Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Whitsun.
Single Part, basso
continuo. Composed 1725.
BWV 164. 12 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/14. Published by
Carus Verlag
(CA.3116414).
ISBN
9790007209056. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Whitsun. Single
Part, Violin 2. Composed
1725. BWV 164. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/12. Published by
Carus Verlag
(CA.3116412).
ISBN
9790007209032. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Whitsun. Single Part,
Viola. Composed 1725. BWV
164. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.164/13. Published by
Carus Verlag
(CA.3116413).
ISBN
9790007209049. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Whitsun. Single
Part, Violin 1. Composed
1725. BWV 164. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/11. Published by
Carus Verlag
(CA.3116411).
ISBN
9790007209025. Text
language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
(Soli,Ch,Orch) SKU: BA.BA05938-01 Composed by Johann Sebastian Bach. Edit...(+)
(Soli,Ch,Orch)
SKU:
BA.BA05938-01
Composed by Johann
Sebastian Bach. Edited by
Manuel Bärwald. This
edition: Edition of
selected works, Urtext
edition. Linen. Johann
Sebastian Bach. Neue
Ausgabe samtlicher Werke.
Revidierte Edition
(NBArev) 6. Edition of
selected works, Score.
Composed 1725. BWV 245.
Baerenreiter Verlag
#BA05938_01. Published by
Baerenreiter Verlag
(BA.BA05938-01).
ISBN
9790006556335. 33 x 26.2
cm inches. Language:
German. Preface: Barwald,
Manuel.
The St.
John Passion, Bach's
first passion oratorio,
can hardly be understood
asonework. Between 1724
and 1750 the work was
performed at least four
times in various Leipzig
churches under the
composer's direction and
for every one of these
occasions it was revised
- sometimes quite
substantially.
Thi
s edition presents the
St. John Passion in its
second version of 1725,
of which only excerpts
were rendered in the New
Bach Edition volume II/4
(1973). This version as
well as the last one of
1749 constitute the two
versions that have come
down to us almost in
their
entirety.
Most
recently found sources -
in particular the
libretto print of the
passion rediscovered in
2015 - are taken into
consideration in this
edition for the first
time.
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
Compassion from Invictus: A Passion Soli, choeur mixte et accompagnement [Conducteur et Parties séparées] - Facile MorningStar Music Publishers
Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in ...(+)
Soprano voice solo, SATB
choir, and piano (E-flat
Soprano saxophone, 2
Horns in F, Piano, Organ
(or digital keyboard),
Double String Quartet,
Double Bass) - Early
Intermediate
SKU:
MN.56-0108
Composed
by Howard Goodall. Lent,
Holy Week, Triduum/Three
Days, Tenebrae, 21st
Century. Score &
instrument parts.
Duration 6 minutes, 19
seconds. MorningStar
Music Publishers
#56-0108. Published by
MorningStar Music
Publishers (MN.56-0108).
Semele, HWV 58 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Soloists, Mixed choir, Orchestra SKU: BA.BA04025-01 Composed by George Fr...(+)
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.
Cantata
for 12th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Violin 1. BWV BWV
69a. 8 pages. Duration 25
minutes. Carus Verlag #CV
31.069/61. Published by
Carus Verlag
(CA.3106961).
ISBN
9790007206697. Text
language:
German/English.
Bac
h's Cantata BWV 69a of
1723, which has remained
largely unknown to the
present day, is now
available for the first
time in a practical
edition with this Carus
publication. It has been
unjustly neglected as it
was overshadowed by the
Cantata BWV 69 of the
same name, a piece which
Bach reworked to
celebrate the
inauguration of Leipzig
Town Council in 1748. On
that occasion Bach
re-used the parts from
1723 for simplicity, and
adapted them for the new
use by means of cuts,
alterations, and
additions - something
which certainly did not
mean that he rejected the
1723 version. This
version can readily be
recovered from the parts
of 1723, if we explore
beyond the alterations of
1748. With its rich wind
instruments and great
opening chorus, the 1723
cantata is in no way
inferior to the later
festive music in terms of
musical splendor. The
text takes the Gospel
reading about the healing
of the deaf and dumb man
as a reason for praise
and thanks for God's good
deeds. In contrast to the
later version, in which
God is thanked for the
wisdom of the Leipzig
authorities, the original
version of 1723 is free
of such contemporary
references, and is
suitable for use in
worship and concerts in
many different ways.
Score and part available
separately - see item
CA.3106900.
Cantata
for 12th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Trinity.
Single Part, basso
continuo. BWV BWV 69a. 12
pages. Duration 25
minutes. Carus Verlag #CV
31.069/64. Published by
Carus Verlag
(CA.3106964).
ISBN
9790007206727. Text
language:
German/English.
Bac
h's Cantata BWV 69a of
1723, which has remained
largely unknown to the
present day, is now
available for the first
time in a practical
edition with this Carus
publication. It has been
unjustly neglected as it
was overshadowed by the
Cantata BWV 69 of the
same name, a piece which
Bach reworked to
celebrate the
inauguration of Leipzig
Town Council in 1748. On
that occasion Bach
re-used the parts from
1723 for simplicity, and
adapted them for the new
use by means of cuts,
alterations, and
additions - something
which certainly did not
mean that he rejected the
1723 version. This
version can readily be
recovered from the parts
of 1723, if we explore
beyond the alterations of
1748. With its rich wind
instruments and great
opening chorus, the 1723
cantata is in no way
inferior to the later
festive music in terms of
musical splendor. The
text takes the Gospel
reading about the healing
of the deaf and dumb man
as a reason for praise
and thanks for God's good
deeds. In contrast to the
later version, in which
God is thanked for the
wisdom of the Leipzig
authorities, the original
version of 1723 is free
of such contemporary
references, and is
suitable for use in
worship and concerts in
many different ways.
Score and part available
separately - see item
CA.3106900.
Cantata
for 12th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Trinity. Single
Part, Violin 2. BWV BWV
69a. 8 pages. Duration 25
minutes. Carus Verlag #CV
31.069/62. Published by
Carus Verlag
(CA.3106962).
ISBN
9790007206703. Text
language:
German/English.
Bac
h's Cantata BWV 69a of
1723, which has remained
largely unknown to the
present day, is now
available for the first
time in a practical
edition with this Carus
publication. It has been
unjustly neglected as it
was overshadowed by the
Cantata BWV 69 of the
same name, a piece which
Bach reworked to
celebrate the
inauguration of Leipzig
Town Council in 1748. On
that occasion Bach
re-used the parts from
1723 for simplicity, and
adapted them for the new
use by means of cuts,
alterations, and
additions - something
which certainly did not
mean that he rejected the
1723 version. This
version can readily be
recovered from the parts
of 1723, if we explore
beyond the alterations of
1748. With its rich wind
instruments and great
opening chorus, the 1723
cantata is in no way
inferior to the later
festive music in terms of
musical splendor. The
text takes the Gospel
reading about the healing
of the deaf and dumb man
as a reason for praise
and thanks for God's good
deeds. In contrast to the
later version, in which
God is thanked for the
wisdom of the Leipzig
authorities, the original
version of 1723 is free
of such contemporary
references, and is
suitable for use in
worship and concerts in
many different ways.
Score and part available
separately - see item
CA.3106900.
Cantata
for 12th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Trinity. Single Part,
Viola. BWV BWV 69a. 8
pages. Duration 25
minutes. Carus Verlag #CV
31.069/63. Published by
Carus Verlag
(CA.3106963).
ISBN
9790007206710. Text
language:
German/English.
Bac
h's Cantata BWV 69a of
1723, which has remained
largely unknown to the
present day, is now
available for the first
time in a practical
edition with this Carus
publication. It has been
unjustly neglected as it
was overshadowed by the
Cantata BWV 69 of the
same name, a piece which
Bach reworked to
celebrate the
inauguration of Leipzig
Town Council in 1748. On
that occasion Bach
re-used the parts from
1723 for simplicity, and
adapted them for the new
use by means of cuts,
alterations, and
additions - something
which certainly did not
mean that he rejected the
1723 version. This
version can readily be
recovered from the parts
of 1723, if we explore
beyond the alterations of
1748. With its rich wind
instruments and great
opening chorus, the 1723
cantata is in no way
inferior to the later
festive music in terms of
musical splendor. The
text takes the Gospel
reading about the healing
of the deaf and dumb man
as a reason for praise
and thanks for God's good
deeds. In contrast to the
later version, in which
God is thanked for the
wisdom of the Leipzig
authorities, the original
version of 1723 is free
of such contemporary
references, and is
suitable for use in
worship and concerts in
many different ways.
Score and part available
separately - see item
CA.3106900.
Dramma per musica in
three Acts. Composed
by Wolfgang Amadeus
Mozart. Edited by
Kathleen Kuzmick Hansell.
This edition: complete
edition, urtext edition.
Linen. Edition in 2
volumes. Complete
edition, Score. K. 135.
Duration 4 hours.
Baerenreiter Verlag
#BA04590_01. Published by
Baerenreiter Verlag
(BA.BA04590-01).
ISBN
9790006451296. 33 x 26 cm
inches. Text Language:
Italian. Text: Giovanni
de Gamerra.
On 13
December 1769 Leopold
Mozart and his son
Wolfgang set out on their
first tour of Italy. It
was not until 28 March
1771 that they finally
returned to Salzburg. The
trip brought the young
composer two commissions
for opere serie. In March
1770 he was commissioned
to write Mitridate, K.87
(74a), for the 1770-71
Carneval season at the
Regio Ducal Teatro in
Milan. Mozart started
work on the opera in
Bologna on 29 September
1770, and the premiere
duly took place on the
Feast of St. Stephen (26
December) in 1770. The
second, Lucio Silla (K.
135), again commissioned
for the 1771-72 Carneval
season in Milan,
doubtless resulted from
the success of Mitridate.
News of the commission
reached the Mozarts in
March 1771 in Verona,
where they had stopped on
their return to Salzburg.
(At roughly the same time
Wolfgang received an
invitation from Vienna to
supply a serenata
teatrale for the wedding
of Archduke Ferdinand,
the third son of Maria
Theresia, scheduled to
take place in Milan in
October 1771. This
invitation ultimately
resulted in Ascanio in
Alba, K. 111.)
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
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.
Cantata for the 1st
Sunday in Advent.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Advent,
Christmas. Study score.
Composed 1731. BWV 36. 52
pages. Duration 31
minutes. Carus Verlag #CV
31.036/07. Published by
Carus Verlag
(CA.3103607).
ISBN
9790007244910. Language:
German/English.
Bac
h'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. John Passion (Johannes-Passion) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
Der
Fromme stirbt.
Composed by Gottfried
August Homilius. Edited
by Uwe Wolf. This
edition: Complete
edition. 1x 37.103/21
flute 1, 1x 37.103/22
flute 2, 1x 37.103/23
oboe 1, 1x 37.103/24 oboe
2, 2x 37.103/25 bassoon,
1x 37.103/31 horn 1, 1x
37.103/32 horn 2.
Gottfried August Homilius
- Selected Works.
Johannespassion Ga 3.
Innovative practice aids,
Sacred vocal music,
Passions. Set of
Orchestra Parts. HoWV
I.4. 136 pages. Duration
119 minutes. Carus Verlag
#CV 37.103/09. Published
by Carus Verlag
(CA.3710309).
ISBN
9790007214234. Language:
German.
The
oratorio Passions by
Homilius were among the
last compositions of
their kind in the 18th
century. In an oratorio
Passion the chorus is
restricted mainly to
singing the chorales and
the interjections of the
crowd; only the
conclusion of a Passion
provides an opportunity
for an extensive choral
movement. In the St. John
Passion the final chorus
emphasizes the supreme
importance of the
Crucifixion as the climax
of St. John's Gospel. The
free elements of the
composition take the
forms customary at the
time: da capo arias are
predominant. Score and
parts available
separately - see item
CA.3710300.
Solo and SS choir divisi (a cappella) - Early Intermediate SKU: MN.56-0031(+)
Solo and SS choir divisi
(a cappella) - Early
Intermediate
SKU:
MN.56-0031
Composed
by Howard Goodall. 21st
Century. Instrument
parts. Duration 4
minutes, 39 seconds.
MorningStar Music
Publishers #56-0031.
Published by MorningStar
Music Publishers
(MN.56-0031).
Written for
the Enchanted Voices CD,
this is one of many
settings of texts either
from the Beatitudes (or
springing from them)
available from this
composer. For Solo and SS
divisi, a cappella, the
music has a light,
ethereal feeling.
ââ¬ÅBeatiââ
¬Â can be taken as
a sort of
ââ¬ÅBlessed are
theyââ¬Â prefix
for the movements which
are not direct quotes
from the Beatitudes. This
movement is a unison,
chant-like setting of the
Latin texts for Genesis
20:13 (ââ¬ÅThou
shalt do me this
kindnessââ¬Â¦Ã
â¬Â) and Numbers
11:17 (ââ¬ÅAnd
I will take of thy
spiritââ¬Â).
The soloist begins and
sometimes takes over from
the choral voices. Mostly
unison except for about
ten measures (out of the
69) in two-part texture
and four measures in
three parts. Duration
4:39
Der
Fromme stirbt.
Composed by Gottfried
August Homilius. Edited
by Uwe Wolf. This
edition: Paperbound,
Complete edition.
Gottfried August Homilius
- Selected Works.
Johannespassion Ga 3.
Innovative practice aids,
Sacred vocal music,
Passions. Single Part,
Organ. HoWV I.4. 80
pages. Duration 119
minutes. Carus Verlag #CV
37.103/49. Published by
Carus Verlag
(CA.3710349).
ISBN
9790007091354. Language:
German.
The
oratorio Passions by
Homilius were among the
last compositions of
their kind in the 18th
century. In an oratorio
Passion the chorus is
restricted mainly to
singing the chorales and
the interjections of the
crowd; only the
conclusion of a Passion
provides an opportunity
for an extensive choral
movement. In the St. John
Passion the final chorus
emphasizes the supreme
importance of the
Crucifixion as the climax
of St. John's Gospel. The
free elements of the
composition take the
forms customary at the
time: da capo arias are
predominant. Score and
part available separately
- see item
CA.3710300.
St. John Passion (Johannes-Passion) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
Der
Fromme stirbt.
Composed by Gottfried
August Homilius. Edited
by Uwe Wolf. This
edition: Complete
edition. Gottfried August
Homilius - Selected
Works. Johannespassion Ga
3. Innovative practice
aids, Sacred vocal music,
Passions. Set of
Orchestra Parts. HoWV
I.4. Duration 119
minutes. Carus Verlag #CV
37.103/19. Published by
Carus Verlag
(CA.3710319).
ISBN
9790007134303. Language:
German.
The
oratorio Passions by
Homilius were among the
last compositions of
their kind in the 18th
century. In an oratorio
Passion the chorus is
restricted mainly to
singing the chorales and
the interjections of the
crowd; only the
conclusion of a Passion
provides an opportunity
for an extensive choral
movement. In the St. John
Passion the final chorus
emphasizes the supreme
importance of the
Crucifixion as the climax
of St. John's Gospel. The
free elements of the
composition take the
forms customary at the
time: da capo arias are
predominant. Score and
parts available
separately - see item
CA.3710300.
Der Fromme stirbt.
Composed by Gottfried
August Homilius. Edited
by Uwe Wolf. This
edition: Paperbound,
Complete edition.
Gottfried August Homilius
- Selected Works.
Johannespassion Ga 3.
Innovative practice aids,
Sacred vocal music,
Passions. Study score.
HoWV I.4. Duration 119
minutes. Carus Verlag #CV
37.103/07. Published by
Carus Verlag
(CA.3710307).
ISBN
9790007142742. Language:
German.
The
oratorio Passions by
Homilius were among the
last compositions of
their kind in the 18th
century. In an oratorio
Passion the chorus is
restricted mainly to
singing the chorales and
the interjections of the
crowd; only the
conclusion of a Passion
provides an opportunity
for an extensive choral
movement. In the St. John
Passion the final chorus
emphasizes the supreme
importance of the
Crucifixion as the climax
of St. John's Gospel. The
free elements of the
composition take the
forms customary at the
time: da capo arias are
predominant. Score
available separately -
see item CA.3710300.
Der
Fromme stirbt.
Composed by Gottfried
August Homilius. Edited
by Uwe Wolf. This
edition: Complete
edition. Gottfried August
Homilius - Selected
Works. Johannespassion Ga
3. Innovative practice
aids, Sacred vocal music,
Passions. Choral Score.
HoWV I.4. Duration 119
minutes. Carus Verlag #CV
37.103/05. Published by
Carus Verlag
(CA.3710305).
ISBN
9790007127435. Language:
German.
The
oratorio Passions by
Homilius were among the
last compositions of
their kind in the 18th
century. In an oratorio
Passion the chorus is
restricted mainly to
singing the chorales and
the interjections of the
crowd; only the
conclusion of a Passion
provides an opportunity
for an extensive choral
movement. In the St. John
Passion the final chorus
emphasizes the supreme
importance of the
Crucifixion as the climax
of St. John's Gospel. The
free elements of the
composition take the
forms customary at the
time: da capo arias are
predominant. Score
available separately -
see item CA.3710300.
Solo voices, mixed choir, orchestra Urtext based on the new Complete Edition. ...(+)
Solo voices, mixed choir,
orchestra
Urtext based on the new
Complete Edition.
Composed by
Johannes Brahms
(1833-1897).
Edited by Michael
Musgrave
and Michael Struck.
Breitkopf
and Haertel #OB 16109-30.
Published by Breitkopf
and
Haertel