SKU: CA.3118449

ISBN 9790007240608. Key: G major / e minor. Language: German/English.

The Pentecost cantata Desired ray of light BWV 184 is based on a Kothen composition, probably a congratulatory cantata, whose instrumental parts (only these have survived) Bach reused in the Leipzig Pentecost cantata. Only the chorale setting was evidently newly composed. Despite the narrow leeway that the already finished composition left for the librettist, he nevertheless succeeded in crafting a coherent Pentecost text. The fact that the cantata begins with a long tenor accompagnato with two flutes followed by a pastoral duet is surprising. The placing of the chorale not at the end of the work but before the concluding chorus is unusual. Bach was evidently aware of the effect that the ending of this lively movement would have and wanted to retain this in its sacred form as well. The sacred version was first performed on the third day of Pentecost in 1724, probably after a parody version of another Kothen cantata (BWV 173) had already been performed on the second day of Pentecost. Score and part available separately - see item CA.3118400.

SKU: CA.3115314

ISBN 9790007208707. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.

SKU: CA.3115319

ISBN 9790007183448. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and parts available separately - see item CA.3115300.

SKU: CA.3115349

ISBN 9790007208714. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.

SKU: CA.3115303

ISBN 9790007183424. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score available separately - see item CA.3115300.

SKU: CA.3115311

ISBN 9790007208677. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.

SKU: CA.3115313

ISBN 9790007208691. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.

SKU: CA.3115305

ISBN 9790007183431. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score available separately - see item CA.3115300.

SKU: CA.3115312

ISBN 9790007208684. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.

SKU: HL.49046151

ISBN 9790220137921. UPC: 841886035409. 8.25x11.75x0.048 inches. English - welsh.

Commissioned by the Kings College Choir to write the carol for their celebrated Christmas Eve service A Festival of Nine Lessons and Carols, Watkins, who studied at King's as an undergraduate, has set part of the Welsh Plygain carol Carol Eliseu by Thomas Cilwern Davies for SATB choir. Watkins writes that the experience of setting a Welsh text has unlocked an indefinable Welshness in my music. I wanted to write something pure, and somehow artless, and all the time I've had that glorious acoustic in my head..

SKU: PR.342402020

ISBN 9781598064995. UPC: 680160616084. 8.5 x 11 inches. English. Text: William Shakespeare; Aurelius Prudentius Clemens; Aeschylus. Aurelius Clemens, William Shakespeare, Aeschylus. Texts from Aurelius Prudentius Clemens, Aeschylus, and William Shakespeare.

When Tim Sharp, Executive Director of the ACDA, offered Stucky the Brock Memorial Commission, it was decided that the text would commemorate the 50th anniversary of the assassination of John F. Kennedy, since the annual convention would take place in Dallas of that year. To that end, Stucky chose four different but pertinent texts to honor the occasion, although never referencing JFK by name. Take Him, Earth was premiered at the ACDA convention in March, 2013. Originally scored for chorus and chamber ensemble of nine instruments (available on a rental basis), Take Him, Earth is presented here in piano reduction. For advanced choirs. Duration: 13'.
When Tim Sharp, Executive Director of the American Choral Directors Association, very kindlyoffered me the Raymond W. Brock Memorial Commission for 2013, he suggested that because thepremiere would take place at the national conference in Dallas in the 50th year since the assassinationof John F. Kennedy in that city, the text might refer in some way to that grim anniversary. Hesuggested, too, that I consider using a chamber ensemble or chamber orchestra to accompany thechorus.I took these suggestions to heart, but at the same time I wanted to write something universal enoughto be appropriate on other occasions, in other settings. Thus the score is dedicated to PresidentKennedy’s memory, but otherwise he is never referred to by name. Instead, I assembled a group oftexts that are associated with him in some way, but that also stand alone as a more general eulogy.As a refrain, there are a few lines from the early Christian burial hymn that begins “Take him,Earth, for cherishing” — lines that were earlier set to music by Herbert Howells in his classic motetcommissioned for Kennedy’s memorial service in 1963. The lines of Aeschylus “Drop, drop — inour sleep, upon the heart sorrow falls” from Agamemnon were quoted by Robert F. Kennedy uponthe death of Martin Luther King in April 1968. The celebrated “When he shall die, cut him out inlittle stars” from Act III of Shakespeare’s Romeo and Juliet was cited by RFK a few months after hisbrother’s murder.

SKU: OU.9780193953994

ISBN 9780193953994. 10 x 7 inches.

For SSATB and organ Written in 1852 in the wake of S.S.Wesley's groundbreaking Service in E this is an equally ambitious work with an important obbligato organ part. With only one change of tempo, it has an unflagging forward momentum. An ideal work for those occasions when a large-scale, expansive setting is wanted.