STB vocal soli, SATB/SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3721909

Cantata for Oculi Sunday. Composed by Gottfried August Homilius. 1x 37.219/21 oboe 1, 1x 37.219/22 oboe 2. Erwachet, Ihr Christen (Kantate). Sacred vocal music, Cantatas, Lent and Passiontide. Set of Orchestra Parts. HoWV II.57. Duration 14 minutes. Carus Verlag #CV 37.219/09. Published by Carus Verlag (CA.3721909).

ISBN 9790007214814. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score and parts available separately - see item CA.3721900.

Orchestra (Soli STB, Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, Org) - Grade 3

SKU: CA.4068709

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 – 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 Schumann’s 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 “fashioned with great love”.
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 Schumann’s 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.

String Quartet

SKU: BT.EMBZ14386

Composed by Balázs Horváth. EMB Contemporary Music. Contemporary Music. Book Only. Composed 2014. 40 pages. Editio Musica Budapest #EMBZ14386. Published by Editio Musica Budapest (BT.EMBZ14386).

''The four parts of the piece originate from the piano cycles of Johannes Brahms. The identical nature of the themes is implied in their descending direction, while their differences lie in their distinct meters, key signatures and tempo. I further developed the differences through the use of different musical alterations (of melody, rhythm and timbre) while the melodic contours are always constant. Depending on the listener's attention, the melody lines written above one another will be audible separately or appear to be in unison.'' (Balázs Horváth)

''Der Stoff der vier Stimmen des Stückes stammt aus den Klavierzyklen von Johannes Brahms. Die Übereinstimmung liegt in ihrer abwärts tendierenden Richtung, ihr Unterschied hingegen in abweichender Metrik, Tonart und Tempi. Die Unterschiede habe ich mit Hilfe unterschiedlicher musikalischer (melodischer, rhythmischer und tonaler) Veränderungen weitergewoben, während die Struktur der Melodien immer konstant bleibt. Die übereinander gelegten Melodienbögen erklingen abhängig von der Aufmerksamkeit des Hörers teils jede für sich, teils eine Einheit bildend.'' (Balázs Horváth).

Orchestra ST Voices, SSATB Choir, 2 Fl, 2 Ob, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3119107

Cantata for Christmas. Composed by Johann Sebastian Bach. Edited by Ruprecht Langer. Sacred vocal music, Cantatas; use during church year: Christmas; Stuttgart Editions (Urtext): Stuttgart Bach Edition - Bach vocal. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Christmas. Study score. BWV 191. 80 pages. Duration 18 minutes. Carus Verlag #CV 31.191/07. Published by Carus Verlag (CA.3119107).

ISBN 9790007242138. Language: German/English.

The Christmas cantata Gloria in excelsis Deo BWV 191, which has always presented researchers with many challenging problems, is among the few works to Latin words set by Johann Sebastian Bach. It consists of three sections - a finely-woven duet flanked by two festive choral movements - which we are to encounter again almost note for note in the world-famous Mass in B minor. Score available separately - see item CA.3119100.

Cello

SKU: SP.TS178

Composed by Denise Gendron. Arranged by Denise Gendron. Collection; Christmas. Book. Santorella Publications #TS178. Published by Santorella Publications (SP.TS178).

ISBN 9781585604609. UPC: 649571101787.

Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Cello is also written as solos or duets in accommodating keys for Violin, Viola & Bass. The Piano Accompaniment book for this Stringed Instrument Edition is sold separately. Santorella's Horn Edition is also available for trumpet, clarinet, flute, alto sax & trombone.

Grade 2

SKU: CL.011-3827-01

Composed by Conaway. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR363). Extra full score. Composed 2009. Duration 2 minutes. C.L. Barnhouse #011-3827-01. Published by C.L. Barnhouse (CL.011-3827-01).

Holiday cheer takes a time-out in Matt Conaway’s humorous tale of Christmas carolers who just can’t agree on which song to sing. A series of interruptions, interjections, and intrusions breaks down into an all-out argument until the musicians find common ground in a song that will always be popular this time of year. A great way to add some humor to your winter concert!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Trumpet

SKU: SP.TS171

Composed by Tony Santorella. Arranged by Denise Gendron. Collection; Christmas. Book. Santorella Publications #TS171. Published by Santorella Publications (SP.TS171).

ISBN 9781585604531. UPC: 649571101718.

Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Trumpet is written as solos or duets in accommodating keys for Flute, Clarinet, Alto Sax or Trombone. This complete collection of Christmas songs from Santorella Publications includes an accompaniment CD and lyrics for the whole family to enjoy. The Piano Accompaniment book for Brass and Reed instruments is sold separately. Santorella's String Edition is also available for violin, viola, cello and bass. Angels We Have Heard on High - Away in a Manger - Birthday of a King - Deck the Halls - God Rest Ye, Merry Gentlemen - Good King Wenceslas - Hark! The Herald Angels Sing - I Saw Three Ships - It Came Upon a Midnight Clear - Jingle Bells - Jolly Old Saint Nicholas - Joy to the World - O Christmas Tree - O Come All Ye Faithful - O, Holy Night - O Little Town of Bethlehem - Silent Night - We Wish You A Merry Christmas - Good Christian Men Rejoice - I Heard The Bells On Christmas Day - We Three Kings Of Orient Are - Star Of The East - The First Noel - Here We Come Awassailing.

Grade 2.5

SKU: CL.031-3245-01

Composed by A. Clark. Jazz Ensemble. Barnhouse Easy Jazz Series. Audio recording available separately (item CL.991-2002-01). Extra full score. Composed 2002. Duration 2 minutes, 48 seconds. C.L. Barnhouse #031-3245-01. Published by C.L. Barnhouse (CL.031-3245-01).

An incredible training chart for young jazz ensembles. Includes a number of basic swing concepts in a chart which isn’t too hard and allows inexperienced players to concentrate on the style. No solos, but does have spots for some short drum fills and there’s a written Basie style piano tag on the end. Andy’s charts always sound big and full and this one is especially nice! VERY HIGHLY RECOMMENDED!

SSATB choir, ST vocal soli, 2 flute, 2 oboe, 3 trumpet, timpani, 2 violin, viola, basso continuo

SKU: CA.3119111

Cantata for Christmas. Composed by Johann Sebastian Bach. Edited by Ruprecht Langer. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violin 1. Sacred vocal music, Cantatas, Christmas. Single Part, Violin 1. BWV 191. 8 pages. Duration 18 minutes. Carus Verlag #CV 31.191/11. Published by Carus Verlag (CA.3119111).

ISBN 9790007210175. Text language: German/English.

The Christmas cantata Gloria in excelsis Deo BWV 191, which has always presented researchers with many challenging problems, is among the few works to Latin words set by Johann Sebastian Bach. It consists of three sections - a finely-woven duet flanked by two festive choral movements - which we are to encounter again almost note for note in the world-famous Mass in B minor. Score and part available separately - see item CA.3119100.

ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso continuo - Level 3

SKU: CA.3118213

Cantata for Palm Sunday or for the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Himmelskonig, Sei Willkommen A-Dur. Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Viola 2. Composed 1714. BWV 182. 8 pages. Duration 30 minutes. Carus Verlag #CV 31.182/13. Published by Carus Verlag (CA.3118213).

ISBN 9790007050306. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.

Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and part available separately - see item CA.3118200.

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

SSATB choir

SKU: CA.982405

Ein Song aus der Berliner Gegenwart. Composed by Benedict Goebel. Edited by Michael Betzner-Brandt. Modern a cappella. Folk songs and settings of folk songs, Secular choral music. Choral Score. 8 pages. Carus Verlag #CV 09.824/05. Published by Carus Verlag (CA.982405).

ISBN 9790007165253. Text language: German.

The German folk song Horch, was kommt von draussen rein never sounded as groovy and thrilling as in this new composition by Benedict Goebel (composer of Singfonie). Out of a German folk song he fashions a song of the Berlin of the present, beginning somewhere stylistically with Seeed and Peter Fox, with the choral writing always imaginative and singable. Score available separately - see item CA.982400.

ATB vocal soli, SATB choir, bass flute f1,violin, 2 viola, cello, basso continuo

SKU: CA.3118255

First Leipzig version. Cantata for Palm Sunday and the feast of the Annunciation Cantata for Palm Sunday and the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Himmelskonig, Sei Willkommen G-Dur. Sacred vocal music, Cantatas, Lent and Passiontide. Choral Score. BWV 182. 12 pages. Duration 30 minutes. Carus Verlag #CV 31.182/55. Published by Carus Verlag (CA.3118255).

ISBN 9790007209865. Key: G major. Text language: German/English.

Ver sion in G major (A major = Carus 31.182/00) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.

Clarinet

SKU: SP.TS160

Composed by Jonathon Robbins. Arranged by Jonathon Robbins. Collection; Ethnic. Book and CD. Santorella Publications #TS160. Published by Santorella Publications (SP.TS160).

ISBN 9781585600106. UPC: 649571101602.

The music of Latin America is as rich, diverse and stimulating as its unique culture. European, African and Indian influences have blended to create energetic rhythms and intriguing melodies that break away from their traditional origins, creating a sound that is distinctly Latin. Discover the allure of passionate and dynamic music. Latin Favorites For Clarinet published by Santorella Publications has it all. Each book in the series includes a piano with Latin percussion accompaniment CD. This Santorella Publication is arranged and edited by Jonathon Robbins in accommodating keys for trumpet, clarinet, flute, alto saxophone and trombone. A piano accompaniment book is available and sold separately. Includes: Ados Muchachos (Farewell Boys) - Adios Vida Mia - Alla en el Rancho Grande (My Ranch) - Amapola (Pretty Little Poppy) - Amor - Besame Mucho - Brazil (Aquarela Do Brasil) - Camnito (Little Lane) - Cose, Cose, Cose - Cuando Calienta El Sol (Love Me with All Your Heart) - Cuantu Le Gusta (La Parranda) - Cu-Cu-Rru-Cu-Cu, Paloma (Coo Coo Roo Coo Coo, Paloma) - El Cumbancho (Rumba Guaracha) - Granada (Fantasia Espanola) Guadalajara (Cancion Tipica de Jalisco) - Historia de un Amor (The Story of Love) - Maria Elena - Mas Que Nada (Say No More) - Mi Rival (My Rival) - Perfidia - Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps) - Rico Vacilon - Siempre en Mi Corazon (Always in My Heart) - Solamente Una Vez (You Belong to My Heart) - Tico-Tico (Tico-Tico No Fuba) - Tres Palabras (Without You).

STB vocal soli (SB/TB/SATB), SATB choir, oboe, bassoon, 3 trumpets, 4 trombones, timpani, 2 violins, viola, basso continuo - Level 3

SKU: CA.3102119

Cantata for the 3rd Sanday after Trinity/all occasions. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ich hatte viel Bekummernis. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed 1713. BWV 21. Duration 45 minutes. Carus Verlag #CV 31.021/19. Published by Carus Verlag (CA.3102119).

ISBN 9790007136000. Key: C dorian / c major. Language: German/English.

The edition allows for the performance of this cantate in the various forms which Bach himself used. The solo parts for high voice are always allotted primarily to the voice specified by Bach in Leipzig, with the alternative authorized by the Weimar and Cothen parts placed afterwards in brackets. Score and parts available separately - see item CA.3102100.

Chamber Music Piano

SKU: PR.140401330

Composed by R. Nathaniel Dett. Edited by Lara Downes. 32 pages. Duration 18 minutes. Theodore Presser Company #140-40133. Published by Theodore Presser Company (PR.140401330).

ISBN 9781491134412. UPC: 680160684939.

Natha niel Dett was among America’s leading composers in the early 20th century, and MAGNOLIA SUITE is a beautiful example of his rich, hybrid style. Deeply inspired by the music and mission of Samuel Coleridge-Taylor, Dett’s piano music springs from the late Romantic traditions of florid texture and embellishment, along with programmatic titles and raw emotion. It is notable for melody writing inspired by and paraphrasing African-American song. The 18-minute MAGNOLIA SUITE contains five movements, any of which may also be performed separately. This edition by Lara Downes provides a clean, new engraving that corrects the many errors and unclear indications appearing in the historical printing.
Robert Nathaniel Dett was born in a place that was built on freedom. The little village of Drummondville, Ontario was founded by enslaved Africans – Dett’s ancestors among them – who traveled the Underground Railroad out of the American South into Canada. Their journey brought them to a safe haven, a place where fortunes and futures could be transformed in the span of one generation, to lives full of new possibilities. You could call it “the place where the rainbow ends,” which is the title of the last movement of Dett’s Magnolia Suite.When Dett wrote these pieces, he was a young teacher at Lane College in Tennessee, a historically Black college that had been founded in 1882, the year of his birth. A place built on freedom, with the purpose of educating newly-emancipated slaves – a place designed to nurture the blossoming of ideas, the vibrant flowering of minds set free. This music is inspired by the gorgeous splendor of the magnolia blooms on that college campus, and also by the shared histories, experiences, and aspirations of the community that Dett found there.These five pieces pay affectionate tribute to lineage and legacy. They express gratitude for the bittersweet beauties of the present; nostalgia for the past (a bit romanticized, as the past always is); and an effervescent optimism for the future that awaits us in the place where the rainbow ends.

STB vocal soli, SATB/SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3721905

Cantata for Oculi Sunday. Composed by Gottfried August Homilius. Erwachet, Ihr Christen (Kantate). Sacred vocal music, Cantatas, Lent and Passiontide. Choral Score. HoWV II.57. Duration 14 minutes. Carus Verlag #CV 37.219/05. Published by Carus Verlag (CA.3721905).

ISBN 9790007214807. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score available separately - see item CA.3721900.