SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107609

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. 1x 31.076/21 Oboe and Oboe d'amore, 1x 31.076/22 oboe 2, 1x 31.076/31 trumpet. German title: Die Himmel erzahlen die Ehre Gottes 5. Sacred vocal music, Cantatas, Psalms, German. Set of Orchestra Parts. Composed 1723. BWV 76. 24 pages. Duration 35 minutes. Carus Verlag #CV 31.076/09. Published by Carus Verlag (CA.3107609).

ISBN 9790007044930. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and parts available separately - see item CA.3107600.

SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107605

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. German title: Die Himmel erzahlen die Ehre Gottes. Sacred vocal music, Cantatas, Psalms, German. Choral Score. Composed 1723. BWV 76. 12 pages. Duration 35 minutes. Carus Verlag #CV 31.076/05. Published by Carus Verlag (CA.3107605).

ISBN 9790007044916. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score available separately - see item CA.3107600.

Orchestra SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107607

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. This edition: Paperbound. German title: Die Himmel erzahlen die Ehre Gottes. Sacred vocal music, Cantatas, Psalms, German. Study score. Composed 1723. BWV 76. 72 pages. Duration 35 minutes. Carus Verlag #CV 31.076/07. Published by Carus Verlag (CA.3107607).

ISBN 9790007044923. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score available separately - see item CA.3107600.

SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107611

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. German title: Die Himmel erzahlen die Ehre Gottes. Sacred vocal music, Cantatas, Psalms, German. Single Part, Violin 1. Composed 1723. BWV 76. 12 pages. Duration 35 minutes. Carus Verlag #CV 31.076/11. Published by Carus Verlag (CA.3107611).

ISBN 9790007044947. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and part available separately - see item CA.3107600.

SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107612

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. German title: Die Himmel erzahlen die Ehre Gottes. Sacred vocal music, Cantatas, Psalms, German. Single Part, Violin 2. Composed 1723. BWV 76. 8 pages. Duration 35 minutes. Carus Verlag #CV 31.076/12. Published by Carus Verlag (CA.3107612).

ISBN 9790007044954. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and part available separately - see item CA.3107600.

SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107613

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. German title: Die Himmel erzahlen die Ehre Gottes. Sacred vocal music, Cantatas, Psalms, German. Single Part, Viola. Composed 1723. BWV 76. 8 pages. Duration 35 minutes. Carus Verlag #CV 31.076/13. Published by Carus Verlag (CA.3107613).

ISBN 9790007044961. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and part available separately - see item CA.3107600.

SATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3107619

Cantata for the 2nd Sunday afer Trinity / Reformation Day. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. German title: Die Himmel erzahlen die Ehre Gottes. Sacred vocal music, Cantatas, Psalms, German. Set of Orchestra Parts. Composed 1723. BWV 76. Duration 35 minutes. Carus Verlag #CV 31.076/19. Published by Carus Verlag (CA.3107619).

ISBN 9790007134082. Key: C major / a minor. Language: German/English.

The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and parts available separately - see item CA.3107600.

(1.1.2.1/2.2.1.0,timp,per c,2 sax,hp,str)

SKU: TM.06496SET

Composed by Sigmund Romberg. Set Type: C. Set of parts. Published by Lucks Music Library (TM.06496SET).

P/C in set. One Alone, Desert Song, Riff Song, Let's Have a Love Affair, Romance,...more.

By George Frideric Handel. Arranged by Bartlett. For Longer Choral Work: Vocal Score. Published by Oxford University Press.

Soloists, Mixed choir, Orchestra

SKU: BA.BA04025-01

Composed by George Frideric Handel. Edited by Georg-Friedrich-Händel -Gesellschaft e. V. Risinger and Mark. This edition: Complete edition. Linen. Complete edition, Score. HWV 58. Baerenreiter Verlag #BA04025-01. Published by Baerenreiter Verlag (BA.BA04025-01).

ISBN 9790006443222. 33 x 26 cm inches. Text Language: English.

Handelâ?? s â??Semeleâ?, which premiered in February 1744, is based on an adapted version of William Congreveâ??s opera libretto titled â??The Story of Semeleâ?, originally published in 1706. However, neither Handel nor his librettist referred to â??Semeleâ? as an opera or an oratorio, which, according to the understanding at the time, would have required a biblical and/or Christian subject matter. Contemporary audiences also disagreed on the genre. The problematic classification as an oratorio has persisted into the present day, likely due to the edition labeled as such by Chrysander. The â??Halle Handel Editionâ? (HHA) distances itself from this classification and, considering the available sources, refrains from assigning a genre label.

Congreve deviates from the mythological source multiple times in order to create tensions among the characters. The desired marriage between Semele and Athamas, whom she does not love, is an addition by Congreve to provoke the envy of her sister Ino, who desires Athamas herself. Therefore, Ino sees her own advantage in Semeleâ??s abduction by Jupiter. While Jupiterâ??s wife Juno decides to destroy Semele out of jealousy for his relationship with her, Jupiter brings Ino to his palace to console Semele. The vengeful Juno takes advantage of Inoâ??s presence and transforms into her likeness, persuading Semele to carry out a plan that later proves fatal. In the end, Ino emerges as the winner, as she is able to convince their father, Cadmus, to marry her to Athamas. The appearance of Apollo in the final scene to announce that Semeleâ??s immortal son Bacchus was saved from her ashes provides little consolation. However, this twist allows the drama to conclude with exuberant joy and a magnificent final chorus after the tragic scenes in the third act, culminating in the death of the protagonist.

Hande lâ??s autograph score shows significant deviations from and numerous revisions of the original version premiered. All surviving early versions, the musical movements deleted before the premiere, and the version of the December 1744, are given in the appendix to the HHA.

Solo voices, choir, orchestra (5 Soprano, 4 Mezzo, 4 Tenor, Baritone, 2 Bass Voice Solos, 2 speaker, Mixed choir, 2 Fl(2 Fl-picc), Ob, 2 clarinet, bassoon, 2 Horn, 2 Corenets, trombone, timpani, Gl, Tr-B, Be, Tri, 2 Violin, Viola, Cello, Double Bass)

SKU: BA.BA08708-01

Opéra-bouffe in three acts. Composed by Alexis Emmanuel Chabrier. Edited by Hugh MacDonald and Paul Prévost. This edition: complete edition, urtext edition. Linen. L'Opera francais. Complete edition, Score. Duration 2 hours, 15 minutes. Baerenreiter Verlag #BA08708_01. Published by Baerenreiter Verlag (BA.BA08708-01).

ISBN 9790006537846. 33 x 27 cm inches. Text Language: French. Preface: Prévost, Paul / Macdonald, Hugh. Text: Leterrier, Eugène / Vanloo, Albert.

WithL'Etoil e, Chabrier composed a light-hearted opera which has increasingly enjoyed revivals in recent years.

The plot is introduced by King Ouf I who offers his subjects an execution every year on his birthday. Unfortunately the problem now arises that no crime has recently been committed which might serve as a reason for an execution. Finally, he finds a would-be victim in the young Lazuli. However, according to predictions by the astrologer Siroco, Lazuli's fate is closely linked to the king's own life. The comic opera is further bolstered by a story of mistaken identities which involves a great deal of diplomacy, a love story and a large number of refined, yet catchy melodies.
Chabrier was a master of the sensitive and complicated art of musical comedy, a field where he can be compared in equal measure to Offenbach, Rossini and Mozart.

This vocal score is based on the full score edited by Hugh Macdonald which is published as part of the seriesL'Opera francais.

- Authoritative Urtext edition based on the seriesL'Opera francais
- Original French text with a German singing translation
- Comprehensive foreword (Ger/Eng/Fr)

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

SATB vocal soli, SATB choir, 2 clarinos/trumpets, 2 trumpets, (3 trombones), timpani, 2 violins, basso continuo - Level 3

SKU: CA.5032109

Composed by Michael Haydn. Edited by Charles H. Sherman. This edition: urtext. 1x 50.321/31 clarino 1, 1x 50.321/32 clarino 2, 1x 50.321/33 trumpet 1, 1x 50.321/34 trumpet 2, 1x 50.321/35 trombone 1, 1x 50.321/36 trombone 2, 1x 50.321/37 trombone 3, 1x 50.321/41 timpani. Stuttgart Urtext Edition: Johann Michael Haydn. Requiem In C (Schrattenbach) Mh 155. Sacred vocal music, Requiem, Mourning, death. Set of Orchestra Parts. Composed 1771. MH 155. 72 pages. Duration 35 minutes. Carus Verlag #CV 50.321/09. Published by Carus Verlag (CA.5032109).

ISBN 9790007081003. Key: C minor. Language: Latin.

Johann Michael Haydn's Requiem in C minor heavily influenced W. A. Mozart's Requiem. In just two weeks Michael Haydn composed his work in December 1771, on the occasion of the death of his employer, Prince Bishop Sigismund Count Schrattenbach, who was beloved among the people and was a great patron of the arts. The work was written under the impression of personal tragedy: Haydn's only child, Aloisia Josepha, died in January 1771, before completing her first year of life. Parts of the Schrattenbach-Requiem were played together with the completed movements from his second, unfinished Requiem during his own furneral service. During the funeral service in Vienna for Joseph Haydn, parts of his younger brother's C-minor Requiem were also performed. Score and parts available separately - see item CA.5032100.

SATB vocal soli, SATB choir, 2 clarinos/trumpets, 2 trumpets, (3 trombones), timpani, 2 violins, basso continuo - Level 3

SKU: CA.5032119

Composed by Michael Haydn. Edited by Charles H. Sherman. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. German title: Requiem In C (Schrattenbach) Mh 155. Sacred vocal music, Requiem, Mourning, death. Set of Orchestra Parts. Composed 1771. MH 155. Duration 35 minutes. Carus Verlag #CV 50.321/19. Published by Carus Verlag (CA.5032119).

ISBN 9790007133566. Key: C minor. Language: Latin.

Johann Michael Haydn's Requiem in C minor heavily influenced W. A. Mozart's Requiem. In just two weeks Michael Haydn composed his work in December 1771, on the occasion of the death of his employer, Prince Bishop Sigismund Count Schrattenbach, who was beloved among the people and was a great patron of the arts. The work was written under the impression of personal tragedy: Haydn's only child, Aloisia Josepha, died in January 1771, before completing her first year of life. Parts of the Schrattenbach-Requiem were played together with the completed movements from his second, unfinished Requiem during his own furneral service. During the funeral service in Vienna for Joseph Haydn, parts of his younger brother's C-minor Requiem were also performed. Score and parts available separately - see item CA.5032100.

SATB vocal soli, SATB choir, 2 clarinos/trumpets, 2 trumpets, (3 trombones), timpani, 2 violins, basso continuo - Level 3

SKU: CA.5032105

Composed by Michael Haydn. Edited by Charles H. Sherman. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. Requiem In C (Schrattenbach) Mh 155. Sacred vocal music, Requiem, Mourning, death. Choral Score. Composed 1771. MH 155. 20 pages. Duration 35 minutes. Carus Verlag #CV 50.321/05. Published by Carus Verlag (CA.5032105).

ISBN 9790007080990. Key: C minor. Language: Latin.

Johann Michael Haydn's Requiem in C minor heavily influenced W. A. Mozart's Requiem. In just two weeks Michael Haydn composed his work in December 1771, on the occasion of the death of his employer, Prince Bishop Sigismund Count Schrattenbach, who was beloved among the people and was a great patron of the arts. The work was written under the impression of personal tragedy: Haydn's only child, Aloisia Josepha, died in January 1771, before completing her first year of life. Parts of the Schrattenbach-Requiem were played together with the completed movements from his second, unfinished Requiem during his own furneral service. During the funeral service in Vienna for Joseph Haydn, parts of his younger brother's C-minor Requiem were also performed. Score available separately - see item CA.5032100.

Composed by Michael Haydn (1737-1806). Edited by Charles H. Sherman. For SATB vocal soli, SATB choir, 2 clarinos/trumpets, 2 trumpets, (3 trombones), timpani, 2 violins, basso continuo. This edition: Paperbound. Sacred music from Salzburg. German title: Requiem in c (Schrattenbach) MH 155. Requiem, Sacred music from Salzburg Mourning, death. Level 3. Study score. Language: Latin. Composed 1771. MH 155. 120 pages. Duration 35 minutes. Published by Carus Verlag