4 voices (SATB) with piano (SATB) - advanced SKU: HL.49007409 Aus dem ...(+)
4 voices (SATB) with
piano (SATB) - advanced
SKU: HL.49007409
Aus dem
Toskanischen.
Composed by Cornelius Uwe
Gustav Jenner. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Choral Score.
28 pages. Duration 18'.
Schott Music #ED 7637-01.
Published by Schott Music
(HL.49007409).
4 voices (SATB) with piano - advanced SKU: HL.49007408 Aus dem Toskani...(+)
4 voices (SATB) with
piano - advanced
SKU:
HL.49007408
Aus
dem Toskanischen.
Composed by Cornelius Uwe
Gustav Jenner. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score. 24
pages. Duration 18'.
Schott Music #ED 7637.
Published by Schott Music
(HL.49007408).
(Volume 2 of 3) Composed by Johannes Brahms (1833-1897), edited by Kurt Soldan. ...(+)
(Volume 2 of 3) Composed
by Johannes Brahms
(1833-1897), edited by
Kurt Soldan. For SATB
voices (see songlist for
voicings) and one piano
four-hands. Format:
piano/vocal score (parts
not included). With
choral notation and piano
duet accompaniment.
Romantic period. Text
language German. 90
pages. 9x12 inches.
Published by C.F. Peters.
Doxology of Thanks Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
Composed by Patti Drennan. For SATB choir, piano 4-hands (with optional brass qu...(+)
Composed by Patti
Drennan. For SATB choir,
piano 4-hands (with
optional brass quartet,
piano). Sacred Anthem,
Christ the King, General,
Thanksgiving, Trinity
Sunday. Octavo. Lorenz
Publishing Company
#10/4737L. Published by
Lorenz Publishing Company
(From Moses in Egypt for Mixed Voices, Optional Soloists and Piano). By Gioachin...(+)
(From Moses in Egypt for
Mixed Voices, Optional
Soloists and Piano). By
Gioachino Rossini
(1792-1868). For Mixed
Voices, Optional
Soloists, and Piano.
Choral octavo. Standard
notation. Duration 4:30
O God of All People Chorale SATB SATB, Piano [Octavo] - Intermédiaire Augsburg Fortress
Composed by Michael Burkhardt. For SATB choir, piano accompaniment and optiona...(+)
Composed by Michael
Burkhardt.
For SATB choir, piano
accompaniment and
optional
handbells and brass
quartet.
Difficulty: medium.
Octavo.
Published by Augsburg
Fortress
4 voices (SATB) with piano (SATB) - advanced SKU: HL.49007407 Aus dem ...(+)
4 voices (SATB) with
piano (SATB) - advanced
SKU: HL.49007407
Aus dem
Toskanischen.
Composed by Cornelius Uwe
Gustav Jenner. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Choral Score.
28 pages. Duration 18'.
Schott Music #ED 7636-01.
Published by Schott Music
(HL.49007407).
4 voices (SATB) with piano - advanced SKU: HL.49007406 Aus dem Toskani...(+)
4 voices (SATB) with
piano - advanced
SKU:
HL.49007406
Aus
dem Toskanischen.
Composed by Cornelius Uwe
Gustav Jenner. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score. 24
pages. Duration 18'.
Schott Music #ED 7636.
Published by Schott Music
(HL.49007406).
4 voices (SATB) with piano (SATB) - advanced SKU: HL.49007405 Aus dem ...(+)
4 voices (SATB) with
piano (SATB) - advanced
SKU: HL.49007405
Aus dem
Toskanischen.
Composed by Cornelius Uwe
Gustav Jenner. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Choral Score.
16 pages. Duration 18'.
Schott Music #ED 7635-01.
Published by Schott Music
(HL.49007405).
ISBN
9790001079723.
9.0x12.0x0.055 inches.
German.
((New Edition)). By John Stainer (1840-1901). For SATB Choir (SATB). Music Sales...(+)
((New Edition)). By John
Stainer (1840-1901). For
SATB Choir (SATB). Music
Sales America. Choral,
Sacred. 4 pages. Novello
and Co Ltd. #NOV290234.
Published by Novello and
Co Ltd.
21 Quartets for Various Voice Combinations. Composed by Various. Edited by Ri...(+)
21 Quartets for Various
Voice Combinations.
Composed
by Various. Edited by
Richard Walters. Vocal.
Softcover Audio Online.
264
pages. Published by Hal
Leonard
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
Composed by Rob Galea &
Peter DeMarco. Lent, Lent
3 C, OT 7 A, OT 8 B, OT 7
C. Celebration Series.
Sacred. Octavo. With
guitar chord names. 8
pages. GIA Publications
#10465. Published by GIA
Publications
(GI.G-10465).
English.
Text Source: Psalm 103,
Lectionary for
Mass Scripture: Psalm
103:1–2,
3–4, 6–7,
8, 11, Psalm
103:1–4,
7–9, 12–13,
22–23.
This
peaceful psalm setting
expresses the mercy and
compassion of God using
contemporary harmonies
and common thematic
development of each
verse. The accompaniment
is also available for
string quartet.
Fraction
Rite and Communion
Song. Composed by The
Dameans. Arranged by Rory
Cooney. Ritual Prayer.
Sacred. Octavo. With
guitar chord names. 16
pages. GIA Publications
#5015. Published by GIA
Publications (GI.G-5015).
Text Source: vs. 1, 4,
5: Michael Balhoff,
Darryl Ducote, Gary
Daigle, vs. 2, 3, 6, 7:
Rory Cooney. Text by
Various.
Flute,
Oboe (or 2 Flutes),
String Quartet - 2
Violins, Viola, Cello
parts are optional.
Soli SATB, SATB Choir, 2 Ob, 4 Trb, 2 Vl, Va, Bc - Level 3 SKU: CA.3103849(+)
Soli SATB, SATB Choir, 2
Ob, 4 Trb, 2 Vl, Va, Bc -
Level 3
SKU:
CA.3103849
Cantata
for the 21st Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
Hymns by Martin Luther:
Aus tiefer Not schrei ich
zu dir. Organ. Sacred
vocal music, Cantatas.
Single Part, Organ.
Composed 1724. BWV 38. 20
pages. Duration 21
minutes. Carus Verlag #CV
31.038/49. Published by
Carus Verlag
(CA.3103849).
ISBN
9790007205706. Key: E
phrygian. Language:
German. Text: Luther,
Martin.
The opening
movement of Bach's
chorale cantata on
Luther's In deepest need
I cry to you BWV 38,
which was composed for
the 21st Sunday after
Trinity Sunday, belongs
to a group of cantatas
whose opening choruses
are not concertante but
have been kept in the
style of a motet; the
instruments merely
amplify the vocal parts.
The archaic character of
the movement is
emphasized by the
addition of a trombone
quartet. An exciting
recitative and an aria
full of pungent harmonies
is followed by an
entirely unusual
recitative in which the
chorale melody forms the
bass foundation for the
vocal part. A second aria
- which is no less
unusual -is a trio which
is only accompanied by
the continuo; it leads
into the concluding
chorale which, pursuant
to the 1st line of text
Ob bei uns ist der Sunden
viel, already begins with
a brusque dissonance.
Score and part available
separately - see item
CA.3103800.
By Donald Busarow. For organ, brass quartet (SATB choir, optional Congregation)....(+)
By Donald Busarow. For
organ, brass quartet
(SATB choir, optional
Congregation). Choral.
Christ the King.
Moderately Easy. Octavo.
Published by MorningStar
Music Publishers
Chorale SATB SATB A Cappella [Vocal Score] - Intermédiaire Faber Music Limited
By The King's Singers. Arranged by Clifford Bartlett. For voice quartet (4 Part)...(+)
By The King's Singers.
Arranged by Clifford
Bartlett. For voice
quartet (4 Part). King's
Singer's Choral. Pop
Vocal, Renaissance and
Classical Period.
Difficulty: medium. Vocal
score (a cappela - four
copies needed for
performance). Vocal
score. 80 pages. Faber
Music #F100511. Published
by Faber Music
Choral SATB choir (SATB choir) SKU: HP.A574 Composed by John F. Wilson. P...(+)
Choral SATB choir (SATB
choir)
SKU:
HP.A574
Composed by
John F. Wilson. Piano
Accompaniment. General
Worship, Sacred. Octavo.
4 pages. Hope Publishing
Company #A574. Published
by Hope Publishing
Company (HP.A574).
UPC:
763628141448.
Origi
nal anthem For SATB
voices w/opt. Quartet or
Echo Choi.
Alleluia No. 1 Chorale SATB SATB [Octavo] Hope Publishing Company
By Fishel, Donald. Arranged by Hal H. Hopson. For Choir, Congregation. (SATB). ...(+)
By Fishel, Donald.
Arranged by Hal H.
Hopson. For Choir,
Congregation. (SATB).
Celebration, Christ The
King, Concertato,
Funeral, General Worship,
Worshipping and Sacred.
Print Music Single (SATB
Voices, Congregation &
Organ w/opt. Brass
quartet (quintet),
timpani, piano and either
4 or 8 handbells).
Published by Hope
Publishing Company.
Choral Score.
Composed by Soren Birch.
Arranged by Soren Birch.
Choral. Classical.
Octavo. Composed 2017. 20
pages. Edition Wilhelm
Hansen #WH32837.
Published by Edition
Wilhelm Hansen
(HL.256039).
ISBN
9788759838112.
Danish.
Nordisk
Suite (Nordic Suite) - 6
Nordic Folksongs arranged
for Mixed Choir SATB,
Recorder and String
Quartet by Soren Birch.
Content: 1. Den kedsom
vinter gik sin gang 2.
Fjarran han drojer 3. Per
Spelmann 4. Jeg gik mig
ud en sommerdag at hore
5. Kristallen den fina 6.
Ramund.
By C. 1774 Katholisches Gesangbuch. Arranged by Brian Zuar. For Voices: SATB, as...(+)
By C. 1774 Katholisches
Gesangbuch. Arranged by
Brian Zuar. For Voices:
SATB, assembly.
Instruments: Brass
quartet (2 trumpets in B
or C, 2 trombones),
timpani, 6 handbells (or
orchestral chimes)
(instruments required).
Organ. Choral Sacred.
Level: easy. 10 pages.
Published by GIA
Publications.
By Liam Lawton. Arranged by John; Flute: Daigle Mccann. For Voices: SATB, cantor...(+)
By Liam Lawton. Arranged
by John; Flute: Daigle
Mccann. For Voices: SATB,
cantor, assembly.
Instruments: C
instrument, string
quartet (2 violins,
viola, cello)
(instruments optional).
Keyboard accompaniment.
Celebration Series
Sacred. Level: easy. 4
pages. Published by GIA
Publications.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. 2x 31.002/21 2
oboes, 1x 31.002/31
trumpet, 1x 31.002/32
trombone 1, 1x 31.002/33
trombone 2, 1x 31.002/34
trombone 3, 1x 31.002/35
trombone 4. Hymns by
Martin Luther: Ach Gott,
vom Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein 7.
Sacred vocal music,
Cantatas. Set of
Orchestra Parts. Composed
1724. BWV 2. 20 pages.
Duration 20 minutes.
Carus Verlag #CV
31.002/09. Published by
Carus Verlag
(CA.3100209).
ISBN
9790007041335. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and parts
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel. Sacred vocal
music, Cantatas. Single
Part, Viola. Composed
1724. BWV 2. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.002/13. Published by
Carus Verlag
(CA.3100213).
ISBN
9790007041366. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein.
Sacred vocal music,
Cantatas. Choral Score.
Composed 1724. BWV 2. 12
pages. Duration 20
minutes. Carus Verlag #CV
31.002/05. Published by
Carus Verlag
(CA.3100205).
ISBN
9790007041311. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score available
separately - see item
CA.3100200.