(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.

“Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s 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. Cecilia’s 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 Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell⠀™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 “Orpheus Britannicus”, 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.

(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.

“Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s 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. Cecilia’s 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 Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell⠀™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 “Orpheus Britannicus”, 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.

Organ (Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - Grade 3

SKU: CA.1025049

Composed by Henry Purcell. Edited by Julia Rosemeyer. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025049. Published by Carus Verlag (CA.1025049).

ISBN 9790007329808. Key: D major. English.

“Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s 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. Cecilia’s 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 Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell⠀™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 “Orpheus Britannicus”, as Purcell was admiringly called by contemporaries.

- Festive, rousing ode to music
- Highlight of the choral ode genre in the 17th century
. Score and part available separately - see item CA.1025000.

(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - Grade 3

SKU: CA.1025005

Composed by Henry Purcell. Edited by Julia Rosemeyer. Choral Score. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025005. Published by Carus Verlag (CA.1025005).

ISBN 9790007251840. Key: D major. English.

“Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s 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. Cecilia’s 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 Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell⠀™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 “Orpheus Britannicus”, 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.

Solo voices, orchestra (Soprano Voice Solo, Mezzo-Soprano Voice Solo, 2 Alto Voice Solo, Tenor Voice Solo, Bass Voice Solo, 2 recorder-A, 2 Fl, 2 Ob, 2 clarinet, Str, Continuo)

SKU: BA.BA04052

Dramma per musica in three Acts. Composed by George Frideric Handel. Edited by Terence Best. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Serie II, Band 15. Complete edition, Score. HWV 18. Duration 3 hours. Baerenreiter Verlag #BA04052_00. Published by Baerenreiter Verlag (BA.BA04052).

ISBN 9790006495702. 33.1 x 26 cm inches. Nicola Francesco Haym.

Handel began the composition of Tamerlano, one of the supreme masterpieces of Baroque opera seria, on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano, Tragedia per musica, which had been set to music by Francesco Gasparini, and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October, so many alterations and revisions were made that a fresh performing-score had to be writtern very late in the proceedings, to replace an earlier one which is now 1ost.

There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once, in 1731, for three performances. For this revival he marked in the performing score a number of cuts in the recitatives, which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera.

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

By George Frideric Handel ; Donald Burrows (Editor). For Soprano, Tenor, Bass, SATB Choir, Piano Accompaniment. Baroque. Sheet Music. 168 pages. Published by Novello and Co Ltd.

(Chorale cantata). Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Thomas Christian Schmidt. For soprano voice solo, SATB choir, 2 violins, viola, cello/contrabass. Stuttgart Urtext Edition. German title: Wer nur den lieben Gott lasst walten. Cantatas. Level 3. Choral score. Language: German/English. Composed 1829. A 7. Duration 12 minutes. Published by Carus Verlag

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507549

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Organ. Innovative practice aids, Sacred vocal music, Oratorios. Single Part, Organ. Composed 1736/1751. HWV 75. 60 pages. Duration 85 minutes. Carus Verlag #CV 55.075/49. Published by Carus Verlag (CA.5507549).

ISBN 9790007171315. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score and part available separately - see item CA.5507500.

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507505

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Innovative practice aids, Sacred vocal music, Oratorios. Choral Score. Composed 1736/1751. HWV 75. 40 pages. Duration 85 minutes. Carus Verlag #CV 55.075/05. Published by Carus Verlag (CA.5507505).

ISBN 9790007171230. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score available separately - see item CA.5507500.

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507519

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Complete orchestral parts. Innovative practice aids, Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1736/1751. HWV 75. Duration 85 minutes. Carus Verlag #CV 55.075/19. Published by Carus Verlag (CA.5507519).

ISBN 9790007171438. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score and parts available separately - see item CA.5507500.

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507509

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. 2x 55.075/21 2 flutes, 1x 55.075/22 oboe 1, 1x 55.075/23 oboe 2, 3x 55.075/24 3 bassoons, 2x 55.075/31 2 horns, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets. Stuttgart Urtext Edition: Handel. Harmony parts. Innovative practice aids, Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1736/1751. HWV 75. Duration 85 minutes. Carus Verlag #CV 55.075/09. Published by Carus Verlag (CA.5507509).

ISBN 9790007226794. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score and parts available separately - see item CA.5507500.

Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoon, 2 horns, 2 trumpets, timpani, 2 (3) violin, 2 violas, cello, basso continuo

SKU: CA.5507500

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Innovative practice aids, Sacred vocal music, Oratorios. Full score. Composed 1736/1751. HWV 75. 184 pages. Duration 85 minutes. Carus Verlag #CV 55.075/00. Published by Carus Verlag (CA.5507500).

ISBN 9790007167769. Language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements.

Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc - Grade 3

SKU: CA.1025000

Composed by Henry Purcell. Edited by Julia Rosemeyer. Carus digital: Extra digital products. Full Score. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025000. Published by Carus Verlag (CA.1025000).

ISBN 9790007251826. Key: D major. English.

â??Hail! bright Cecilia, hail to thee. Great patroness of us and harmony!â? â?? this exclamation opens the final chorus of Henry Purcellâ??s 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. Ceciliaâ??s 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 Alexanderâ??s Feast, HWV 75 (Carus 55.075), and his Ode for St. Ceciliaâ??s 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 â??Orpheus Britannicusâ?, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century

Orchestra SATB vocal soli, SATB choir, 2 oboes, [horn], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3106212

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. Coppenrath series, Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm Der Heiden Heiland Ii. Sacred vocal music, Cantatas, Advent, Christmas. Single Part, Violin 2. Composed 1724. BWV 62. 12 pages. Duration 23 minutes. Carus Verlag #CV 31.062/12. Published by Carus Verlag (CA.3106212).

ISBN 9790007043629. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

Orchestra SATB vocal soli, SATB choir, 2 oboes, [horn], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3106207

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. This edition: Paperbound. Coppenrath series, Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm Der Heiden Heiland Ii. Sacred vocal music, Cantatas, Advent, Christmas. Study score. Composed 1724. BWV 62. 56 pages. Duration 23 minutes. Carus Verlag #CV 31.062/07. Published by Carus Verlag (CA.3106207).

ISBN 9790007043599. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score available separately - see item CA.3106200.

Orchestra SATB vocal soli, SATB choir, 2 oboes, [horn], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3106249

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. This edition: Paperbound. Coppenrath series, Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm Der Heiden Heiland Ii. Sacred vocal music, Cantatas, Advent, Christmas. Single Part, Organ. Composed 1724. BWV 62. 20 pages. Duration 23 minutes. Carus Verlag #CV 31.062/49. Published by Carus Verlag (CA.3106249).

ISBN 9790007043650. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

Orchestra SATB vocal soli, SATB choir, 2 oboes, [horn], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3106209

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. 1x 31.062/21 oboe 1, 1x 31.062/22 oboe 2, 1x 31.062/31 horn 1, 1x 31.062/32 horn 2. Coppenrath series, Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm Der Heiden Heiland Ii. Sacred vocal music, Cantatas, Advent, Christmas. Set of Orchestra Parts. Composed 1724. BWV 62. 12 pages. Duration 23 minutes. Carus Verlag #CV 31.062/09. Published by Carus Verlag (CA.3106209).

ISBN 9790007043605. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and parts available separately - see item CA.3106200.

Orchestra SATB vocal soli, SATB choir, 2 oboes, [horn], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3106214

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. Coppenrath series, Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm Der Heiden Heiland Ii. Sacred vocal music, Cantatas, Advent, Christmas. Single Part, Cello/Double Bass. Composed 1724. BWV 62. 12 pages. Duration 23 minutes. Carus Verlag #CV 31.062/14. Published by Carus Verlag (CA.3106214).

ISBN 9790007043643. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

Orchestra SATB vocal soli, SATB choir, 2 oboes, [horn], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3106211

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. Coppenrath series, Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm Der Heiden Heiland Ii. Sacred vocal music, Cantatas, Advent, Christmas. Single Part, Violin 1. Composed 1724. BWV 62. 12 pages. Duration 23 minutes. Carus Verlag #CV 31.062/11. Published by Carus Verlag (CA.3106211).

ISBN 9790007043612. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

Orchestra SATB vocal soli, SATB choir, 2 oboes, [horn], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3106205

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. Coppenrath series, Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm Der Heiden Heiland Ii. Sacred vocal music, Cantatas, Advent, Christmas. Choral Score. Composed 1724. BWV 62. 4 pages. Duration 23 minutes. Carus Verlag #CV 31.062/05. Published by Carus Verlag (CA.3106205).

ISBN 9790007043582. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score available separately - see item CA.3106200.

Orchestra SATB vocal soli, SATB choir, 2 oboes, [horn], 2 violins, viola, basso continuo - Grade 3

SKU: CA.3106213

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. Coppenrath series, Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm Der Heiden Heiland Ii. Sacred vocal music, Cantatas, Advent, Christmas. Single Part, Viola. Composed 1724. BWV 62. 12 pages. Duration 23 minutes. Carus Verlag #CV 31.062/13. Published by Carus Verlag (CA.3106213).

ISBN 9790007043636. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

Soloists, Mixed choir (SATB), Orchestra (Soprano solo, Alto solo, Tenor solo, Bass solo, Mixed choir (SATB), Flute, Oboes (2), Trumpets (2), Timpani, Violins (2), Viola, Basso continuo)

SKU: BA.BA10722

Ode to St Cecilia. Composed by George Frideric Handel. Edited by Stephan Blaut. This edition: urtext edition. Paperback. Score. HWV 76. Baerenreiter Verlag #BA10722_00. Published by Baerenreiter Verlag (BA.BA10722).

ISBN 9790006567713. 31 x 24.3 cm inches. Text Language: English.

Following upon “Alexander’s Feast” (1736), in 1739 Handel produced a second setting of the “Ode to St Cecilia” (“Song for St Cecilia’s Day”). At its première it was combined with “Alexander’s Feast”. Rather than a dramatic plot presentable in the theatre, the Ode, in its seven sections, offers a general hymn of praise to music and its impact. Accordingly, it largely consists of emotion-laden arias and festive orchestration.

Thi s edition, based on the Urtext from the “Halle Handel Edition”, offers the version heard at the first performance – the version preferred in today’s concert life. The foreword (Ger/Eng) provides many detailed notes on performance practice with regard to orchestration.

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

SATB vocal soli, SATB Choir, 2 Violins, Viola, Basso continuo

SKU: CA.3116513

Cantata for the Trinity Sunday. Composed by Johann Sebastian Bach. Edited by Frauke Heinze. Stuttgart Urtext Edition: Bach vocal. O Heiliges Geist- Und Wasserbad. Sacred vocal music, Cantatas, Trinity. Single Part, Viola. Composed 1715(?). BWV 165. 4 pages. Duration 13 minutes. Carus Verlag #CV 31.165/13. Published by Carus Verlag (CA.3116513).

ISBN 9790007209100. Text language: German/English. Text: Franck, Salomo.

The cantata O heilges Geist- und Wasserbad (O Holy spirit's solemn rite) BWV 165 is one of Bach's earliest cantata compositions and was presumably first performed in the Weimar Schlosskirche for Trinity Sunday in 1715. With a simple instrumentation of only strings and basso continuo (including bassoon), the cantata offers an alternative to the later Leipzig cantatas for the Feast of the Holy Trinity, also with regard to the vivid interpretation of the text in the librettos by Salomon Franck. In the two expressive recitatives and the three distinctively different arias, Bach repeatedly emphasizes the central words of the text, which focuses on the meaning of the rebirth of the spirit through baptism. Score and part available separately - see item CA.3116500.

SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107609

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. 1x 31.076/21 Oboe and Oboe d'amore, 1x 31.076/22 oboe 2, 1x 31.076/31 trumpet. German title: Die Himmel erzahlen die Ehre Gottes 5. Sacred vocal music, Cantatas, Psalms, German. Set of Orchestra Parts. Composed 1723. BWV 76. 24 pages. Duration 35 minutes. Carus Verlag #CV 31.076/09. Published by Carus Verlag (CA.3107609).

ISBN 9790007044930. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and parts available separately - see item CA.3107600.

SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107605

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. German title: Die Himmel erzahlen die Ehre Gottes. Sacred vocal music, Cantatas, Psalms, German. Choral Score. Composed 1723. BWV 76. 12 pages. Duration 35 minutes. Carus Verlag #CV 31.076/05. Published by Carus Verlag (CA.3107605).

ISBN 9790007044916. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score available separately - see item CA.3107600.

Orchestra SATB vocal soli, SATB choir, [3 trombones, cornet], 2 violins, 2 violas, basso continuo - Level 4

SKU: CA.3100407

Easter Sunday. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Reinhold Kubik. This edition: Paperbound. Hymns by Martin Luther: Christ lag in Todes Banden. German title: Christ lag in Todes Banden. Sacred vocal music, Cantatas, Easter and Eastertide. Study score. Composed circa 1707/08 (before 1714). BWV 4. Duration 22 minutes. Carus Verlag #CV 31.004/07. Published by Carus Verlag (CA.3100407).

ISBN 9790007041519. Key: E minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

The cantata Christ lag in Todesbanden is among Bach's earliest preserved vocal compositions. The text is based Martin Luther's Easter chorale of the same name. Score available separately - see item CA.3100400.

SATB vocal soli, SATB Choir, 2 Violins, Viola, Basso continuo

SKU: CA.3116521

Cantata for the Trinity Sunday. Composed by Johann Sebastian Bach. Edited by Frauke Heinze. Stuttgart Urtext Edition: Bach vocal. O Heiliges Geist- Und Wasserbad. Sacred vocal music, Cantatas, Trinity. Single Part, Bassoon. Composed 1715(?). BWV 165. 4 pages. Duration 13 minutes. Carus Verlag #CV 31.165/21. Published by Carus Verlag (CA.3116521).

Text language: German/English. Text: Franck, Salomo.

The cantata O heilges Geist- und Wasserbad (O Holy spirit's solemn rite) BWV 165 is one of Bach's earliest cantata compositions and was presumably first performed in the Weimar Schlosskirche for Trinity Sunday in 1715. With a simple instrumentation of only strings and basso continuo (including bassoon), the cantata offers an alternative to the later Leipzig cantatas for the Feast of the Holy Trinity, also with regard to the vivid interpretation of the text in the librettos by Salomon Franck. In the two expressive recitatives and the three distinctively different arias, Bach repeatedly emphasizes the central words of the text, which focuses on the meaning of the rebirth of the spirit through baptism. Score and part available separately - see item CA.3116500.