Lisa M. Clark set for
SATB and piano by Jeffrey
Blersch. The text was
inspired by the parable
of the dishonest manager
(Luke 16:1 - 13) and will
help Christians wrestle
with the concepts of
living in a broken world
to make an eternal
difference. The music
presents a warm melodic
setting of the text, and
each choral part gets to
sing the melody.
Look with eyes
that see
forever, Fai
thful to the Lord's
design. Work
within the world, but
never Choose
its call o'er things
divine. Noth
ing on this earth can
sever You
from love that will
refine, You
from love that will
refine.
Serve with hands
that toil
unceasing, D
iligent in great and
small. With
the Kingdom's realm
increasing,
Rob the devil's lair of
all. Joyous
souls, their bonds
releasing, S
ing their rescue from the
fall, Sing
their rescue from the
fall.
Love with hearts
that will not
waver Undern
eath the fearsome
fight. Show
the weary Jesus' favor,
Won to make
creation right.
By all
means, bring all to
savor Mercie
s rich and glories
bright, Merc
ies rich and glories
bright.
Sing With Me Chorale SATB SATB, Piano Carl Fischer
Choral SATB Choir and Piano SKU: CF.CM9765 Composed by Richard Waters. Du...(+)
Choral SATB Choir and
Piano
SKU:
CF.CM9765
Composed by
Richard Waters. Duration
1:45. Carl Fischer Music
#CM9765. Published by
Carl Fischer Music
(CF.CM9765).
ISBN
9781491162538. UPC:
680160921287. Key: A
major. Original.
I
composed Sing with Me
during the summer of 2020
as my own personal
response to the
relentless series of
heartaches that we faced:
the uncertainty of the
COVID-19 pandemic, the
anguish of not being able
to sing together and the
rise of social justice
crises across the
country. It is the first
piece for which I have
also written the text. At
the time, I was unsure of
what the fall semester
would look like for my
own choir. Would we be in
person? If so, for how
long? Therefore, I
designed the piece to be
accessible and adaptable
to whatever situation we
faced. It is my wish that
the message of hope and
unity will resonate with
all who sing or hear
it.Sing with me, as I
sing with you,Let the
music revive us
anew;Yearning for
beautiful harmony,Come
and sing with me. All
the world is longing for
peace,For all meaningless
hatred to cease;Joining
together, your hand in
mine,Let our voices
shine! Dream with us,
together as one,For the
day when the battle is
done;Fervently striving
for unity,Come and dream
with me.Come and sing
with me. .
Choir Secular (SATB choir) SKU: AP.47676 (A Song of Winter). Perfo...(+)
Choir Secular (SATB
choir)
SKU:
AP.47676
(A Song
of Winter).
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Secular; Winter. Choral
Octavo. 16 pages. Alfred
Music #00-47676.
Published by Alfred Music
(AP.47676).
UPC:
038081543697. English.
Adam Podd; Matt
Podd.
The
shimmering winter-themed
text and lilting 6/8
rhythms dance right off
the page in this
contemporary choral like
none other. Accessible
yet unexpected harmonies
provide warmth, and a
full dynamic range takes
us on a journey from a
single voice to full
ensemble singing. The
breathtaking add-on
section weaves three
independent lines into
one radiant tapestry of
sound and suggests that
the light we search for
may be found within.
About Alfred
Choral
Designs
Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests.
Choral (SATB) SKU: HL.1311456 Composed by Mark Sirett. Hinshaw Music. Chr...(+)
Choral (SATB)
SKU:
HL.1311456
Composed
by Mark Sirett. Hinshaw
Music. Christian, General
Worship, Sacred. Octavo.
Hinshaw Music #HMC2711.
Published by Hinshaw
Music (HL.1311456).
UPC: 196288177326.
6.75x10.5x0.029
inches.
Written for
a festival featuring the
award-winning Bach
Children's Choir of
Toronto (directed by
Linda Beaupré) and the
Amabile Young Men's Choir
of London, Ontario
(directed by Carol
Beynon), the opening
verse of this evocative
text from the Philippines
marvels at the beauty of
the universe: the stars,
the deep blue ocean, and
the green forest. The
reflective middle section
highlights the profound
connection humans share
with all living
creatures. The joyful
conclusion reminds us of
the gift of freedom - a
blessing that emanates
from within each one of
us, and made more
powerful in unity with
our brothers and sisters.
Suitable for high school,
collegiate, and community
choirs.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. 2x 31.002/21 2
oboes, 1x 31.002/31
trumpet, 1x 31.002/32
trombone 1, 1x 31.002/33
trombone 2, 1x 31.002/34
trombone 3, 1x 31.002/35
trombone 4. Hymns by
Martin Luther: Ach Gott,
vom Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein 7.
Sacred vocal music,
Cantatas. Set of
Orchestra Parts. Composed
1724. BWV 2. 20 pages.
Duration 20 minutes.
Carus Verlag #CV
31.002/09. Published by
Carus Verlag
(CA.3100209).
ISBN
9790007041335. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and parts
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel. Sacred vocal
music, Cantatas. Single
Part, Viola. Composed
1724. BWV 2. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.002/13. Published by
Carus Verlag
(CA.3100213).
ISBN
9790007041366. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein.
Sacred vocal music,
Cantatas. Choral Score.
Composed 1724. BWV 2. 12
pages. Duration 20
minutes. Carus Verlag #CV
31.002/05. Published by
Carus Verlag
(CA.3100205).
ISBN
9790007041311. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score available
separately - see item
CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel. Sacred vocal
music, Cantatas. Single
Part, Cello/Double Bass.
Composed 1724. BWV 2. 12
pages. Duration 20
minutes. Carus Verlag #CV
31.002/14. Published by
Carus Verlag
(CA.3100214).
ISBN
9790007041373. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein.
Sacred vocal music,
Cantatas. Set of
Orchestra Parts. Composed
1724. BWV 2. Duration 20
minutes. Carus Verlag #CV
31.002/19. Published by
Carus Verlag
(CA.3100219).
ISBN
9790007135904. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and parts
available separately -
see item CA.3100200.
Soli ATB, SATB Choir, 2 Ob, 4 Trb, Vl solo, 2 Vl, Va, Bc - Level 3 SKU: CA.31...(+)
Soli ATB, SATB Choir, 2
Ob, 4 Trb, Vl solo, 2 Vl,
Va, Bc - Level 3
SKU:
CA.3100249
2nd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Reinhold Kubik. Hymns
by Martin Luther: Ach
Gott, vom Himmel sieh
darein. Organ. Sacred
vocal music, Cantatas.
Single Part, Organ.
Composed 1724. BWV 2. 20
pages. Duration 20
minutes. Carus Verlag #CV
31.002/49. Published by
Carus Verlag
(CA.3100249).
ISBN
9790007204419. Key: D
minor. Language:
German/English. Text:
Luther,
Martin.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel. Sacred vocal
music, Cantatas. Single
Part, Violin 2. Composed
1724. BWV 2. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.002/12. Published by
Carus Verlag
(CA.3100212).
ISBN
9790007041359. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein.
Sacred vocal music,
Cantatas. Single Part,
Violin solo + Vio.
Composed 1724. BWV 2. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.002/11. Published by
Carus Verlag
(CA.3100211).
ISBN
9790007041342. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Single Part, Violin 2.
Composed 1723. BWV 46. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.046/12. Published by
Carus Verlag
(CA.3104612).
ISBN
9790007042981. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and part available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Single Part, Organ.
Composed 1723. BWV 46. 16
pages. Duration 20
minutes. Carus Verlag #CV
31.046/49. Published by
Carus Verlag
(CA.3104649).
ISBN
9790007043018. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and part available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Choral Score. Composed
1723. BWV 46. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.046/05. Published by
Carus Verlag
(CA.3104605).
ISBN
9790007042950. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext. 1x
31.046/21 recorder 1, 1x
31.046/22 recorder 2, 1x
31.046/23 oboe 1, 1x
31.046/24 oboe 2, 1x
31.046/31 trumpet.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Set of Orchestra Parts.
Composed 1723. BWV 46. 40
pages. Duration 20
minutes. Carus Verlag #CV
31.046/09. Published by
Carus Verlag
(CA.3104609).
ISBN
9790007042967. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and parts available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Set of Orchestra Parts.
Composed 1723. BWV 46.
Duration 20 minutes.
Carus Verlag #CV
31.046/19. Published by
Carus Verlag
(CA.3104619).
ISBN
9790007136154. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and parts available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Single Part, Viola.
Composed 1723. BWV 46. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.046/13. Published by
Carus Verlag
(CA.3104613).
ISBN
9790007042998. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and part available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Vocal score. Composed
1723. BWV 46. 32 pages.
Duration 20 minutes.
Carus Verlag #CV
31.046/03. Published by
Carus Verlag
(CA.3104603).
ISBN
9790007042943. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Full score. Composed
1723. BWV 46. 60 pages.
Duration 20 minutes.
Carus Verlag #CV
31.046/00. Published by
Carus Verlag
(CA.3104600).
ISBN
9790007042936. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Within the Song Chorale SATB SATB, Piano Heritage Music Press
SATB choir, piano SKU: LO.15-3690H Composed by Patti Drennan. Choral. Oct...(+)
SATB choir, piano
SKU:
LO.15-3690H
Composed
by Patti Drennan. Choral.
Octavo. Heritage Music
Press #15/3690H.
Published by Heritage
Music Press
(LO.15-3690H).
ISBN
9780787768218.
My
heart is full, my mind is
still, and I am strong!
Within the music I
belong, and I am one
within the song.
Inspired, forward-looking
lyrics by Herb Frombach
and Patti Drennan
combined with a creative
and musically varied
piano part display the
power of music in our
personal lives. The
linear vocal parts can be
easily grasped, so
rehearsals can focus on
dynamic contrast,
phrasing, and general
musical presentation.
By Thomas Tallis (1505-1585). Choir Sacred. For with Piano (SATB choir). Book; C...(+)
By Thomas Tallis
(1505-1585). Choir
Sacred. For with Piano
(SATB choir). Book;
Choral (Sacred); Choral
Worship Collection;
Masterworks; Worship
Resources. Faber Edition:
Choral Programme Series.
Masterwork; Renaissance;
Sacred. Published by
Faber Music