Cantata
for Quasimodogeniti
Sunday. Composed by
Johann Sebastian Bach.
Edited by Felix Loy. This
edition: urtext. 1x
31.042/21 oboe 1, 1x
31.042/22 oboe 2, 1x
31.042/23 bassoon.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Sacred vocal
music, Cantatas, Easter
and Eastertide. Set of
Orchestra Parts. Composed
1725. BWV 42. 20 pages.
Duration 28 minutes.
Carus Verlag #CV
31.042/09. Published by
Carus Verlag
(CA.3104209).
ISBN
9790007205836. Language:
German/English.
Ins
tead of an opening chorus
Cantata BWV 42 begins
with a magnificent
Sinfonia in the style of
the Brandenburg
Concertos. It is possible
that Bach took this
movement from a concerto
which he had composed
earlier. The first aria,
for alto with obbligato
oboe and bassoon, could
be derived from the
middle movement of this
concerto. The heroic bass
aria, a statement of the
certainty of faith, forms
a weighty counterpart to
the opening movement.
Score and parts available
separately - see item
CA.3104200.
Cantata
for Quasimodogeniti
Sunday. Composed by
Johann Sebastian Bach.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal.
Violoncello/double bass.
Sacred vocal music,
Cantatas, Easter and
Eastertide. Single Part,
Cello/Double Bass.
Composed 1725. BWV 42. 12
pages. Duration 28
minutes. Carus Verlag #CV
31.042/14. Published by
Carus Verlag
(CA.3104214).
ISBN
9790007205874. Language:
German/English.
Ins
tead of an opening chorus
Cantata BWV 42 begins
with a magnificent
Sinfonia in the style of
the Brandenburg
Concertos. It is possible
that Bach took this
movement from a concerto
which he had composed
earlier. The first aria,
for alto with obbligato
oboe and bassoon, could
be derived from the
middle movement of this
concerto. The heroic bass
aria, a statement of the
certainty of faith, forms
a weighty counterpart to
the opening movement.
Score and part available
separately - see item
CA.3104200.
Cantata
for Quasimodogeniti
Sunday. Composed by
Johann Sebastian Bach.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Easter and Eastertide.
Single Part, Viola.
Composed 1725. BWV 42. 4
pages. Duration 28
minutes. Carus Verlag #CV
31.042/13. Published by
Carus Verlag
(CA.3104213).
ISBN
9790007205867. Language:
German/English.
Ins
tead of an opening chorus
Cantata BWV 42 begins
with a magnificent
Sinfonia in the style of
the Brandenburg
Concertos. It is possible
that Bach took this
movement from a concerto
which he had composed
earlier. The first aria,
for alto with obbligato
oboe and bassoon, could
be derived from the
middle movement of this
concerto. The heroic bass
aria, a statement of the
certainty of faith, forms
a weighty counterpart to
the opening movement.
Score and part available
separately - see item
CA.3104200.
Cantata
for Quasimodogeniti
Sunday. Composed by
Johann Sebastian Bach.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Easter
and Eastertide. Study
score. Composed 1725. BWV
42. 48 pages. Duration 28
minutes. Carus Verlag #CV
31.042/07. Published by
Carus Verlag
(CA.3104207).
ISBN
9790007142711. Text
language:
German/English.
Ins
tead of an opening chorus
Cantata BWV 42 begins
with a magnificent
Sinfonia in the style of
the Brandenburg
Concertos. It is possible
that Bach took this
movement from a concerto
which he had composed
earlier. The first aria,
for alto with obbligato
oboe and bassoon, could
be derived from the
middle movement of this
concerto. The heroic bass
aria, a statement of the
certainty of faith, forms
a weighty counterpart to
the opening movement.
Score available
separately - see item
CA.3104200.
Cantata
for Quasimodogeniti
Sunday. Composed by
Johann Sebastian Bach.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Easter and Eastertide.
Set of Orchestra Parts.
Composed 1725. BWV 42.
Duration 28 minutes.
Carus Verlag #CV
31.042/19. Published by
Carus Verlag
(CA.3104219).
ISBN
9790007140175. Language:
German/English.
Ins
tead of an opening chorus
Cantata BWV 42 begins
with a magnificent
Sinfonia in the style of
the Brandenburg
Concertos. It is possible
that Bach took this
movement from a concerto
which he had composed
earlier. The first aria,
for alto with obbligato
oboe and bassoon, could
be derived from the
middle movement of this
concerto. The heroic bass
aria, a statement of the
certainty of faith, forms
a weighty counterpart to
the opening movement.
Score and parts available
separately - see item
CA.3104200.
Cantata
for Quasimodogeniti
Sunday. Composed by
Johann Sebastian Bach.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Easter and
Eastertide. Single Part,
Violin 1. Composed 1725.
BWV 42. 12 pages.
Duration 28 minutes.
Carus Verlag #CV
31.042/11. Published by
Carus Verlag
(CA.3104211).
ISBN
9790007205843. Language:
German/English.
Ins
tead of an opening chorus
Cantata BWV 42 begins
with a magnificent
Sinfonia in the style of
the Brandenburg
Concertos. It is possible
that Bach took this
movement from a concerto
which he had composed
earlier. The first aria,
for alto with obbligato
oboe and bassoon, could
be derived from the
middle movement of this
concerto. The heroic bass
aria, a statement of the
certainty of faith, forms
a weighty counterpart to
the opening movement.
Score and part available
separately - see item
CA.3104200.
Cantata
for Quasimodogeniti
Sunday. Composed by
Johann Sebastian Bach.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Easter
and Eastertide. Full
score. Composed 1725. BWV
42. 48 pages. Duration 28
minutes. Carus Verlag #CV
31.042/00. Published by
Carus Verlag
(CA.3104200).
ISBN
9790007134617. Language:
German/English.
Ins
tead of an opening chorus
Cantata BWV 42 begins
with a magnificent
Sinfonia in the style of
the Brandenburg
Concertos. It is possible
that Bach took this
movement from a concerto
which he had composed
earlier. The first aria,
for alto with obbligato
oboe and bassoon, could
be derived from the
middle movement of this
concerto. The heroic bass
aria, a statement of the
certainty of faith, forms
a weighty counterpart to
the opening movement.
Cantata
for Quasimodogeniti
Sunday. Composed by
Johann Sebastian Bach.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Easter and
Eastertide. Single Part,
Violin 2. Composed 1725.
BWV 42. 12 pages.
Duration 28 minutes.
Carus Verlag #CV
31.042/12. Published by
Carus Verlag
(CA.3104212).
ISBN
9790007205850. Language:
German/English.
Ins
tead of an opening chorus
Cantata BWV 42 begins
with a magnificent
Sinfonia in the style of
the Brandenburg
Concertos. It is possible
that Bach took this
movement from a concerto
which he had composed
earlier. The first aria,
for alto with obbligato
oboe and bassoon, could
be derived from the
middle movement of this
concerto. The heroic bass
aria, a statement of the
certainty of faith, forms
a weighty counterpart to
the opening movement.
Score and part available
separately - see item
CA.3104200.
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.
Soloists, Mixed choir, Orchestra SKU: BA.BA10726-01 Oratorio in three ...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA10726-01
Oratorio in three
parts. Composed by
George Frideric Handel.
Edited by Michael
Pacholke. This edition:
Complete edition. Linen.
Complete edition, Score.
HWV 46. Baerenreiter
Verlag #BA10726-01.
Published by Baerenreiter
Verlag (BA.BA10726-01).
ISBN 9790006575596. 33
x 26 cm inches. Text
Language: Italian.
Preface: Pacholke,
Michael.
In the
brief half-year period
from August 14, 1736, to
January 27, 1737, Georg
Friedrich Handel achieved
an unprecedented level of
productivity in his opera
compositions, creating
three operas.
Additionally, in March
1737, he also composed a
largely new oratorio
titled â??Il trionfo del
Tempo e della
Verità â? (â??The
Triumph of Time and
Truthâ?) HWV 46b. The
libretto of this oratorio
closely corresponds to
that of the oratorio
â??La Bellezza ravveduta
nel trionfo del Tempo e
del Disingannoâ?
(â??Beauty Reconciled in
the Triumph of Time and
Enlightenmentâ?) HWV
46a written in 1707. With
â??La Bellezza
ravvedutaâ?, Handel
composed an allegorical
and particularly dramatic
oratorio right at the
beginning of his oratorio
compositions. In this
work, there is no chorus
inclined towards
reflection. Not only do
the four allegorical
figures, Bellezza
(Beauty), Piacere
(Pleasure), Tempo (Time),
and Disinganno
(Enlightenment), listen
to each other and react
to the ideas presented by
the others, but this
prevailing dramatic
principle of dispute is
also found in the
recitatives.
In
1737, when reworking the
oratorio material as
â??Il trionfo del Tempo
e della Verità â?,
Handel approached the
task pragmatically. He
needed a new non-dramatic
work to fulfill the
eveningâ??s program for
his audience at the
Covent Garden Theatre
during the fasting season
when theatrical
performances were
prohibited. Although he
had excellent Italian
vocal soloists, notorious
for their pronunciation
in Handelâ??s English
oratorios and who
naturally preferred
singing in Italian,
Handel found a solution.
It was evident to Handel
that, in response to the
ban on performances of
his Italian operas during
the fasting season of
1737, he should promptly
create a new oratorio in
the Italian language but
following the three-part
â??Englishâ? oratorio
form that he had
developed in
â??Estherâ? HWV 50b
in 1732. Unlike in Rome
in 1707, he had access to
a chorus in London in
1737, and the English
oratorio, with its
substantial choral
sections, a preference
for concert-like rather
than dramatic
composition, and frequent
inclusion of organ
concertos loosely related
to the narrative, was
already
established.
The
new volume of the HHA
includes the original
version of the 1737
premiere as well as all
the surviving early and
later versions (the
latter being exceptional
highlights) of individual
musical pieces from
â??Il trionfo del Tempo
e della
Verità â?.
Composed
by Robert Schumann.
Edited by Hansjörg
Ewert. Set of Orchestra
Parts. Composed 1852. Op.
147. Duration 40 minutes.
Carus Verlag #4068719.
Published by Carus Verlag
(CA.4068719).
ISBN
9790007311384. Key: C
minor. Latin.
A
mass setting by Robert
Schumann? This is still
likely to cause surprise
among audiences â
after all, Schumann is
not generally viewed as a
sacred composer. Indeed,
his little-known late
work, the Missa sacra,
Op. 147, is a discovery
not just for listeners
but often for the
performers themselves.
The mass combines an
acute fascination with
sacred liturgy typical of
Schumannâs time with
the pragmatism of its
intended use by a local
choral society. The
composer employs his
considerable skills to
create a captivating and
varied score that is
almost ethereal in the
Kyrie, leading to
passages of an intimate
and lyrical piano that
alternate with fortissimo
for words of praise,
while always displaying
the utmost sensitivity
and a delight in
dissonance. The composer
declared his setting to
be âfashioned with
great loveâ. The
demanding orchestral mass
can be realized with
limited means. The solo
parts can be filled from
the choir. The work,
which the composer
himself did not have
published, is here
reissued on the basis of
Schumannâs partial
autograph score.
Carus has also
produced an arrangement
of the work for choir and
organ, enabling
performances without
orchestra in smaller
venues (Carus
40.687/45).
.
Score and parts available
separately - see item
CA.4068700.
Composed
by Robert Schumann.
Edited by Hansjörg
Ewert. Choral Score.
Composed 1852. Op. 147.
Duration 40 minutes.
Carus Verlag #4068706.
Published by Carus Verlag
(CA.4068706).
ISBN
9790007239725. Key: C
minor. Latin.
A
mass setting by Robert
Schumann? This is still
likely to cause surprise
among audiences â
after all, Schumann is
not generally viewed as a
sacred composer. Indeed,
his little-known late
work, the Missa sacra,
Op. 147, is a discovery
not just for listeners
but often for the
performers themselves.
The mass combines an
acute fascination with
sacred liturgy typical of
Schumannâs time with
the pragmatism of its
intended use by a local
choral society. The
composer employs his
considerable skills to
create a captivating and
varied score that is
almost ethereal in the
Kyrie, leading to
passages of an intimate
and lyrical piano that
alternate with fortissimo
for words of praise,
while always displaying
the utmost sensitivity
and a delight in
dissonance. The composer
declared his setting to
be âfashioned with
great loveâ. The
demanding orchestral mass
can be realized with
limited means. The solo
parts can be filled from
the choir. The work,
which the composer
himself did not have
published, is here
reissued on the basis of
Schumannâs partial
autograph score.
Carus has also
produced an arrangement
of the work for choir and
organ, enabling
performances without
orchestra in smaller
venues (Carus
40.687/45).
.
Score available
separately - see item
CA.4068700.
Composed
by Robert Schumann.
Edited by Hansjörg
Ewert. Set of Orchestra
Parts. Composed 1852. Op.
147. Duration 40 minutes.
Carus Verlag #4068709.
Published by Carus Verlag
(CA.4068709).
ISBN
9790007311322. Key: C
minor. Latin.
A
mass setting by Robert
Schumann? This is still
likely to cause surprise
among audiences â
after all, Schumann is
not generally viewed as a
sacred composer. Indeed,
his little-known late
work, the Missa sacra,
Op. 147, is a discovery
not just for listeners
but often for the
performers themselves.
The mass combines an
acute fascination with
sacred liturgy typical of
Schumannâs time with
the pragmatism of its
intended use by a local
choral society. The
composer employs his
considerable skills to
create a captivating and
varied score that is
almost ethereal in the
Kyrie, leading to
passages of an intimate
and lyrical piano that
alternate with fortissimo
for words of praise,
while always displaying
the utmost sensitivity
and a delight in
dissonance. The composer
declared his setting to
be âfashioned with
great loveâ. The
demanding orchestral mass
can be realized with
limited means. The solo
parts can be filled from
the choir. The work,
which the composer
himself did not have
published, is here
reissued on the basis of
Schumannâs partial
autograph score.
Carus has also
produced an arrangement
of the work for choir and
organ, enabling
performances without
orchestra in smaller
venues (Carus
40.687/45).
.
Score and parts available
separately - see item
CA.4068700.
Semele, HWV 58 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Soloists, Mixed choir, Orchestra SKU: BA.BA04025-01 Composed by George Fr...(+)
Soloists, Mixed choir,
Orchestra
SKU:
BA.BA04025-01
Composed by George
Frideric Handel. Edited
by
Georg-Friedrich-Händel
-Gesellschaft e. V.
Risinger and Mark. This
edition: Complete
edition. Linen. Complete
edition, Score. HWV 58.
Baerenreiter Verlag
#BA04025-01. Published by
Baerenreiter Verlag
(BA.BA04025-01).
ISBN
9790006443222. 33 x 26 cm
inches. Text Language:
English.
Handelâ??
s â??Semeleâ?, which
premiered in February
1744, is based on an
adapted version of
William Congreveâ??s
opera libretto titled
â??The Story of
Semeleâ?, originally
published in 1706.
However, neither Handel
nor his librettist
referred to
â??Semeleâ? as an
opera or an oratorio,
which, according to the
understanding at the
time, would have required
a biblical and/or
Christian subject matter.
Contemporary audiences
also disagreed on the
genre. The problematic
classification as an
oratorio has persisted
into the present day,
likely due to the edition
labeled as such by
Chrysander. The â??Halle
Handel Editionâ? (HHA)
distances itself from
this classification and,
considering the available
sources, refrains from
assigning a genre
label.
Congreve
deviates from the
mythological source
multiple times in order
to create tensions among
the characters. The
desired marriage between
Semele and Athamas, whom
she does not love, is an
addition by Congreve to
provoke the envy of her
sister Ino, who desires
Athamas herself.
Therefore, Ino sees her
own advantage in
Semeleâ??s abduction by
Jupiter. While
Jupiterâ??s wife Juno
decides to destroy Semele
out of jealousy for his
relationship with her,
Jupiter brings Ino to his
palace to console Semele.
The vengeful Juno takes
advantage of Inoâ??s
presence and transforms
into her likeness,
persuading Semele to
carry out a plan that
later proves fatal. In
the end, Ino emerges as
the winner, as she is
able to convince their
father, Cadmus, to marry
her to Athamas. The
appearance of Apollo in
the final scene to
announce that Semeleâ??s
immortal son Bacchus was
saved from her ashes
provides little
consolation. However,
this twist allows the
drama to conclude with
exuberant joy and a
magnificent final chorus
after the tragic scenes
in the third act,
culminating in the death
of the
protagonist.
Hande
lâ??s autograph score
shows significant
deviations from and
numerous revisions of the
original version
premiered. All surviving
early versions, the
musical movements deleted
before the premiere, and
the version of the
December 1744, are given
in the appendix to the
HHA.
By Johann Sebastian Bach; Neil Jenkins (Editor). For 2 Soprano, Alto, Tenor, Bas...(+)
By Johann Sebastian Bach;
Neil Jenkins (Editor).
For 2 Soprano, Alto,
Tenor, Bass Soli, SSATB
Chorus, Piano. Baroque,
Sacred, Choral. Sheet
Music. 204 pages.
Published by Novello and
Co Ltd.
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.
(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - ...(+)
(Soli SAATBB, Coro SATB
(auch SSAATB), 2 Bfl, 2
Ob, 2 Tr, Timp, 2 Vl, Va,
Bc) - Grade 3
SKU:
CA.1025009
Composed
by Henry Purcell. Edited
by Julia Rosemeyer. Set
of Orchestra Parts.
Composed 1692. Z 328.
Duration 55 minutes.
Carus Verlag #1025009.
Published by Carus Verlag
(CA.1025009).
ISBN
9790007329815. Key: D
major.
English.
âHail
! bright Cecilia, hail to
thee. Great patroness of
us and harmony!â
â this exclamation
opens the final chorus of
Henry Purcellâs
eponymous Ode to St.
Cecilia from 1692. A
paean to the power of
music, the work is one of
the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Ceciliaâs Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexanderâs Feast,
HWV 75 (Carus 55.075),
and his Ode for St.
Ceciliaâs Day, HWV
76 (Carus
55.076).
Purcellâ
s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
âOrpheus
Britannicusâ, as
Purcell was admiringly
called by
contemporaries.
-
Festive, rousing ode to
music - Highlight of
the choral ode genre in
the 17th century .
Score and parts available
separately - see item
CA.1025000.
Magnificat in D Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur d'étude / Miniature] Carus Verlag
By Johann Sebastian Bach (1685-1750). Edited by Ulrich Leisinger. Arranged by Pa...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Ulrich Leisinger.
Arranged by Paul Horn.
For SSATB vocal soli,
SSATB choir, 2 flutes, 2
oboes, 3 trumpets,
timpani, 2 violins,
viola, basso continuo.
This edition: Paperbound.
D-Dur (D major).
Stuttgart Urtext
editions. Score available
separately - see item
CA.3124300. Magnificats,
Christmas. Study score.
Language: Latin. BWV 243.
76 pages. Published by
Carus Verlag
(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - ...(+)
(Soli SAATBB, Coro SATB
(auch SSAATB), 2 Bfl, 2
Ob, 2 Tr, Timp, 2 Vl, Va,
Bc) - Grade 3
SKU:
CA.1025003
Composed
by Henry Purcell. Edited
by Julia Rosemeyer. Vocal
score. Composed 1692. Z
328. Duration 55 minutes.
Carus Verlag #1025003.
Published by Carus Verlag
(CA.1025003).
ISBN
9790007251833. Key: D
major.
English.
âHail
! bright Cecilia, hail to
thee. Great patroness of
us and harmony!â
â this exclamation
opens the final chorus of
Henry Purcellâs
eponymous Ode to St.
Cecilia from 1692. A
paean to the power of
music, the work is one of
the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Ceciliaâs Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexanderâs Feast,
HWV 75 (Carus 55.075),
and his Ode for St.
Ceciliaâs Day, HWV
76 (Carus
55.076).
Purcellâ
s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
âOrpheus
Britannicusâ, as
Purcell was admiringly
called by
contemporaries.
-
Festive, rousing ode to
music - Highlight of
the choral ode genre in
the 17th century .
Score available
separately - see item
CA.1025000.
(Soli,Ch,Orch) SKU: BA.BA05938-01 Composed by Johann Sebastian Bach. Edit...(+)
(Soli,Ch,Orch)
SKU:
BA.BA05938-01
Composed by Johann
Sebastian Bach. Edited by
Manuel Bärwald. This
edition: Edition of
selected works, Urtext
edition. Linen. Johann
Sebastian Bach. Neue
Ausgabe samtlicher Werke.
Revidierte Edition
(NBArev) 6. Edition of
selected works, Score.
Composed 1725. BWV 245.
Baerenreiter Verlag
#BA05938_01. Published by
Baerenreiter Verlag
(BA.BA05938-01).
ISBN
9790006556335. 33 x 26.2
cm inches. Language:
German. Preface: Barwald,
Manuel.
The St.
John Passion, Bach's
first passion oratorio,
can hardly be understood
asonework. Between 1724
and 1750 the work was
performed at least four
times in various Leipzig
churches under the
composer's direction and
for every one of these
occasions it was revised
- sometimes quite
substantially.
Thi
s edition presents the
St. John Passion in its
second version of 1725,
of which only excerpts
were rendered in the New
Bach Edition volume II/4
(1973). This version as
well as the last one of
1749 constitute the two
versions that have come
down to us almost in
their
entirety.
Most
recently found sources -
in particular the
libretto print of the
passion rediscovered in
2015 - are taken into
consideration in this
edition for the first
time.
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