In 1828 Berlioz
wrote the Huit scènes
de Faust. The work was
soon withdrawn but almost
twenty years later each
of the eight scenes found
a place in the Lgende
dramatique La damnation
de Faust dedicated to
Franz Liszt. The first
part of the Damnation
exposes the figure of
Faust and has an
introductory nature. From
the second part onwards,
the course of action is
largely based on
Goethe’s
drama.
Contrasting
characters and dramatic
effect are of central
importance in
understanding
Berlioz’s musical
thought and his
compositional process.
Magic and fairy tale,
incantations and ghosts,
have been the
ever-recurring themes of
opera since the Baroque.
It is precisely this
fantasy in Berlioz's
Faust, the “Opra de
Concert en Quatre
actsâ€, which comes
very close to the spirit
of Goethe's
presentation.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Deutsches Magnificat. By Georg Philipp Telemann. Edited by Klaus Hofmann. Arrang...(+)
Deutsches Magnificat. By
Georg Philipp Telemann.
Edited by Klaus Hofmann.
Arranged by Klaus
Hofmann. For Soli SATB,
SATB Choir, 2 Oboes, 2
Recorders f1, 2 Violins,
Viola, Basso continuo.
TVWV 9:18. Magnificat;
Stuttgart Urtext
editions; Use during
church year: Christmas.
Score. Language:
German/English. 72 pages.
Duration 25 min.
Published by Carus Verlag
(German import).
Composed by Georg Philipp Telemann (1681-1767). Edited by Gunter Graulich. Arran...(+)
Composed by Georg Philipp
Telemann (1681-1767).
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Hymns by Martin
Luther: Nun komm, der
Heiden Heiland; Stuttgart
Urtext Edition:
Telemann-Archiv. German
title: Nun komm, der
Heiden Heiland. Cantatas,
Advent. Complete
orchestral parts. TVWV
11:1178. Duration 7
minutes. Published by
Carus Verlag
(CA.3949319).
Opera buffa in 4 acts. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited...(+)
Opera buffa in 4 acts.
Composed by Wolfgang
Amadeus
Mozart (1756-1791).
Edited by
Ludwig Finscher. Arranged
by
Eugen Epplee. This
edition:
urtext edition. Hardback.
Barenreiter Urtext. Vocal
score vokal. KV 492.
Baerenreiter Verlag
#BA04565-
93. Published by
Baerenreiter
Verlag
Commedia in due atti
(comedy in two acts).
Composed by Gioachino
Rossini. Edited by
Patricia B. Brauner. This
edition: Edition of
selected works, Urtext
edition. Linen. Works of
Gioachino Rossini, Volume
2. Edition of selected
works, Score.
Baerenreiter Verlag
#BA10506_01. Published by
Baerenreiter Verlag
(BA.BA10506-01).
ISBN
9790006552009. 33 x 26 cm
inches. Text Language:
Italian. Text: Sterbini,
Cesare.
Barenreiter
's publication of a new
volume of theWorks of
Gioachino Rossini, in
collaboration with the
Center for Italian Opera
Studies at the University
of Chicago, makes
available an edition of
the operaIl barbiere di
Sivigliawhich meets
modern demands. The
editors have recently
identified numerous
carelessly edited places
in the last critical
edition by referring to
additional sources. The
greatest changes relate
to the overture; for the
new edition, no fewer
than twenty different
autograph manuscripts
have been consulted.
A detailed appendix
containing alternative
vocal parts, advice on
ornamentation and
compositions by Rossini
significant in the
performance history of
the opera complete the
volume.
A
420-page Critical
Commentary is published
separately. With this, a
critical edition is now
available to
interpreters, enabling
them to perform Rossini's
,,Barber of Sevillewith
the greatest possible
confidence in the
accuracy of the musical
material. The performance
material is available on
hire, and a vocal score
will be published at the
end of 2009.
Through 1829 Rossini was
an extraordinarily
prolific composer of
operas, comic, serious,
and semiserious, in
Italian and French, as
well as of a great deal
of vocal and instrumental
music. He composed sacred
music, vocal treatises,
cantatas. Then, for many
different reasons, he
wrote very little music
for more than twentyfive
years, if we except some
songs and the ' Stabat
Mater' . Only after he
left Italy definitively
for Paris in 1855 did he
find his voice again.
Between 1857 and
1868 a fresh group of
masterpieces issued from
his pen, the so-called '
Peches de vieillesse'
(Sins of Old Age),
including chamber music,
songs, and the 'Petite
Messe Solennelle'.
Philip Gossett,
General Editor of Works
of Gioachino Rossini, is
the Robert W. Reneker
Distinguished Service
Professor at The
University of Chicago and
a professordi chiara
famaat the University of
RomeLa Sapienza. He is
also general editor of
The Works of Giuseppe
Verdi.
Barenreiter in
cooperation with the
Center for Italian Opera
Studies at The University
of Chicago will publish
ten volumes in the series
Works of Gioachino
Rossini, in critical
editions, during the
period 2007-2011. These
are all volumes that were
not issued in theEdizione
critica delle opere di
Gioachino Rossini.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
By George Frideric Handel ; Donald Burrows (Editor). For Soprano, Tenor, Bass, S...(+)
By George Frideric Handel
; Donald Burrows
(Editor). For Soprano,
Tenor, Bass, SATB Choir,
Piano Accompaniment.
Baroque. Sheet Music. 168
pages. Published by
Novello and Co Ltd.
Requiem (Arman-Fassung) Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Carus Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165219
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Set of
Orchestra Parts. KV 626.
Duration 50 minutes.
Carus Verlag #5165219.
Published by Carus Verlag
(CA.5165219).
ISBN
9790007313883. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâs Requiem.
âAnother one?â
you might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional SüÃmayr
version. Yet such is the
enormous power of
Mozartâs score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard
Armanâs additions to
Mozartâs great
original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ
s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartâs brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentâs unique
sound is given an
opportunity to shine.
Armanâs Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather â in the
spirit of Mozart â
on creating a sense of
drama and illuminating
the theme in all its
possible facets.
Mozartâs fragment
ends with the Hostias,
and so does Armanâs
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to SüÃmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanâ
s version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike â and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Dramma per musica. Composed by Francesco Cavalli (1602- 1676). Edited by Hend...(+)
Dramma per musica.
Composed
by Francesco Cavalli
(1602-
1676). Edited by Hendrik,
Sara Elisa / Schulze, and
Stangalino. This edition:
Edition of selected
works,
Urtext edition. Cloth
bound.
Francesco Cavalli. Opere.
Venice 1655. Edition of
Selected Works , Score.
Baerenreiter Verlag
#BA08915-
01. Published by
Baerenreiter
Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165209
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Set of
Orchestra Parts. KV 626.
Duration 50 minutes.
Carus Verlag #5165209.
Published by Carus Verlag
(CA.5165209).
ISBN
9790007313838. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartââ¬â¢s
Requiem.
ââ¬ÅAnother
one?ââ¬Â you
might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional
Süßmayr
version. Yet such is the
enormous power of
Mozartââ¬â¢s
score that the challenge
and appeal of completing
it remain undiminished.
After two decades of
intensive study, Howard
Armanââ¬â¢s
additions to
Mozartââ¬â¢s
great original show the
requisite care and
respect while
incorporating many new
insights.
ArmanÃ
â¬â¢s approach
is particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartââ¬â¢s
brilliant composing
style: The masterly
compositional technique,
the search for innovative
solutions to every
problem, and even the
terse treatment of the
text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentââ¬â
s unique sound is given
an opportunity to shine.
Armanââ¬â¢s
Lacrimosa achieves a
lively Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather ââ¬â
in the spirit of Mozart
ââ¬â on
creating a sense of drama
and illuminating the
theme in all its possible
facets.
Mozartââ¬â¢s
fragment ends with the
Hostias, and so does
Armanââ¬â¢s
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to
Süßmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanââ
¬â¢s version has
already proven its
practical value. The
premiere with the
Bavarian Radio Choir was
enthusiastically received
by audiences and press
alike ââ¬â
and celebrated as
offering a scholarly,
entirely fresh
perspective on
Mozartââ¬â¢s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Single Part,
Violin 2. Composed 1724.
BWV 62. 12 pages.
Duration 23 minutes.
Carus Verlag #CV
31.062/12. Published by
Carus Verlag
(CA.3106212).
ISBN
9790007043629. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score and part
available separately -
see item CA.3106200.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Study score.
Composed 1724. BWV 62. 56
pages. Duration 23
minutes. Carus Verlag #CV
31.062/07. Published by
Carus Verlag
(CA.3106207).
ISBN
9790007043599. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score available
separately - see item
CA.3106200.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Single Part,
Organ. Composed 1724. BWV
62. 20 pages. Duration 23
minutes. Carus Verlag #CV
31.062/49. Published by
Carus Verlag
(CA.3106249).
ISBN
9790007043650. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score and part
available separately -
see item CA.3106200.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn. 1x
31.062/21 oboe 1, 1x
31.062/22 oboe 2, 1x
31.062/31 horn 1, 1x
31.062/32 horn 2.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Set of
Orchestra Parts. Composed
1724. BWV 62. 12 pages.
Duration 23 minutes.
Carus Verlag #CV
31.062/09. Published by
Carus Verlag
(CA.3106209).
ISBN
9790007043605. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score and parts
available separately -
see item CA.3106200.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Single Part,
Cello/Double Bass.
Composed 1724. BWV 62. 12
pages. Duration 23
minutes. Carus Verlag #CV
31.062/14. Published by
Carus Verlag
(CA.3106214).
ISBN
9790007043643. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score and part
available separately -
see item CA.3106200.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Single Part,
Violin 1. Composed 1724.
BWV 62. 12 pages.
Duration 23 minutes.
Carus Verlag #CV
31.062/11. Published by
Carus Verlag
(CA.3106211).
ISBN
9790007043612. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score and part
available separately -
see item CA.3106200.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Choral Score.
Composed 1724. BWV 62. 4
pages. Duration 23
minutes. Carus Verlag #CV
31.062/05. Published by
Carus Verlag
(CA.3106205).
ISBN
9790007043582. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score available
separately - see item
CA.3106200.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Single Part,
Viola. Composed 1724. BWV
62. 12 pages. Duration 23
minutes. Carus Verlag #CV
31.062/13. Published by
Carus Verlag
(CA.3106213).
ISBN
9790007043636. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score and part
available separately -
see item CA.3106200.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Cantatas,
Advent, Christmas. Single
Part, Organ. Composed
1731. BWV 36. 20 pages.
Duration 31 minutes.
Carus Verlag #CV
31.036/49. Published by
Carus Verlag
(CA.3103649).
ISBN
9790007205690. 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 part
available separately -
see item CA.3103600.
Cantata for the 1st
Sunday in Advent.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext,
paperback. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Advent,
Christmas. Vocal score.
Composed 1731. BWV 36. 44
pages. Duration 31
minutes. Carus Verlag #CV
31.036/03. Published by
Carus Verlag
(CA.3103603).
ISBN
9790007171605. 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.
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.
St. Matthew Passion Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Set de Parties séparées] Carus Verlag
Composed by Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. This edi...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Matthauspassion.
Passions, Lent and
Passiontide. Complete
orchestral parts. BWV
244. Duration 175
minutes. Published by
Carus Verlag
(CA.3124419).
Opera in five acts. Composed by Charles Francois Gounod (1818-1893). Edited by...(+)
Opera in five acts.
Composed
by Charles Francois
Gounod
(1818-1893). Edited by
Paul
Prevost. Arranged by
Karl-
Heinz Muller. This
edition:
urtext edition.
Paperback.
Barenreiter Urtext.
Version
with recitatives. Vocal
Score. Baerenreiter
Verlag
#BA08713-90. Published by
Baerenreiter Verlag