(Chorale cantata). Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited b...(+)
(Chorale cantata).
Composed by Felix
Bartholdy Mendelssohn
(1809-1847). Edited by
Thomas Christian Schmidt.
For soprano voice solo,
SATB choir, 2 violins,
viola, cello/contrabass.
Stuttgart Urtext Edition.
German title: Wer nur den
lieben Gott lasst walten.
Cantatas. Level 3. Choral
score. Language:
German/English. Composed
1829. A 7. Duration 12
minutes. Published by
Carus Verlag
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.
(Chorale cantata). Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited b...(+)
(Chorale cantata).
Composed by Felix
Bartholdy Mendelssohn
(1809-1847). Edited by
Thomas Christian Schmidt.
For soprano voice solo,
SATB choir, 2 violins,
viola, cello/contrabass.
This edition: Paperbound.
Stuttgart Urtext Edition.
German title: Wer nur den
lieben Gott lasst walten.
Cantatas. Level 3. Full
score. Language:
German/English. Composed
1829. A 7. 32 pages.
Duration 12 minutes.
Published by Carus Verlag
(Chorale cantata). Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited b...(+)
(Chorale cantata).
Composed by Felix
Bartholdy Mendelssohn
(1809-1847). Edited by
Thomas Christian Schmidt.
For soprano voice solo,
SATB choir, 2 violins,
viola, cello/contrabass.
Stuttgart Urtext Edition.
German title: Wer nur den
lieben Gott lasst.
Cantatas. Level 3.
Complete orchestral
parts. Language:
German/English. Composed
1829. A 7. Duration 12
minutes. Published by
Carus Verlag
By Dietrich Buxtehude (1637-1707). Edited by Thomas Schlage. For SATB Choir, 2 V...(+)
By Dietrich Buxtehude
(1637-1707). Edited by
Thomas Schlage. For SATB
Choir, 2 Violins, Violone
(Violoncello), Basso
continuo. This edition:
Paperbound. Cantatas.
Full score. Language:
German. BuxWV 27. 24
pages. Duration 6 min.
Published by Carus Verlag
(nach der Abschrift von J. S. Bach). By George Frideric Handel (1685-1759). Edit...(+)
(nach der Abschrift von
J. S. Bach). By George
Frideric Handel
(1685-1759). Edited by
Traub, Andreas. For STB
soli, SATB choir, 2
oboes, taille, 2 bassoon,
2 violins, viola and
basso continuo. This
edition: paperbound. HWV
48. Full score available
separately - see item
CA.5504800. Oratorios,
Passions; Stuttgart
Urtext editions; Use
during church year: Lent
and Passiontide, Holy
Week. Piano/Vocal score.
Language: German. 152
pages. Duration 150 min
Composed by Dieterich Buxtehude. Edited by Thomas Schlage. German title: Befiehl...(+)
Composed by Dieterich
Buxtehude. Edited by
Thomas Schlage. German
title: Befiehl dem Engel,
dass er komm 10.
Cantatas. Complete
orchestral parts. BuxWV
10. Duration 5 minutes.
Published by Carus Verlag
(CA.3601419).
Oratorio in three
acts. Composed by
George Frideric Handel.
Edited by Kenneth Nott.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series I,
Volume 30. Complete
edition, Score. HWV 70.
Baerenreiter Verlag
#BA04014_00. Published by
Baerenreiter Verlag
(BA.BA04014).
ISBN
9790006442935. 33 x 26 cm
inches. Text Language:
English. Preface: Nott,
Kenneth. Text: Thomas
Morell.
“Jeph
tha†is
Handel’s last
oratorio. Handel had to
break off from composing
several times because of
his increasing blindness
in 1751. The first
performance at the Covent
Garden Theatre in
February 1752 was the
last performance he
conducted before he went
completely blind. In
“Jephthaâ€,
Handel succeeded in
achieving the perfect
fusion between a biblical
plot and the spirit of
classical tragedy. With
great intensity and
dramatic expression he
highlighted in particular
the fates of Jephtha and
Iphis , thereby
portraying convincing and
complex
characters.
The
chorus “How Dark, O
Lord, are Thy
Decrees†at the end
of part two is of crucial
importance in the work
and is regarded as the
dramatic high point of
the oratorio.
The
vocal score is based on
volume I/30 of the
“Halle Handel
Edition†(BA 4014),
which contains the
complete critical version
of the music of the
oratorio 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
Cantata
for the 23rd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Arranged by Thomas
Riegler. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Sacred vocal music, End
of the church year. Study
score. Composed 1715. BWV
163. 24 pages. Duration
18 minutes. Carus Verlag
#CV 31.163/07. Published
by Carus Verlag
(CA.3116307).
ISBN
9790007141516. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo Franck.
The
cantata Nur jedem das
Seine (Do justice to all
men) BWV 163, for the
last Sunday of the Church
Year 1714/15, belongs
among to those chamber
music works which Bach
composed for the Weimar
Schlosskirche. The
instruments are limited
to strings, although two
obbligato violoncellos
are included which
together with the solo
bass singer and the
continuo form a bass
quartet unique in Bach's
works. The final chorale
of the cantata is handed
down only as a fragment
and was newly
reconstructed for our
edition by Thomas
Riegler. Score available
separately - see item
CA.3116300.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. Arranged by
Thomas Riegler. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, End of the church
year. Full score.
Composed 1715. BWV 163.
24 pages. Duration 18
minutes. Carus Verlag #CV
31.163/00. Published by
Carus Verlag
(CA.3116300).
ISBN
9790007097615. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo Franck.
The
cantata Nur jedem das
Seine (Do justice to all
men) BWV 163, for the
last Sunday of the Church
Year 1714/15, belongs
among to those chamber
music works which Bach
composed for the Weimar
Schlosskirche. The
instruments are limited
to strings, although two
obbligato violoncellos
are included which
together with the solo
bass singer and the
continuo form a bass
quartet unique in Bach's
works. The final chorale
of the cantata is handed
down only as a fragment
and was newly
reconstructed for our
edition by Thomas
Riegler.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gedenke, Herr, wie es uns
gehet. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Viola. 8 pages. Duration
14 minutes. Carus Verlag
#CV 35.005/13. Published
by Carus Verlag
(CA.3500513).
ISBN
9790007212902. Language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils. Score and
part available separately
- see item
CA.3500500.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gedenke, Herr, wie es uns
gehet. Sacred vocal
music, Cantatas,
Epiphany. Vocal score. 20
pages. Duration 14
minutes. Carus Verlag #CV
35.005/03. Published by
Carus Verlag
(CA.3500503).
ISBN
9790007091699. Language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils. Score
available separately -
see item CA.3500500.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gedenke, Herr, wie es uns
gehet. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Violin 1. 8 pages.
Duration 14 minutes.
Carus Verlag #CV
35.005/11. Published by
Carus Verlag
(CA.3500511).
ISBN
9790007212889. Language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils. Score and
part available separately
- see item
CA.3500500.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gedenke, Herr, wie es uns
gehet. Sacred vocal
music, Cantatas,
Epiphany. Full score. 40
pages. Duration 14
minutes. Carus Verlag #CV
35.005/00. Published by
Carus Verlag
(CA.3500500).
ISBN
9790007103439. Language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Epiphany. Set of
Orchestra Parts. Duration
14 minutes. Carus Verlag
#CV 35.005/19. Published
by Carus Verlag
(CA.3500519).
ISBN
9790007144456. Text
language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils. Score and
parts available
separately - see item
CA.3500500.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gedenke, Herr, wie es uns
gehet. Sacred vocal
music, Cantatas,
Epiphany. Choral Score. 8
pages. Duration 14
minutes. Carus Verlag #CV
35.005/05. Published by
Carus Verlag
(CA.3500505).
ISBN
9790007103446. Language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils. Score
available separately -
see item CA.3500500.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gedenke, Herr, wie es uns
gehet. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Organ. 12 pages. Duration
14 minutes. Carus Verlag
#CV 35.005/49. Published
by Carus Verlag
(CA.3500549).
ISBN
9790007212926. Language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils. Score and
part available separately
- see item
CA.3500500.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gedenke, Herr, wie es uns
gehet. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Violin 2. 8 pages.
Duration 14 minutes.
Carus Verlag #CV
35.005/12. Published by
Carus Verlag
(CA.3500512).
ISBN
9790007212896. Language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils. Score and
part available separately
- see item
CA.3500500.
Kantate zum 1. Sonntag
nach Epiphanias.
Composed by Johann
Sebastian Bach. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Gedenke, Herr, wie es uns
gehet. Sacred vocal
music, Cantatas,
Epiphany. Single Part,
Cello/Double Bass. 8
pages. Duration 14
minutes. Carus Verlag #CV
35.005/14. Published by
Carus Verlag
(CA.3500514).
ISBN
9790007212919. Language:
German/English.
Amo
ng the vocal compositions
incorrectly attributed to
Johann Sebastian Bach,
the cantata has a place
of its own, because its
tonal language approaches
the unmistakable style of
the Thomaskantor. This
applies especially to its
choral movements and
recitatives. In the
surviving sources, only
one of which dates back
to the 18th century,
there are certain
compositonal errors which
cannot possibly be
reconciled to Bach's
mature style. The
implication is that this
is not a genuine cantata
by the Leipzig
Thomaskantor, but an
ambitious piece by one of
his pupils. Score and
part available separately
- see item
CA.3500500.
