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.
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.
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.
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.
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.
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.
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.
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.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Requiem In B Mh 838.
Sacred vocal music,
Requiem, Mourning, death.
Set of Orchestra Parts.
MH 838. Duration 55
minutes. Carus Verlag #CV
54.838/19. Published by
Carus Verlag
(CA.5483819).
ISBN
9790007133696. Key: B
flat major. Language:
Latin.
The Requiem
in B flat major is Johann
Michael Haydn's second
setting of the liturgical
text of the Mass of the
dead (another Requiem, MH
599, has since been
identified as the work of
Father Georg Pasterwiz)
and it is also his last
work, his Opus ultimum.
On commission from
Empress Maria Theresia he
began the composition in
1805, but due to a
serious illness he made
only slow progress with
the work. Like W. A.
Mozart, he could not
complete this Requiem. In
1839 Father Gunther
Kronecker, Benedictine
Father in the monastery
of Kremsmunster in Upper
Austria, completed the
torso in the spirit and
style of Haydn. During
his student days in
Vienna Father Gunther
belonged to the circle of
friends who were
associated with Franz
Schubert. Score and parts
available separately -
see item CA.5483800.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext. 1x
54.838/21 oboe 1, 1x
54.838/22 oboe 2, 1x
54.838/23 bassoon 1, 1x
54.838/24 bassoon 2, 1x
54.838/31 horn 1, 1x
54.838/32 horn 2, 1x
54.838/33 trumpet 1, 1x
54.838/34 trumpet 2, 1x
54.838/35 trombone 1, 1x
54.838/36 trombone 2, 1x
54.838/37 trombone 3, .
Stuttgart Urtext Edition:
Johann Michael Haydn.
Requiem In B Mh 838.
Sacred vocal music,
Requiem, Mourning, death.
Set of Orchestra Parts.
MH 838. 192 pages.
Duration 55 minutes.
Carus Verlag #CV
54.838/09. Published by
Carus Verlag
(CA.5483809).
ISBN
9790007226336. Key: B
flat major. Language:
Latin.
The Requiem
in B flat major is Johann
Michael Haydn's second
setting of the liturgical
text of the Mass of the
dead (another Requiem, MH
599, has since been
identified as the work of
Father Georg Pasterwiz)
and it is also his last
work, his Opus ultimum.
On commission from
Empress Maria Theresia he
began the composition in
1805, but due to a
serious illness he made
only slow progress with
the work. Like W. A.
Mozart, he could not
complete this Requiem. In
1839 Father Gunther
Kronecker, Benedictine
Father in the monastery
of Kremsmunster in Upper
Austria, completed the
torso in the spirit and
style of Haydn. During
his student days in
Vienna Father Gunther
belonged to the circle of
friends who were
associated with Franz
Schubert. Score and parts
available separately -
see item CA.5483800.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
German title: Requiem In
B Mh 838. Sacred vocal
music, Requiem, Mourning,
death. Full score. MH
838. Duration 55 minutes.
Carus Verlag #CV
54.838/00. Published by
Carus Verlag
(CA.5483800).
ISBN
9790007091125. Key: B
flat major. Language:
Latin.
The Requiem
in B flat major is Johann
Michael Haydn's second
setting of the liturgical
text of the Mass of the
dead (another Requiem, MH
599, has since been
identified as the work of
Father Georg Pasterwiz)
and it is also his last
work, his Opus ultimum.
On commission from
Empress Maria Theresia he
began the composition in
1805, but due to a
serious illness he made
only slow progress with
the work. Like W. A.
Mozart, he could not
complete this Requiem. In
1839 Father Gunther
Kronecker, Benedictine
Father in the monastery
of Kremsmunster in Upper
Austria, completed the
torso in the spirit and
style of Haydn. During
his student days in
Vienna Father Gunther
belonged to the circle of
friends who were
associated with Franz
Schubert.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Requiem In B Mh 838.
Sacred vocal music,
Requiem, Mourning, death.
Single Part, Organ. MH
838. 40 pages. Duration
55 minutes. Carus Verlag
#CV 54.838/49. Published
by Carus Verlag
(CA.5483849).
ISBN
9790007090876. Key: B
flat major. Language:
Latin.
The Requiem
in B flat major is Johann
Michael Haydn's second
setting of the liturgical
text of the Mass of the
dead (another Requiem, MH
599, has since been
identified as the work of
Father Georg Pasterwiz)
and it is also his last
work, his Opus ultimum.
On commission from
Empress Maria Theresia he
began the composition in
1805, but due to a
serious illness he made
only slow progress with
the work. Like W. A.
Mozart, he could not
complete this Requiem. In
1839 Father Gunther
Kronecker, Benedictine
Father in the monastery
of Kremsmunster in Upper
Austria, completed the
torso in the spirit and
style of Haydn. During
his student days in
Vienna Father Gunther
belonged to the circle of
friends who were
associated with Franz
Schubert. Score and part
available separately -
see item CA.5483800.
Dramma per musica in three Acts. Composed by Wolfgang Amadeus Mozart (1756-179...(+)
Dramma per musica in
three
Acts. Composed by
Wolfgang
Amadeus Mozart
(1756-1791).
Edited by Daniel Heartz.
Arranged by Hans-Georg
Kluge.
This edition: urtext
edition.
Hardback. Barenreiter
Urtext.
Vocal score vokal. KV
366.
Baerenreiter Verlag
#BA04562-
93. Published by
Baerenreiter
Verlag
