Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Advent, Christmas. Set of
Orchestra Parts. Composed
1731. BWV 36. Duration 31
minutes. Carus Verlag #CV
31.036/19. Published by
Carus Verlag
(CA.3103619).
ISBN
9790007172237. Language:
German/English.
Translation: Henry
Drinker.
Bach's
well-known church cantata
Schwingt freudig euch
empor BWV 36 (Up joyous
raise your song), first
heard in its final
version on First Advent
Sunday in 1731 at the
Leipzig Nikolaikirche,
can be traced back to a
secular birthday cantata
from 1725. The text is
now revised to render the
events of Advent - the
rejoicing of the opening
chorus, the loving
veneration and the
warm-hearted welcome of
the three solo arias
retained from the
original cantata now all
apply to the Messiah,
who, as once in
Jerusalem, should find a
place in the hearts of
the faithful. However,
their unmistakeable
Advent character derives
from the fact that Bach
contrasts the four
festive settings from the
secular cantata with
three strophes from
Luther's Advent chorale,
Nun komm, der Heiden
Heiland, thus at the same
time giving a voice to
the Mystery of God made
man. Score and parts
available separately -
see item CA.3103600.
SATB vocal soli, SATB choir SKU: CA.3103605 Cantata for the 1st Sunday...(+)
SATB vocal soli, SATB
choir
SKU:
CA.3103605
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Advent,
Christmas. Choral Score.
Composed 1731. BWV 36. 8
pages. Duration 31
minutes. Carus Verlag #CV
31.036/05. Published by
Carus Verlag
(CA.3103605).
ISBN
9790007172275. Language:
German/English.
Translation: Henry
Drinker.
Bach's
well-known church cantata
Schwingt freudig euch
empor BWV 36 (Up joyous
raise your song), first
heard in its final
version on First Advent
Sunday in 1731 at the
Leipzig Nikolaikirche,
can be traced back to a
secular birthday cantata
from 1725. The text is
now revised to render the
events of Advent - the
rejoicing of the opening
chorus, the loving
veneration and the
warm-hearted welcome of
the three solo arias
retained from the
original cantata now all
apply to the Messiah,
who, as once in
Jerusalem, should find a
place in the hearts of
the faithful. However,
their unmistakeable
Advent character derives
from the fact that Bach
contrasts the four
festive settings from the
secular cantata with
three strophes from
Luther's Advent chorale,
Nun komm, der Heiden
Heiland, thus at the same
time giving a voice to
the Mystery of God made
man. Score available
separately - see item
CA.3103600.
Orchestra Solo STB, Coro
SATB (auch Mannerchor
TTTBB), 2 Fl, 2 Ob, 2
Clt, 2 Fg, 2 Cor, 2 Tr, 3
Trb, Timp, 2 Vl, Va, Vc,
Cb
SKU: CA.2302007
Composed by Ludwig van
Beethoven. Edited by
Clemens Harasim.
Innovative practice aids,
Sacred vocal music,
Oratorios. Study score.
Op. 85. Duration 54
minutes. Carus Verlag #CV
23.020/07. Published by
Carus Verlag
(CA.2302007).
ISBN
M-007-24884-0.
German/English. Text:
Franz Xaver
Huber.
In his
Passion oratorio Christus
am Olberge [The Mount of
Olives], Beethoven
succeeded firstly in
building on the 18th
century tradition, and
secondly in putting his
own personal stamp on the
nascent genre of
German-language oratorio
- the Vienna performances
of Haydn's Die Schopfung
and Die Jahreszeiten had
only taken place a few
years earlier. In
composing the work he
looked towards
contemporary opera, using
a text by an opera
librettist to depict in
music the dramatic
situation of the doubting
Jesus in the Garden of
Gethsemane and his
arrest. Yet we do not do
justice to Beethoven's
work if we simply regard
it as a successor work to
Graun's Der Tod Jesu or
even Bach's St Matthew
Passion. Beethoven's
Christus am Olberge is
characterized less by
religious devotion and
much more by the dramatic
realization of a specific
situation in the Passion
story in deeply-felt
musical scenes. With its
magnificent, almost
operatic music, this is a
different Passion
oratorio which is
definitely worth hearing
and experiencing - and in
this form it is without
doubt unique in the
history of
vocal-instrumental sacred
music. The edition
follows the first printed
edition in music and
text; differences in the
text in the libretto
originally set by
Beethoven are given as a
second text, and a
singable English
translation is underlaid.
Score available
separately - see item
CA.2302000.
Composed
by Johann Sebastian Bach.
Score. Lucks Music
Library #A2501. Published
by Lucks Music Library
(TM.01751SC).
Sandra Dackow
Little Known Gem - Grade
IV+. Ed. by Hoffmann.
This delightful set of
works in the keys of G,
A, and B-flat major takes
full advantage of
multiple stops, chords,
and fiddle writing that
lays easily under the
hand and is fun to play.
The fast movements are
vigorous and the
contrasting slow
movements are not
particularly fussy or
florid, though they
include some
ornamentation. In the
Allegro sections,
musicians should approach
the playing as they would
a work by Haydn or
Mozart: eighth and
quarter notes off the
string and at the frog,
and sixteenth notes on
the string. Stamitz's
players would have
followed the general rule
of the down bow, where
the strong beat would
begin with a down bow. In
Concerto No. 1 in G, the
Violin I parts reach to
sixth position, requiring
high G's. Unusual writing
for its time, these
passages are both logical
and easy for players to
find and hear. Cello and
bass parts reach high F's
on occasion and require
third, fourth and fifth
positions. The second
violin and viola parts do
not require extended
ranges, making this work
practical for an upper
intermediate orchestra.
The slow movements
transition between
different keys and
requires the low strings
to use extension notes
such as G-sharp and
A-sharp.
Composed
by Johann Sebastian Bach.
Set Type: A. Set of
parts. Lucks Music
Library #A2501. Published
by Lucks Music Library
(TM.01751SET).
Sandra Dackow
Little Known Gem - Grade
IV+. Ed. by Hoffmann.
This delightful set of
works in the keys of G,
A, and B-flat major takes
full advantage of
multiple stops, chords,
and fiddle writing that
lays easily under the
hand and is fun to play.
The fast movements are
vigorous and the
contrasting slow
movements are not
particularly fussy or
florid, though they
include some
ornamentation. In the
Allegro sections,
musicians should approach
the playing as they would
a work by Haydn or
Mozart: eighth and
quarter notes off the
string and at the frog,
and sixteenth notes on
the string. Stamitz's
players would have
followed the general rule
of the down bow, where
the strong beat would
begin with a down bow. In
Concerto No. 1 in G, the
Violin I parts reach to
sixth position, requiring
high G's. Unusual writing
for its time, these
passages are both logical
and easy for players to
find and hear. Cello and
bass parts reach high F's
on occasion and require
third, fourth and fifth
positions. The second
violin and viola parts do
not require extended
ranges, making this work
practical for an upper
intermediate orchestra.
The slow movements
transition between
different keys and
requires the low strings
to use extension notes
such as G-sharp and
A-sharp.
Azione sacra in two parts. Composed by Wolfgang Amadeus Mozart (1756-1791...(+)
Azione sacra in two
parts. Composed by
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Luigi Ferdinando
Tagliavini. This edition:
complete edition, urtext
edition. Linen. New
Mozart Edition. Series I,
Section 4/2.
Kirchenmusik, Klassik
(Sacred, Classical).
Score. KV 118 (74c).
Duration 2 hours, 10
minutes. Published by
Baerenreiter Verlag
(BA.BA4521-01).
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Violin 1. Sacred vocal
music, Oratorios,
Passions, Lent and
Passiontide. Single Part,
Violin 1. BR JCFB D 1. 36
pages. Duration 135
minutes. Carus Verlag #CV
34.104/11. Published by
Carus Verlag
(CA.3410411).
ISBN
9790007212575. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ..
Score and part available
separately - see item
CA.3410400.
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. 1x 34.104/21
flute 1, 1x 34.104/22
flute 2, 1x 34.104/23
oboe 1, 1x 34.104/24 oboe
2, 1x 34.104/31 horn 1,
1x 34.104/32 horn 2.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Sacred vocal
music, Oratorios,
Passions, Lent and
Passiontide. Set of
Orchestra Parts. BR JCFB
D 1. 24 pages. Duration
135 minutes. Carus Verlag
#CV 34.104/09. Published
by Carus Verlag
(CA.3410409).
ISBN
9790007212568. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ..
Score and parts available
separately - see item
CA.3410400.
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Organ. Sacred vocal
music, Oratorios,
Passions, Lent and
Passiontide. Single Part,
Organ. Composed 1791. BR
JCFB D 1. 60 pages.
Duration 135 minutes.
Carus Verlag #CV
34.104/49. Published by
Carus Verlag
(CA.3410449).
ISBN
9790007212612. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ..
Score and part available
separately - see item
CA.3410400.
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Oratorios, Passions, Lent
and Passiontide. Vocal
score. BR JCFB D 1. 112
pages. Duration 135
minutes. Carus Verlag #CV
34.104/03. Published by
Carus Verlag
(CA.3410403).
ISBN
9790007017453. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ..
Score available
separately - see item
CA.3410400.
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Complete orchestral
parts. Sacred vocal
music, Oratorios,
Passions, Lent and
Passiontide. Set of
Orchestra Parts. BR JCFB
D 1. Duration 135
minutes. Carus Verlag #CV
34.104/19. Published by
Carus Verlag
(CA.3410419).
ISBN
9790007134280. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ..
Score and parts available
separately - see item
CA.3410400.
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Violin 2. Sacred vocal
music, Oratorios,
Passions, Lent and
Passiontide. Single Part,
Violin 2. BR JCFB D 1. 36
pages. Duration 135
minutes. Carus Verlag #CV
34.104/12. Published by
Carus Verlag
(CA.3410412).
ISBN
9790007212582. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ..
Score and part available
separately - see item
CA.3410400.
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
German title: Die
Pilgrime auf Golgatha.
Sacred vocal music,
Oratorios, Passions, Lent
and Passiontide. Full
score. BR JCFB D 1. 184
pages. Duration 135
minutes. Carus Verlag #CV
34.104/00. Published by
Carus Verlag
(CA.3410400).
ISBN
9790007103392. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ.
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Viola. Sacred vocal
music, Oratorios,
Passions, Lent and
Passiontide. Single Part,
Viola. BR JCFB D 1. 36
pages. Duration 135
minutes. Carus Verlag #CV
34.104/13. Published by
Carus Verlag
(CA.3410413).
ISBN
9790007212599. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ..
Score and part available
separately - see item
CA.3410400.
Passions-Oratorium
. Composed by Johann
Christoph Friedrich Bach.
Edited by Ulrich
Leisinger. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Oratorios, Passions, Lent
and Passiontide. Choral
Score. BR JCFB D 1. 16
pages. Duration 135
minutes. Carus Verlag #CV
34.104/05. Published by
Carus Verlag
(CA.3410405).
ISBN
9790007103408. Language:
German.
An unknown
work from the so-called
Buckeburger Bach, which
at first was ascribed
unjustly to Carl Philipp
Emanuel Bach. The story
of the Suffering of the
Lord is examined from a
different perspective.
Pilgrims have undertaken
a journey to the Holy
Land and when they arrive
they are informed by a
hermit of the suffering
and death of Christ. An
additional figure, an
angel, lends this
representation of the
Passion a heightened form
for communicating the
importance of the
suffering of Christ..
Score available
separately - see item
CA.3410400.
Erganzt von Robert D. Levin. By Wolfgang Amadeus Mozart. Arranged by Robert D. L...(+)
Erganzt von Robert D.
Levin. By Wolfgang
Amadeus Mozart. Arranged
by Robert D. Levin. For
Soli SATB, SATB Choir, 2
Bassethorn, 2 Bassoons, 2
Clarinos/Trumpets, 3
Trombones, Timpani, 2
Violins, Viola, Basso
continuo. KV 626.
Requiem; Occasions:
Mourning, Death. Score.
Language: Latin. Composed
1791/1991. 256 pages.
Duration 50 min.
Published by Carus Verlag
(German import).
Erganzt von Robert D. Levin. By Wolfgang Amadeus Mozart. Arranged by Robert D. L...(+)
Erganzt von Robert D.
Levin. By Wolfgang
Amadeus Mozart. Arranged
by Robert D. Levin. For
Soli SATB, SATB Choir, 2
Bassethorn, 2 Bassoons, 2
Clarinos/Trumpets, 3
Trombones, Timpani, 2
Violins, Viola, Basso
continuo. KV 626. Full
score available
separately - see item
CA.5162650. Requiem;
Occasions: Mourning,
Death. Piano/Vocal score.
Language: Latin. Composed
1791/1991. 88 pages.
Duration 50 min.
Published by Carus Verlag
(German import).
Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in ...(+)
Soprano voice solo, SATB
choir, and piano (E-flat
Soprano saxophone, 2
Horns in F, Piano, Organ
(or digital keyboard),
Double String Quartet,
Double Bass) - Early
Intermediate
SKU:
MN.56-0108
Composed
by Howard Goodall. Lent,
Holy Week, Triduum/Three
Days, Tenebrae, 21st
Century. Score &
instrument parts.
Duration 6 minutes, 19
seconds. MorningStar
Music Publishers
#56-0108. Published by
MorningStar Music
Publishers (MN.56-0108).
Creation Mass.
Composed by Franz Joseph
Haydn. Edited by Volker
Kalisch. This edition:
urtext. Stuttgart Urtext
Edition: Joseph Haydn,
Sacred vocal music.
Haydn: Schopfungsmesse In
B Xxii:13. Sacred vocal
music, Masses, Latin. Set
of Orchestra Parts.
Composed 1801. Hob.
XXII:13. Duration 40
minutes. Carus Verlag #CV
40.611/19. Published by
Carus Verlag
(CA.4061119).
ISBN
9790007133276. Key: B
flat major. Language:
Latin.
Within
approximately six weeks
Haydn, in 1801, composed
his Creation Mass as the
fifth of altogether six
late missae solemnes
commissioned by his
employer, Prince Nikolaus
II. Esterhazy. The
sobriquet Creation Mass
is not authentic, but it
is probably based on the
quotation in the Gloria
taken from the oratorio
Die Schopfung. Score and
parts available
separately - see item
CA.4061100.
Creation Mass.
Composed by Franz Joseph
Haydn. Edited by Volker
Kalisch. This edition:
urtext. Stuttgart Urtext
Edition: Joseph Haydn,
Sacred vocal music.
Haydn: Schopfungsmesse In
B Xxii:13. Sacred vocal
music, Masses, Latin.
Vocal score. Composed
1801. Hob. XXII:13.
Duration 40 minutes.
Carus Verlag #CV
40.611/03. Published by
Carus Verlag
(CA.4061103).
ISBN
9790007088989. Key: B
flat major. Language:
Latin.
Within
approximately six weeks
Haydn, in 1801, composed
his Creation Mass as the
fifth of altogether six
late missae solemnes
commissioned by his
employer, Prince Nikolaus
II. Esterhazy. The
sobriquet Creation Mass
is not authentic, but it
is probably based on the
quotation in the Gloria
taken from the oratorio
Die Schopfung. Score
available separately -
see item CA.4061100.
Composed by Wolfgang
Amadeus Mozart. Edited by
Michael Ostrzyga. This
edition: urtext edition.
Paperback. New
Completion. Vocal Score.
Baerenreiter Verlag
#BA11310_90. Published by
Baerenreiter Verlag
(BA.BA11310-90).
ISBN
9790006569267. 27 x 19 cm
inches. Text Language:
Latin.
This
publication offers a
source-critical edition
of Mozartâ??s
fragmentary
â??Requiemâ? as well
as an alternative to the
traditional Sü�mayr
version. It makes it
possible to perform 1)
the fragment, identified
in print in both the
score and the parts, 2)
the authentic sections
left incomplete by
Mozart, now in a
stylistically appropriate
orchestration, and 3)
those sections missing
entirely in the fragment,
newly added in
Mozartâ??s idiom taking
into account historical
additions by Sü�mayr
and Eybler.
When
completing the fragment,
the editor drew on
comprehensive comparative
and analytical studies of
Mozartâ??s church style
and compositional
workmanship. The
influence of Handel and
Bach manifested in his
final years, particularly
in the â??Requiemâ?
fragment, is taken into
account in those sections
requiring completion or
fresh
composition.
At
two points readers may
choose between
alternative movements (or
sections), since
proceeding from
SüÃ?mayrâ??s
historical version, two
divergent options cannot
be weighed against each
other but each one may
well reflect Mozartâ??s
intentions: the
â??Lacrimosaâ? may
end with or without
â??Amenâ? fugue, and
the â??Sanctusâ? may
begin in the customary D
major or in D minor.
Above all, this makes it
possible to retain the
B-flat major
â??Hosannaâ? from
SüÃ?mayrâ??s
autograph, a movement
which, until now, has not
been appreciated as
compositionally
flawless.
â?¢
Scholarly-critical
edition of the
â??Requiemâ?
fragment â?¢ With
performance material for
presentation of 1) the
fragment, 2) a version
with completions of the
authentic Mozart sections
or 3) a full
completion consistent
with Mozartâ??s musical
idiom â?¢ Missing
sections were completed
by drawing from other
fragmentary sacred works
by Mozart â?¢ Added
or completed sections
incorporate influences
from Bach and Handel
already detectable in the
fragment â?¢
Alternative performance
options for the
â??Lacrimosaâ?,
â??Sanctusâ? and
â??Benedictusâ? â
?¢ Easy-to-play piano
reduction â?¢
Extensive foreword
(Ger/Eng) on the
workâ??s history,
reception and modern
completions, with
analytical stylistic
critique â?¢
Detailed Critical
Commentary (Eng), partly
available on the
Bärenreiter
website â?¢ Tried
and tested on many
occasions, e.g. at
Harvard University, the
Rheingau Music Festival,
the Monadnock Music
Festival (New Hampshire),
in Salt Lake City (Utah),
as well as in radio
broadcasts (NDR, SWR,
WDR) and CD recordings
with Concerto Köln,
Chorwerk Ruhr and Florian
Helgath (â??Le Disque
classique du jourâ?
from francemusique.fr and
three nominations for
Opus Klassik 2021 in the
categories
â??Ensembleâ?,
â??Choral Recordingâ?
and â??Editorial
Achievementâ?)
Orchestra Soli STB, Coro SATB, 3 Ob, Fg, 2 Vl, Va, Bc SKU: CA.3119407 ...(+)
Orchestra Soli STB, Coro
SATB, 3 Ob, Fg, 2 Vl, Va,
Bc
SKU: CA.3119407
Cantata for Trinity
Sunday. Composed by
Johann Sebastian Bach.
Edited by Tobias Rimek.
Arranged by Angelika
Tasler. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music,
Cantatas, Trinity. Study
score. Composed 1724. BWV
194. 80 pages. Duration
39 minutes. Carus Verlag
#CV 31.194/07. Published
by Carus Verlag
(CA.3119407).
ISBN
9790007245146. Language:
German/English.
The
cantata Hochsterwunschtes
Freudenfest BWV 194 was
composed for an organ
dedication on 2 November
1723 in Stormthal,
Saxony. A year later, and
with just a few
alterations, the cantata
was performed again in
Leipzig on Trinity
Sunday. Our edition takes
this Leipzig version of
1724 as its source. The
special occasion of its
composition is reflected
in the extent of the
composition which has
twelve, instead of the
usual six, movements. The
orchestral scoring is for
strings and three
obbligato oboes. A
special feature of the
cantata is its structure
as an orchestral suite.
The beginning is a
spirited opening chorus
in the style of a French
overture. The bass aria
in the third movement has
the character of a
pastorale, and the
following aria (movement
5) in turn has the
character of a gavotte,
etc. A simple four-part
chorale concludes this
multifaceted composition,
marked by some extremely
heartfelt moments. Score
available separately -
see item CA.3119400.