SATB Choir, organ - Level 2 SKU: CA.301110 Composed by John Antes. Arrang...(+)
SATB Choir, organ - Level
2
SKU: CA.301110
Composed by John Antes.
Arranged by Charles
Villiers Stanford.
Stanford: Originaltitel:
Let us, with a gladsome
mind. Sacred vocal music,
Psalms, German, Whole
church year / Omni
tempore. Full score.
Duration 2 minutes. Carus
Verlag #CV 03.011/10.
Published by Carus Verlag
(CA.301110).
ISBN
9790007173500. Key: C
major. Language: German.
Text: Riggenbach,
Christoph Johannes. Text:
Christoph Johannes
Riggenbach.
SATB choir - Level 2 SKU: CA.305840 Psalm 136. Composed by Claude ...(+)
SATB choir - Level 2
SKU: CA.305840
Psalm 136.
Composed by Claude
Goudimel. Separate
edition with choral
collection. Sacred vocal
music, Hymn settings,
Psalms, German, Praise
and thanks, Psalms. Full
score. Duration 3
minutes. Carus Verlag #CV
03.058/40. Published by
Carus Verlag (CA.305840).
ISBN 9790007174538.
Key: C major. Language:
German. Text: Riggenbach,
Christoph Johannes. Text:
Christoph Johannes
Riggenbach.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Whitsun.
Single Part, Viola.
Composed 1726. BWV 169. 8
pages. Duration 17
minutes. Carus Verlag #CV
31.169/13. Published by
Carus Verlag
(CA.3116913).
ISBN
9790007209346. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Oboe 3.
Cantatas, End of the
church year, Trinity.
Single Part, Oboe 3.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/23. Published by
Carus Verlag
(CA.3105223).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Cantatas, End
of the church year,
Trinity. Single Part,
basso continuo. Composed
1726. BWV 52. 12 pages.
Duration 18 minutes.
Carus Verlag #CV
31.052/14. Published by
Carus Verlag
(CA.3105214).
ISBN
9790007206345. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Bassoon.
Cantatas, End of the
church year, Trinity.
Single Part, Bassoon.
Composed 1726. BWV 52. 12
pages. Duration 18
minutes. Carus Verlag #CV
31.052/24. Published by
Carus Verlag
(CA.3105224).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Organ.
Cantatas, End of the
church year, Trinity.
Single Part, Organ.
Composed 1726. BWV 52. 16
pages. Duration 18
minutes. Carus Verlag #CV
31.052/49. Published by
Carus Verlag
(CA.3105249).
ISBN
9790007206369. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext. 1x
31.169/21 oboe d'amore 1,
1x 31.169/22 oboe d'amore
2, 1x 31.169/23 English
horn. Stuttgart Urtext
Edition: Bach vocal.
Harmony parts. Sacred
vocal music, Whitsun. Set
of Orchestra Parts.
Composed 1726. BWV 169.
Duration 17 minutes.
Carus Verlag #CV
31.169/09. Published by
Carus Verlag
(CA.3116909).
ISBN
9790007209315. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
parts available
separately - see item
CA.3116900.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Whitsun. Single Part,
Violin 2. Composed 1726.
BWV 169. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.169/12. Published by
Carus Verlag
(CA.3116912).
ISBN
9790007209339. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Horns 1 and
2. Cantatas, End of the
church year, Trinity.
Single Part, Horn 1 and
2. Composed 1726. BWV 52.
4 pages. Duration 18
minutes. Carus Verlag #CV
31.052/31. Published by
Carus Verlag
(CA.3105231).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. 1x
31.052/21 oboe 1, 1x
31.052/22 oboe 2, 1x
31.052/23 oboe 3, 1x
31.052/24 bassoon, 1x
31.052/31 horns 1 and 2,
1x 31.052/32 horn 2.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Cantatas, End of
the church year, Trinity.
Set of Orchestra Parts.
Composed 1726. BWV 52.
Duration 18 minutes.
Carus Verlag #CV
31.052/09. Published by
Carus Verlag
(CA.3105209).
ISBN
9790007206307. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and parts available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts.
Cantatas, End of the
church year, Trinity. Set
of Orchestra Parts.
Composed 1726. BWV 52.
Duration 18 minutes.
Carus Verlag #CV
31.052/19. Published by
Carus Verlag
(CA.3105219).
ISBN
9790007206352. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and parts available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Viola.
Cantatas, End of the
church year, Trinity.
Single Part, Viola.
Composed 1726. BWV 52. 4
pages. Duration 18
minutes. Carus Verlag #CV
31.052/13. Published by
Carus Verlag
(CA.3105213).
ISBN
9790007206338. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Whitsun. Single Part,
Violin 1. Composed 1726.
BWV 169. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.169/11. Published by
Carus Verlag
(CA.3116911).
ISBN
9790007209322. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Cantatas, End
of the church year,
Trinity. Choral Score.
Composed 1726. BWV 52. 2
pages. Duration 18
minutes. Carus Verlag #CV
31.052/05. Published by
Carus Verlag
(CA.3105205).
ISBN
9790007187385. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Cantatas, End of the
church year, Trinity.
Single Part, Violin 1.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/11. Published by
Carus Verlag
(CA.3105211).
ISBN
9790007206314. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Whitsun. Single
Part, basso continuo.
Composed 1726. BWV 169.
12 pages. Duration 17
minutes. Carus Verlag #CV
31.169/14. Published by
Carus Verlag
(CA.3116914).
ISBN
9790007209353. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Whitsun. Choral
Score. Composed 1726. BWV
169. 2 pages. Duration 17
minutes. Carus Verlag #CV
31.169/05. Published by
Carus Verlag
(CA.3116905).
ISBN
9790007170752. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score
available separately -
see item CA.3116900.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Cantatas, End of the
church year, Trinity.
Single Part, Violin 2.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/12. Published by
Carus Verlag
(CA.3105212).
ISBN
9790007206321. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Cantatas, End
of the church year,
Trinity. Full score.
Composed 1726. BWV 52. 40
pages. Duration 18
minutes. Carus Verlag #CV
31.052/00. Published by
Carus Verlag
(CA.3105200).
ISBN
9790007181512. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Cantatas, End
of the church year,
Trinity. Vocal score.
Composed 1726. BWV 52. 24
pages. Duration 18
minutes. Carus Verlag #CV
31.052/03. Published by
Carus Verlag
(CA.3105203).
ISBN
9790007187637. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score available
separately - see item
CA.3105200.
Cantata for the 18th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Bartels. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Whitsun.
Single Part, Organ.
Composed 1726. BWV 169.
24 pages. Duration 17
minutes. Carus Verlag #CV
31.169/49. Published by
Carus Verlag
(CA.3116949).
ISBN
9790007209377. Text
language: German/English.
Text: Birkmann,
Christoph.
Bach's
cantata My God alone this
heart possesses BWV 169
is from his third annual
cantata cycle in Leipzig;
it was first performed on
20 October 1726 for the
18th Sunday after
Trinity. As recent
research has shown, the
text was written by the
Leipzig student,
Christoph Birkmann. With
the exception of the
final chorale, this is a
cantata for solo alto
with, of course, a rich
orchestral scoring
consisting of three
oboes, obbligato organ
and strings. The first
purely instrumental
movement can be traced
back to an instrumental
concerto, which has been
lost, after Bach had also
composed the Keyboard
Concerto in E major BWV
1053. The lyrical-vocal
highpoint of the cantata
is the fifth movement,
which is also based on
the concerto and it shows
off Bach's arranging
artistry to the highest
degree. Among the
movements are an
aria-like recitative
vocal movement, as well
as another aria with an
almost virtuoso organ
accompaniment. Score and
part available separately
- see item
CA.3116900.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Oboe 1.
Cantatas, End of the
church year, Trinity.
Single Part, Oboe 1.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/21. Published by
Carus Verlag
(CA.3105221).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Oboe 2.
Cantatas, End of the
church year, Trinity.
Single Part, Oboe 2.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/22. Published by
Carus Verlag
(CA.3105222).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Kyrie and Gloria.
arranged by Johann
Sebastian Bach.
Composed by Johann
Christoph Pez. Edited by
Frieder Rempp. Arranged
by Johann Sebastian Bach.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Missa A-Moll.
Bwv Anh.24, Zugleich Org.
Sacred vocal music,
Masses, Latin, Mass
sections. Single Part,
Violin 2. 4 pages. Carus
Verlag #CV 35.006/12.
Published by Carus Verlag
(CA.3500612).
ISBN
9790007212940. Text
language:
Latin.
Johann
Sebastian Bach knew the
value of good
compositions by other
composers, as is
evidenced by contemporary
accounts and by looking
through the remains of
his music library.
However, in certain
instances when copying
works which he prepared
for his own use he could
seldom refrain from
making corrections. In
both of the following
movements of the Missa
Sancti Lambertie by
Johann Christoph Pez Bach
made only a few changes.
With regard to his motive
for copying out these
rather simple movements,
this may been due
primarily to his
inquisitiveness. In spite
of their simplicity the
vocal and instrumental
parts are treated with
ingenuity and the volume
of sound is surprising,
given the modest scoring.
Score and part available
separately - see item
CA.3500600.
Kyrie and Gloria.
arranged by Johann
Sebastian Bach.
Composed by Johann
Christoph Pez. Edited by
Frieder Rempp. Arranged
by Johann Sebastian Bach.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Missa A-Moll.
Bwv Anh.24, Zugleich Org.
Sacred vocal music,
Masses, Latin, Mass
sections. Single Part,
Double Bass. 4 pages.
Carus Verlag #CV
35.006/15. Published by
Carus Verlag
(CA.3500615).
ISBN
9790007212971. Text
language:
Latin.
Johann
Sebastian Bach knew the
value of good
compositions by other
composers, as is
evidenced by contemporary
accounts and by looking
through the remains of
his music library.
However, in certain
instances when copying
works which he prepared
for his own use he could
seldom refrain from
making corrections. In
both of the following
movements of the Missa
Sancti Lambertie by
Johann Christoph Pez Bach
made only a few changes.
With regard to his motive
for copying out these
rather simple movements,
this may been due
primarily to his
inquisitiveness. In spite
of their simplicity the
vocal and instrumental
parts are treated with
ingenuity and the volume
of sound is surprising,
given the modest scoring.
Score and part available
separately - see item
CA.3500600.
Kyrie and Gloria.
arranged by Johann
Sebastian Bach.
Composed by Johann
Christoph Pez. Edited by
Frieder Rempp. Arranged
by Johann Sebastian Bach.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Missa A-Moll.
Bwv Anh.24, Zugleich Org.
Sacred vocal music,
Masses, Latin, Mass
sections. Single Part,
Violin 1. 4 pages. Carus
Verlag #CV 35.006/11.
Published by Carus Verlag
(CA.3500611).
ISBN
9790007212933. Text
language:
Latin.
Johann
Sebastian Bach knew the
value of good
compositions by other
composers, as is
evidenced by contemporary
accounts and by looking
through the remains of
his music library.
However, in certain
instances when copying
works which he prepared
for his own use he could
seldom refrain from
making corrections. In
both of the following
movements of the Missa
Sancti Lambertie by
Johann Christoph Pez Bach
made only a few changes.
With regard to his motive
for copying out these
rather simple movements,
this may been due
primarily to his
inquisitiveness. In spite
of their simplicity the
vocal and instrumental
parts are treated with
ingenuity and the volume
of sound is surprising,
given the modest scoring.
Score and part available
separately - see item
CA.3500600.
Kyrie and Gloria.
arranged by Johann
Sebastian Bach.
Composed by Johann
Christoph Pez. Edited by
Frieder Rempp. Arranged
by Johann Sebastian Bach.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Missa A-Moll.
Bwv Anh.24, Zugleich Org.
Sacred vocal music,
Masses, Latin, Mass
sections. Choral Score. 8
pages. Carus Verlag #CV
35.006/05. Published by
Carus Verlag
(CA.3500605).
ISBN
9790007162054. Text
language:
Latin.
Johann
Sebastian Bach knew the
value of good
compositions by other
composers, as is
evidenced by contemporary
accounts and by looking
through the remains of
his music library.
However, in certain
instances when copying
works which he prepared
for his own use he could
seldom refrain from
making corrections. In
both of the following
movements of the Missa
Sancti Lambertie by
Johann Christoph Pez Bach
made only a few changes.
With regard to his motive
for copying out these
rather simple movements,
this may been due
primarily to his
inquisitiveness. In spite
of their simplicity the
vocal and instrumental
parts are treated with
ingenuity and the volume
of sound is surprising,
given the modest scoring.
Score available
separately - see item
CA.3500600.
Kyrie and Gloria.
arranged by Johann
Sebastian Bach.
Composed by Johann
Christoph Pez. Edited by
Frieder Rempp. Arranged
by Johann Sebastian Bach.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Missa A-Moll.
Bwv Anh.24, Zugleich Org.
Sacred vocal music,
Masses, Latin, Mass
sections. Set of
Orchestra Parts. Carus
Verlag #CV 35.006/19.
Published by Carus Verlag
(CA.3500619).
ISBN
9790007143282. Text
language:
Latin.
Johann
Sebastian Bach knew the
value of good
compositions by other
composers, as is
evidenced by contemporary
accounts and by looking
through the remains of
his music library.
However, in certain
instances when copying
works which he prepared
for his own use he could
seldom refrain from
making corrections. In
both of the following
movements of the Missa
Sancti Lambertie by
Johann Christoph Pez Bach
made only a few changes.
With regard to his motive
for copying out these
rather simple movements,
this may been due
primarily to his
inquisitiveness. In spite
of their simplicity the
vocal and instrumental
parts are treated with
ingenuity and the volume
of sound is surprising,
given the modest scoring.
Score and parts available
separately - see item
CA.3500600.