Composed by Johann
Sebastian Bach. Edited by
Reinmar Emans. This
edition: complete
edition, urtext edition.
Linen. New Bach Edition
(NBA) I/11/1. Complete
edition, Score,
anthology. Baerenreiter
Verlag #BA05071_01.
Published by Baerenreiter
Verlag (BA.BA05071-01).
ISBN 9790006463497.
33.1 x 26 cm
inches.
Urtext der
Neuen Mozart-Ausgabe.
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
Missa in C.
Composed by Ludwig van
Beethoven. Edited by
Ernst Herttrich. Carus
sheet music series: Vocal
scores XL. Messe In C Op.
86. Innovative practice
aids, Sacred vocal music,
Masses, Latin. Single
Part, Double Bass. Op.
86. 16 pages. Duration 50
minutes. Carus Verlag #CV
40.688/15. Published by
Carus Verlag
(CA.4068815).
ISBN
9790007220372. Language:
Latin.
With its
tonal language of
subjective avowal, the
first of Beethoven's two
masses opens up new
worlds of expression for
the liturgical texts of
the Mass which are
expressly modern and
point towards the future.
Not to be considered a
preliminary work to the
Missa solemnis, it is an
entirely independent work
which set standards for
the further development
of settings of the Mass
in the 19th century. Its
newness, of which the
composer himself was
fully aware (I do not
speak gladly of my Mass,
or of myself, but I do
believe that I have
treated the text in a
manner in which only few
have treated it.), paves
a way to an hitherto
unknown, contemporary
avenue to faith which
today is still current.
Carus presents this
important work of church
music history in a new
critical edition by the
Beethoven expert Ernst
Herttrich. Score and part
available separately -
see item CA.4068800.
Missa in C.
Composed by Ludwig van
Beethoven. Edited by
Ernst Herttrich. Carus
sheet music series: Vocal
scores XL. Messe In C Op.
86. Innovative practice
aids, Sacred vocal music,
Masses, Latin. Single
Part, Cello. Op. 86. 16
pages. Duration 50
minutes. Carus Verlag #CV
40.688/14. Published by
Carus Verlag
(CA.4068814).
ISBN
9790007220365. Language:
Latin.
With its
tonal language of
subjective avowal, the
first of Beethoven's two
masses opens up new
worlds of expression for
the liturgical texts of
the Mass which are
expressly modern and
point towards the future.
Not to be considered a
preliminary work to the
Missa solemnis, it is an
entirely independent work
which set standards for
the further development
of settings of the Mass
in the 19th century. Its
newness, of which the
composer himself was
fully aware (I do not
speak gladly of my Mass,
or of myself, but I do
believe that I have
treated the text in a
manner in which only few
have treated it.), paves
a way to an hitherto
unknown, contemporary
avenue to faith which
today is still current.
Carus presents this
important work of church
music history in a new
critical edition by the
Beethoven expert Ernst
Herttrich. Score and part
available separately -
see item CA.4068800.
Missa in C.
Composed by Ludwig van
Beethoven. Edited by
Ernst Herttrich. Carus
sheet music series: Vocal
scores XL. Messe In C Op.
86. Innovative practice
aids, Sacred vocal music,
Masses, Latin. Single
Part, Viola. Op. 86. 16
pages. Duration 50
minutes. Carus Verlag #CV
40.688/13. Published by
Carus Verlag
(CA.4068813).
ISBN
9790007220358. Language:
Latin.
With its
tonal language of
subjective avowal, the
first of Beethoven's two
masses opens up new
worlds of expression for
the liturgical texts of
the Mass which are
expressly modern and
point towards the future.
Not to be considered a
preliminary work to the
Missa solemnis, it is an
entirely independent work
which set standards for
the further development
of settings of the Mass
in the 19th century. Its
newness, of which the
composer himself was
fully aware (I do not
speak gladly of my Mass,
or of myself, but I do
believe that I have
treated the text in a
manner in which only few
have treated it.), paves
a way to an hitherto
unknown, contemporary
avenue to faith which
today is still current.
Carus presents this
important work of church
music history in a new
critical edition by the
Beethoven expert Ernst
Herttrich. Score and part
available separately -
see item CA.4068800.
Missa in C.
Composed by Ludwig van
Beethoven. Edited by
Ernst Herttrich. 1x
40.688/21 flute 1, 1x
40.688/22 flute 2, 1x
40.688/23 oboe 1, 1x
40.688/24 oboe 2, 1x
40.688/25 clarinet 1, 1x
40.688/26 clarinet 2, 1x
40.688/27 bassoon 1, 1x
40.688/28 bassoon 2, 1x
40.688/31 horn 1, 1x
40.688/32 horn 2, 1x
40.688/33 trumpet 1, 1x
40. Carus sheet music
series: Vocal scores XL.
Messe In C Op. 86.
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. Op. 86.
120 pages. Duration 50
minutes. Carus Verlag #CV
40.688/09. Published by
Carus Verlag
(CA.4068809).
ISBN
9790007220327. Language:
Latin.
With its
tonal language of
subjective avowal, the
first of Beethoven's two
masses opens up new
worlds of expression for
the liturgical texts of
the Mass which are
expressly modern and
point towards the future.
Not to be considered a
preliminary work to the
Missa solemnis, it is an
entirely independent work
which set standards for
the further development
of settings of the Mass
in the 19th century. Its
newness, of which the
composer himself was
fully aware (I do not
speak gladly of my Mass,
or of myself, but I do
believe that I have
treated the text in a
manner in which only few
have treated it.), paves
a way to an hitherto
unknown, contemporary
avenue to faith which
today is still current.
Carus presents this
important work of church
music history in a new
critical edition by the
Beethoven expert Ernst
Herttrich. Score and
parts available
separately - see item
CA.4068800.
Messe in C op. 86.
Composed by Ludwig van
Beethoven. Edited by
Ernst Herttrich. Carus
sheet music series: Vocal
scores XL. Messe In C Op.
86. Innovative practice
aids, Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. Op. 86.
Duration 50 minutes.
Carus Verlag #CV
40.688/19. Published by
Carus Verlag
(CA.4068819).
ISBN
9790007097219. Language:
Latin.
With its
tonal language of
subjective avowal, the
first of Beethoven's two
masses opens up new
worlds of expression for
the liturgical texts of
the Mass which are
expressly modern and
point towards the future.
Not to be considered a
preliminary work to the
Missa solemnis, it is an
entirely independent work
which set standards for
the further development
of settings of the Mass
in the 19th century. Its
newness, of which the
composer himself was
fully aware (I do not
speak gladly of my Mass,
or of myself, but I do
believe that I have
treated the text in a
manner in which only few
have treated it.), paves
a way to an hitherto
unknown, contemporary
avenue to faith which
today is still current.
Carus presents this
important work of church
music history in a new
critical edition by the
Beethoven expert Ernst
Herttrich. Score and
parts available
separately - see item
CA.4068800.
Messe in C.
Composed by Ludwig van
Beethoven. Edited by
Ernst Herttrich. Carus
sheet music series: Vocal
scores XL. Messe In C Op.
86. Innovative practice
aids, Sacred vocal music,
Masses, Latin. Choral
Score. Op. 86. Duration
50 minutes. Carus Verlag
#CV 40.688/05. Published
by Carus Verlag
(CA.4068805).
ISBN
9790007131012. Language:
Latin.
With its
tonal language of
subjective avowal, the
first of Beethoven's two
masses opens up new
worlds of expression for
the liturgical texts of
the Mass which are
expressly modern and
point towards the future.
Not to be considered a
preliminary work to the
Missa solemnis, it is an
entirely independent work
which set standards for
the further development
of settings of the Mass
in the 19th century. Its
newness, of which the
composer himself was
fully aware (I do not
speak gladly of my Mass,
or of myself, but I do
believe that I have
treated the text in a
manner in which only few
have treated it.), paves
a way to an hitherto
unknown, contemporary
avenue to faith which
today is still current.
Carus presents this
important work of church
music history in a new
critical edition by the
Beethoven expert Ernst
Herttrich. Score
available separately -
see item CA.4068800.
Dramma
per musica in three
Acts. Composed by
George Frideric Handel.
Edited by Terence Best.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Serie II,
Band 15. Complete
edition, Score. HWV 18.
Duration 3 hours.
Baerenreiter Verlag
#BA04052_00. Published by
Baerenreiter Verlag
(BA.BA04052).
ISBN
9790006495702. 33.1 x 26
cm inches. Nicola
Francesco
Haym.
Handel began
the composition of
Tamerlano, one of the
supreme masterpieces of
Baroque opera seria, on
3rd July 1724. The
libretto was an
adaptation by Nicola Haym
of Agostino Piovene's
Tamerlano, Tragedia per
musica, which had been
set to music by Francesco
Gasparini, and performed
in Venice in 1711. When
Handel dated the last
page of the autograph on
4rd July the work
appeared to be complete;
but during the three
months which passed
before the premiere at
the King's Theatre in the
Haymarket on 31 October,
so many alterations and
revisions were made that
a fresh performing-score
had to be writtern very
late in the proceedings,
to replace an earlier one
which is now
1ost.
There were
twelve performances
between 31 October 1724
and 8 May 1725. Handel
revived the opera only
once, in 1731, for three
performances. For this
revival he marked in the
performing score a number
of cuts in the
recitatives, which are
reproduced in the present
edition; there is more
recitative in Tamerlano
than in any other Handel
opera.
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
Messen, Band 5 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Urtext der Neuen Mozart-Ausgabe. By Wolfgang Amadeus Mozart. Edited by Holl, Mon...(+)
Urtext der Neuen
Mozart-Ausgabe. By
Wolfgang Amadeus Mozart.
Edited by Holl, Monika;
Kohler, Karl-Heinz. For
Soli, Mixed Choir,
Orchestra. Neue
Mozart-Ausgabe. Serie I,
Werkgruppe 1/1, 5. Score;
Urtext Edition; Complete
Edition (cloth bound).
Published by
Baerenreiter-Ausgaben
(German import). (BA4592
01)
Urtext der Neuen Bach-Ausgabe. Kritischer Bericht siehe BA 5078 41. By Johann Se...(+)
Urtext der Neuen
Bach-Ausgabe. Kritischer
Bericht siehe BA 5078 41.
By Johann Sebastian Bach.
Edited by Christoph
Wolff. For Soli, Mixed
Choir, Orchestra. Neue
Bach-Ausgabe. Serie I.
Band 8/2. Kantaten,
Barock (Cantatas,
Baroque). Score; Urtext
Edition; Complete Edition
(cloth bound). Published
by Baerenreiter-Ausgaben
(German import). (BA5079
01)
Israel in Egypt Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] Barenreiter
(Oratorio in three parts. Urtext of the Halle Handel-Edition). By George Frideri...(+)
(Oratorio in three parts.
Urtext of the Halle
Handel-Edition). By
George Frideric Handel
(1685-1759). Edited by
Annette Landgraf. For
Soprano Solo (2), Alto
Solo (2), Tenor Solo,
Bass Solo (2), Mixed
Choir (2)-SATB SATB, Oboe
(2), Bassoon (2), Trumpet
(2), Trombone (3),
Kettledrum, Strings,
Basso Continuo. Hallische
Handel-Ausgabe. Serie I,
Band 14.1 und 14.2.
Score; Urtext Edition;
Complete Edition (cloth
bound). HWV 54
Cantata for the 20th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frauke Heinze. Arranged
by Masaaki Suzuki. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Whitsun,
Mourning, death. Single
Part, basso continuo.
Composed 1716. BWV 162.
12 pages. Duration 18
minutes. Carus Verlag #CV
31.162/14. Published by
Carus Verlag
(CA.3116214).
ISBN
9790007208936. Text
language:
German/English.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
part available separately
- see item
CA.3116200.
Cantata for the 20th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frauke Heinze. Arranged
by Masaaki Suzuki. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Whitsun,
Mourning, death. Single
Part, Violin 1. Composed
1716. BWV 162. 4 pages.
Duration 18 minutes.
Carus Verlag #CV
31.162/11. Published by
Carus Verlag
(CA.3116211).
ISBN
9790007208905. Text
language:
German/English.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
part available separately
- see item
CA.3116200.
Cantata
for the 20th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frauke Heinze.
Arranged by Masaaki
Suzuki. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Complete orchestral
parts. Sacred vocal
music, Cantatas, Whitsun,
Mourning, death. Set of
Orchestra Parts. Composed
1716. BWV 162. Duration
18 minutes. Carus Verlag
#CV 31.162/19. Published
by Carus Verlag
(CA.3116219).
ISBN
9790007172244. Language:
German/English.
Scripture: Matthew
22:1-14.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
parts available
separately - see item
CA.3116200.
Cantata
for the 20th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frauke Heinze.
Arranged by Masaaki
Suzuki. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Organ. Sacred vocal
music, Cantatas, Whitsun,
Mourning, death. Single
Part, Organ. Composed
1716. BWV 162. 16 pages.
Duration 18 minutes.
Carus Verlag #CV
31.162/49. Published by
Carus Verlag
(CA.3116249).
ISBN
9790007208943. Language:
German/English.
Scripture: Matthew
22:1-14.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
part available separately
- see item
CA.3116200.
Cantata for the 20th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frauke Heinze. Arranged
by Masaaki Suzuki. This
edition: urtext,
paperback. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Whitsun,
Mourning, death. Vocal
score. Composed 1716. BWV
162. 24 pages. Duration
18 minutes. Carus Verlag
#CV 31.162/03. Published
by Carus Verlag
(CA.3116203).
ISBN
9790007171544. Language:
German/English.
Scripture: Matthew
22:1-14.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score
available separately -
see item CA.3116200.
Cantata
for the 20th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frauke Heinze.
Arranged by Masaaki
Suzuki. This edition:
urtext. 1x 31.162/21
flute, 1x 31.162/31 horn.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Sacred vocal
music, Cantatas, Whitsun,
Mourning, death. Set of
Orchestra Parts. Composed
1716. BWV 162. Duration
18 minutes. Carus Verlag
#CV 31.162/09. Published
by Carus Verlag
(CA.3116209).
ISBN
9790007208899. Language:
German/English.
Scripture: Matthew
22:1-14.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
parts available
separately - see item
CA.3116200.
Cantata for the 20th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frauke Heinze. Arranged
by Masaaki Suzuki. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Whitsun, Mourning, death.
Single Part, Viola.
Composed 1716. BWV 162. 4
pages. Duration 18
minutes. Carus Verlag #CV
31.162/13. Published by
Carus Verlag
(CA.3116213).
ISBN
9790007208929. Text
language:
German/English.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
part available separately
- see item
CA.3116200.
Cantata
for the 20th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frauke Heinze.
Arranged by Masaaki
Suzuki. This edition:
urtext, paperback.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Whitsun,
Mourning, death. Full
score. Composed 1716. BWV
162. 28 pages. Duration
18 minutes. Carus Verlag
#CV 31.162/00. Published
by Carus Verlag
(CA.3116200).
ISBN
9790007171452. Language:
German/English.
Scripture: Matthew
22:1-14.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki.
Cantata for the 20th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frauke Heinze. Arranged
by Masaaki Suzuki. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Whitsun,
Mourning, death. Single
Part, Violin 2. Composed
1716. BWV 162. 4 pages.
Duration 18 minutes.
Carus Verlag #CV
31.162/12. Published by
Carus Verlag
(CA.3116212).
ISBN
9790007208912. Text
language:
German/English.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
part available separately
- see item
CA.3116200.
Psalm
121. Composed by
Georg Philipp Telemann.
Edited by Klaus Hofmann.
This edition: urtext. 1x
39.127/21 oboe 1, 1x
39.127/22 oboe 2.
Stuttgart Urtext Edition:
Telemann-Archiv. Ich Hebe
Meine Augen Auf (Psalm
121). Sacred vocal music,
Psalms, German, Psalms.
Set of Orchestra Parts.
TVWV 7:16. Duration 12
minutes. Carus Verlag #CV
39.127/09. Published by
Carus Verlag
(CA.3912709).
ISBN
9790007215774. Language:
German.
Telemann's
setting of Psalm 121 I
lift up mine eyes to the
hills reveals him to be
an admirer of French
music. Constructed on the
example of a grand motet,
each of the movements is
patterned after the
French model: the model
of an overture for the
first movement, the
echoes of a chaconne in
the second, the dotted
gigue rhythms of the
Canarie in the third. In
addition there is the
lively exchange between
choir and solo ensemble,
and much more. The music
is full of poetic
imagery, whenever the
occasion arises, as at
the very beginning with
the words Ich hebe meine
Augen auf, or in a later
passage with the text
Siehe, der Hüter
Israel schläft noch
schlummert nicht (Behold,
he that keepeth Israel
shall neither slumber nor
sleep). Score and parts
available separately -
see item CA.3912700.
Psalm
121. Composed by
Georg Philipp Telemann.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. Ich Hebe
Meine Augen Auf (Psalm
121). Sacred vocal music,
Psalms, German, Psalms.
Full score. TVWV 7:16. 36
pages. Duration 12
minutes. Carus Verlag #CV
39.127/00. Published by
Carus Verlag
(CA.3912700).
ISBN
9790007164416. Language:
German.
Telemann's
setting of Psalm 121 I
lift up mine eyes to the
hills reveals him to be
an admirer of French
music. Constructed on the
example of a grand motet,
each of the movements is
patterned after the
French model: the model
of an overture for the
first movement, the
echoes of a chaconne in
the second, the dotted
gigue rhythms of the
Canarie in the third. In
addition there is the
lively exchange between
choir and solo ensemble,
and much more. The music
is full of poetic
imagery, whenever the
occasion arises, as at
the very beginning with
the words Ich hebe meine
Augen auf, or in a later
passage with the text
Siehe, der Hüter
Israel schläft noch
schlummert nicht (Behold,
he that keepeth Israel
shall neither slumber nor
sleep).
Psalm
121. Composed by
Georg Philipp Telemann.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. Ich Hebe
Meine Augen Auf (Psalm
121). Sacred vocal music,
Psalms, German, Psalms.
Single Part, basso
continuo. TVWV 7:16. 8
pages. Duration 12
minutes. Carus Verlag #CV
39.127/14. Published by
Carus Verlag
(CA.3912714).
ISBN
9790007215811. Language:
German.
Telemann's
setting of Psalm 121 I
lift up mine eyes to the
hills reveals him to be
an admirer of French
music. Constructed on the
example of a grand motet,
each of the movements is
patterned after the
French model: the model
of an overture for the
first movement, the
echoes of a chaconne in
the second, the dotted
gigue rhythms of the
Canarie in the third. In
addition there is the
lively exchange between
choir and solo ensemble,
and much more. The music
is full of poetic
imagery, whenever the
occasion arises, as at
the very beginning with
the words Ich hebe meine
Augen auf, or in a later
passage with the text
Siehe, der Hüter
Israel schläft noch
schlummert nicht (Behold,
he that keepeth Israel
shall neither slumber nor
sleep). Score and part
available separately -
see item CA.3912700.