| Zimmerschied D Oper Operette Musical/erlebnis Schott
(SCHUELBD) SKU: HL.49032933 Composed by Jerrentrup. Edited by Guenther No...(+)
(SCHUELBD) SKU:
HL.49032933 Composed
by Jerrentrup. Edited by
Guenther Noll. This
edition: Saddle
stitching. Book. Edition
Schott. Student book. 64
pages. Schott Music #ED
9155. Published by Schott
Music (HL.49032933).
ISBN 9783795726805.
German. Diese Reihe
erlaubt es, aus der
Themenvielfalt der
Lehrplane - je nach
Interessenslage der
Klasse - bestimmte
Segmente intensiver und
facherubergreifend zu
behandeln. Um den
zentralen Bezugspunkt
Musik herum erscheinen
Streiflichter auf
allgemein bildende Facher
wie Geschichte,
Literatur,
Kunsterziehung, u.v.a.
Das Schulermaterial ist
z.T. bereits ab der 5./6.
Klasse einsetzbar. Mit
Schulerheft,
Lehrerkommentar und
Horbeispiel-CD fugt
dieses vielseitige Thema
dem Spektrum der
Unterrichtsmaterialien
Erlebniswelt Musik eine
weitere Farbe hinzu. Es
ist spannend zu
entdecken, wie sich das
Genre Oper im Laufe der
Jahrhunderte gewandelt
hat: seit seiner
Entstehung in der
italienischen
Spatrenaissance uber
Barock, Klassik und
Romantik bis in die
Gegenwart. Relativ kurz
hingegen war die
Blutezeit der Operette.
Mitte des 20.
Jahrhunderts endet ihr
Werdegang abrupt, doch
immer noch erscheint sie
auf den Spielplanen
unserer Theater. Das
Interesse vor allem des
jungen Publikums gilt
aber nun zunehmend der
neuen Gattung
Musical. $5.99 - Voir plus => Acheter | | |
| Danses Terpsichore Orchestre d'harmonie - Facile FJH
Concert Band Concert Band - Grade 2 SKU: FJ.B1565 Composed by Chris Sharp...(+)
Concert Band Concert Band
- Grade 2 SKU:
FJ.B1565 Composed by
Chris Sharp. Concert
Band. FJH Concert Band.
Score and Part(s).
Duration 3:45. The FJH
Music Company Inc
#98-B1565. Published by
The FJH Music Company Inc
(FJ.B1565). UPC:
674398231881.
English. Composed
as a follow-up to the
writer's popular Danse
Antiqua, this three-part
Renaissance-style dance
suite features a wealth
of musical styles in one
continuous movement. The
opening Allemande
showcases a courtly
duple-meter dance. The
ensuing Pavane features a
slower, more dignified
melody. The final
Galliard is presented as
a lively triple-meter
dance with some
adventurous harmonic
language. A wonderful
addition to the
repertoire!
About FJH
Concert
Band Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5 $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Danses Terpsichore Orchestre d'harmonie - Facile FJH
Concert Band Concert Band - Grade 2 SKU: FJ.B1565S Score Only. Com...(+)
Concert Band Concert Band
- Grade 2 SKU:
FJ.B1565S Score
Only. Composed by
Chris Sharp. Concert
Band. FJH Concert Band.
Score. Duration 3:45. The
FJH Music Company Inc
#98-B1565S. Published by
The FJH Music Company Inc
(FJ.B1565S).
English. Compose
d as a follow-up to the
writer's popular Danse
Antiqua, this three-part
Renaissance-style dance
suite features a wealth
of musical styles in one
continuous movement. The
opening Allemande
showcases a courtly
duple-meter dance. The
ensuing Pavane features a
slower, more dignified
melody. The final
Galliard is presented as
a lively triple-meter
dance with some
adventurous harmonic
language. A wonderful
addition to the
repertoire!
About FJH
Concert
Band Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5 $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Verbum Caro Carl Fischer
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus SKU:
CF.CM9588 Composed by
Tomas Luis de Victoria.
Arranged by Jeb Mueller.
Fold. Performance Score.
8 pages. Duration 1
minute, 59 seconds. Carl
Fischer Music #CM9588.
Published by Carl Fischer
Music (CF.CM9588).
ISBN 9781491154106.
UPC: 680160912605. 6.875
x 10.5 inches. Key: Eb
major. Latin. Traditional
Latin. Tomas Luis
de Victoria (15481611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victorias time. It should
be noted that dynamics
are largely subjective,
so performers may make
alternative choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[v??bum k??? p?n?m v?rum]
verbo carnem efficit:
fitque sanguis Christi
merum. [v??b? k??n?m
??fit?it fitkw? s??gwis
k?isti m??um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[?t si s?nsus ?d?fit?it,
?d fi??m?ndum k?? sin
t???um] Jeb
Mueller. TomA!s Luis
de Victoria (1548a1611)
is widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoriaas time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is ao,a which
sounds similar to the
English words bought and
got. The letter ata
should be produced
dentally: lift the tongue
to the top of the mouth
as in English, but
aspirate less on the
release. All occurrences
of asa should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum, [vEE
3/4 bum kEE 3/4 E pEnEm
vErum] verbo carnem
efficit: fitque sanguis
Christi merum. [vEE 3/4
bE kEE 3/4 nEm EEfitEit
fitkwE sEAgwis kE 3/4
isti mEE 3/4 um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[Et si sEnsus EdEfitEit,
Ed fiE 3/4 EmEndum kEE
3/4 sin tEEE 3/4 um] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange lingua based
on a Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano. The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomás Luis
de Victoria
(1548–1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano.The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance.Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria’s time.
It should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and
clarity.PRONUNCIATION
GUIDEVictoria received
much of his training in
Italy, therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is
“o,†which
sounds similar to the
English words bought and
got. The letter
“t†should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of “s†should
be soft and never
hardened to [z], such as
in praise.Verbum caro,
panem
verum,[vɛɾbum
kɑɾɔ
pɑnɛm
vɛrum]verbo carnem
efficit: fitque sanguis
Christi
merum.[vɛɾbɔ
kɑɾnɛm
ˈɛfitʃit
fitkwÉ›
sɑŋgwis kɾisti
mɛɾum]Et si sensus
deficit, ad firmandum cor
sin cerum.[ɛt si
sɛnsus
ˈdɛfitʃit,
É‘d
fiɾˈmɑndum
kɔɾ sin
tʃɛɾum]Jeb
Mueller. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cantiones Sacrae Octonis Vocibus (1613) Stainer and Bell
SKU: ST.MB61 Composed by Peter Philips. Edited by John Steele. Library Vo...(+)
SKU: ST.MB61
Composed by Peter
Philips. Edited by John
Steele. Library Volumes.
Edited by John Steele.
First published in 1992.
Pages: 296. Format:
Hardback. Dimensions
(mm): 330 x 254 x 27.
Score. Stainer & Bell
Ltd. #MB61. Published by
Stainer & Bell Ltd.
(ST.MB61). ISBN
9790220212215. This
collection is a landmark
in the reassessment of an
important yet undervalued
English composer of the
late Renaissance. 31
eight-voice Cantiones
Sacrae reveal the
impressive technical and
expressive range he
achieved within a
conservative idiom, and
his particular mastery of
music for double
choir. The
following motets all from
MB61 are available in
single transpositions.
All are with Organ except
Y123. Alma
Redemptoris Mater. SATB
SATB. E flat (orig. F)
Y96 Ave Jesu Christe.
SATB SATB. Gm (orig. Am)
Y97 Ave Regina
caelorum. SATB SATB. B
flat (orig. C) Y98
Beati estis. SATB SATB. B
flat (orig. C) Y99
Benedicta sit sancta
Trinitas. SATB SATB. D
(orig. C) Y100
Benedictus Deus noster.
SSAT SATB. D (orig. C)
Y101 Benedictus
Dominus. SATB SATB. Gm
(orig. Am) Y102
Caecilia Virgo. SSAT
ATBB. Am (orig. Gm)
Y103 Cum jucunditate.
SATB SATB. B flat (orig.
C) Y104 Ecce tu
pulchra es. SATB SATB. B
flat (orig. C) Y105
Ecce vicit Leo. SATB
SATB. B flat (orig. C.)
Y106 Exsurgens Maria.
SATB SATB. Am (orig. Gm)
Y107 Gaudeamus omnes
in Domino. SATB SATB. B
flat (orig. C) Y108
Gaudens gaudebo in
Domino. SATB SATB. B flat
(orig. C) Y109 Gentes
Philippus ducit. SATB
SATB. D (orig. C)
Y110 Hodie concepta
est. SATB SATB. B flat
(orig. C) Y111 Hodie
in monte. SATB SATB. B
flat (orig. C) Y112
Hodie nobis de caelo.
SATB SATB. B flat (orig.
C) Y113 Jubilate Deo.
SATB SATB. Am (orig. Gm)
Y114 O Pastor
aeterne. SATB SATB. G
(orig. F) Y115 O quam
suavis est [i]. SATB
SATB. Gm (orig. Am)
Y116 O quam suavis
est [ii]. SATB SATB. Am
(orig. Gm) Y117 Panis
sancte. SATB SATB. Gm
(orig. Am) Y118 Quae
est ista. SATB SATB. B
flat (orig. C) Y119
Regina caeli laetare.
SSAT SATB. G (orig. F)
Y120 Salve Regina.
SATB SATB. E flat (orig.
F) Y121 Tu es Petrus.
SATB SATB. B flat (orig.
C) Y122 Vulnera
manuum quae sunt. SATB
SATB. Am (orig. Gm)
Y123. $188.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Major Choral Works: 1550-1922 [2 CDR Set] CD Sheet Music
SKU: SU.00220557 Vocal/Choral, Sacred Large Choral Works, Vocal/Choral, S...(+)
SKU: SU.00220557
Vocal/Choral, Sacred
Large Choral Works,
Vocal/Choral, Secular
Large Choral Works. CD
(PDF Scores). CD Sheet
Music #00220557.
Published by CD Sheet
Music (SU.00220557).
This CD Sheet
Musicâ„¢ collection
makes available 85 major
choral works by 32
composers from the
Renaissance to the early
20th century Works
Include: Berlioz
(L'Enfance du Christ,
Requiem, Te Deum);
Borodin (Polovetzian
Dances & Choruses);
Bruckner (Masses Nos.
1, 2, 3, Requiem, Te
Deum); Buxtehude
(Magnificat, Missa
Brevis); Carissimi
(Jephtha); Cherubini
(Requiem); Debussy
(La Damoiselle Élue);
Delius (Sea Drift);
Dubois (Seven Last
Words of Christ);
Dvorák (Mass in D
major, Requiem Mass,
Stabat Mater, Te Deum);
Elgar (The Dream of
Gerontius, The Kingdom);
Fauré (Requiem);
Franck (Psalm 150,
Solemn Mass); A.
Gabrielli (Missa
Brevis); Gaul (Holy
City); Gounod
(Gallia, Mass of the
Sacred Heart of Jesus,
Messe Solenelle);
Grieg (Peer Gynt);
Liszt (Hymn to the
Virgin Mary, Missa
Choralis, Missa Solemnis,
Via Crucis); Mahler
(Symphony No. 8);
Palestrina (Missa
Papae Marcelli, Missa Ave
Regina Caelorum, Missa O
Magnum Mysterium, Missa
L'Homme Armé);
Pergolesi (Stabat
Mater); Purcell (Ode
on St. Cecilia's Day, O
Sing Unto the Lord, Te
Deum); Rachmaninoff
(The Bells); Rossini
(Petite Messe Solennelle,
Stabat Mater);
Saint-Saëns
(Christmas Oratorio, Mass
for Four Voices, Messe de
Requiem); Schumann
(Messe, Neujarhslied,
Requiem8, Paradise and
Peri); Schütz
(Christmas Oratorio,
Seven Last Words);
Stainer (The
Crucifixion); Vaughn
Williams (Mass in G
minor, Five Mystical
Songs, A Sea Symphony);
Verdi (Requiem, Hymn
of Nations, Four Sacred
Pieces); Vivaldi
(Gloria), and more Also
includes composer
biographies and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 5400+ pages; 2
CDR Set Please
note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $30.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Wind parts (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR.OB-320...(+)
Wind parts (solos: SSATB
- 0.0.0.1 - 2(corn).0.3.0
- str - bc) SKU:
BR.OB-32091-30
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-30. Published by
Breitkopf and Haertel
(BR.OB-32091-30). ISBN
9790004351277. 0 x 0
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $34.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Violin 1 (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR.OB-32091...(+)
Violin 1 (solos: SSATB -
0.0.0.1 - 2(corn).0.3.0 -
str - bc) SKU:
BR.OB-32091-15
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-15. Published by
Breitkopf and Haertel
(BR.OB-32091-15). ISBN
9790004351222. 0 x 0
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Chorus and piano (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR....(+)
Chorus and piano (solos:
SSATB - 0.0.0.1 -
2(corn).0.3.0 - str - bc)
SKU: BR.EB-32091
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Edition Breitkopf.
Cantata; Baroque.
Piano/Vocal Score. 20
pages. Duration 15'.
Breitkopf and Haertel #EB
32091. Published by
Breitkopf and Haertel
(BR.EB-32091). ISBN
9790004186695. 7.5 x 10.5
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $18.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Violin 2 (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR.OB-32091...(+)
Violin 2 (solos: SSATB -
0.0.0.1 - 2(corn).0.3.0 -
str - bc) SKU:
BR.OB-32091-16
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-16. Published by
Breitkopf and Haertel
(BR.OB-32091-16). ISBN
9790004351239. 0 x 0
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Chorus (with soloists) and orchestra (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - s...(+)
Chorus (with soloists)
and orchestra (solos:
SSATB - 0.0.0.1 -
2(corn).0.3.0 - str - bc)
SKU: BR.PB-32091
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Partitur-Bibliothek
(Score Library). Cantata;
Baroque. Full score. 52
pages. Duration 15'.
Breitkopf and Haertel #PB
32091. Published by
Breitkopf and Haertel
(BR.PB-32091). ISBN
9790004215777. 9.5 x 12
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $40.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Basso (cello/double bass) (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) (+)
Basso (cello/double bass)
(solos: SSATB - 0.0.0.1 -
2(corn).0.3.0 - str - bc)
SKU:
BR.OB-32091-26
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-26. Published by
Breitkopf and Haertel
(BR.OB-32091-26). ISBN
9790004351260. 0 x 0
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Viola 2 (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR.OB-32091-...(+)
Viola 2 (solos: SSATB -
0.0.0.1 - 2(corn).0.3.0 -
str - bc) SKU:
BR.OB-32091-20
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-20. Published by
Breitkopf and Haertel
(BR.OB-32091-20). 0 x
0 inches. The date
of composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Organ (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR.OB-32091-11...(+)
Organ (solos: SSATB -
0.0.0.1 - 2(corn).0.3.0 -
str - bc) SKU:
BR.OB-32091-11
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-11. Published by
Breitkopf and Haertel
(BR.OB-32091-11). ISBN
9790004351215. 0 x 0
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $13.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lobe den Herren, meine Seele Breitkopf & Härtel
Viola 1 (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR.OB-32091-...(+)
Viola 1 (solos: SSATB -
0.0.0.1 - 2(corn).0.3.0 -
str - bc) SKU:
BR.OB-32091-19
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by Vorname
Nachname. Choir.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. Duration 15'.
Breitkopf and Haertel #OB
32091-19. Published by
Breitkopf and Haertel
(BR.OB-32091-19). ISBN
9790004351246. 0 x 0
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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