Bassoon and Piano SKU: HL.14020992 Composed by Sir Peter Maxwell Davies. ...(+)
Bassoon and Piano
SKU:
HL.14020992
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. 20th Century.
Book [Softcover].
Composed 1999. 60 pages.
Chester Music #CH60945.
Published by Chester
Music (HL.14020992).
ISBN 9780711936805.
9.0x12.0x0.185
inches.
Unusually
for him, Davies starts
his Bassoon Concerto not
with slow music but with
speed and brilliance: the
opening is a Presto,
initiated by the strings,
and only at the entry of
the soloist does the
tempo relax to that of a
real introduction. Out of
this grow a big dancing
Allegro. The slow
movement begins and ends
with a simple song,
around fantastical
ornamentation from the
soloist. The finale is
again a recitative and
dance, with a slow coda.
The whole work is an
immense show of stamina,
poetry and athleticism
for the bassoon, set
against an orchestra
coloured by low wind
(alto flute, clarinet in
A, bass clarinet,
contrabassoon, horns).
Bassoon part with piano
reduction of the
orchestral score.
Concert Band/Harmonie and Bassoon Solo - Grade 5 SKU: BT.DHP-1084489-010 ...(+)
Concert Band/Harmonie and
Bassoon Solo - Grade 5
SKU:
BT.DHP-1084489-010
For bassoon and
concert band.
Composed by Maxime Aulio.
Solo Spectrum. Solo &
Concerto. Set (Score &
Parts). Composed 2008. De
Haske Publications #DHP
1084489-010. Published by
De Haske Publications
(BT.DHP-1084489-010).
9x12 inches.
English-German-French-Dut
ch.
Il Signore
Fagotto begint met
een briljante orkestrale
introductie. Dan
introduceert de fagot het
hoofdthema van het werk.
De uitgebreide toepassing
van een onregelmatige
maatsoort (7/8) geeft de
fagot de mogelijkheid om
zijncharmante en schalkse
kenmerken te
onderstrepen. Dit spreekt
tot onze verbeelding: we
stellen ons voor hoe het
beschreven karakter (Il
Signore Fagotto)
ondeugende streken
levert. Kortom: een
bijzonder boeiende
compositie voor
harmonieorkest,met als
basis een prachtige
hoofdrol voor de
fagot!
Die
Vielseitigkeit des
Fagotts erkannten schon
viele große
Komponisten, wie z.B.
Vivaldi oder
Rimski-Korsakow. Es kann
von melancholisch,
klagend bis hin zu
komisch und grotesk
klingen. Letztere
Eigenschaft war der
Grund, warum in der
commedia dell’arte
im Italien der 1550er
Jahre eine Figur namens
Signor Fagotto,
die das Fagott
verkörperte, eine der
wichtigsten komischen
Rollen spielte. Maxime
Aulio benannte nach ihm
dieses Werk, in dem das
Fagott seine schalkhafte,
charmante Seite voll
ausleben und auch das
übrige
Blasorchester brillieren
kann.
Concert Band/Harmonie and Bassoon Solo - Grade 5 SKU: BT.DHP-1084489-140 ...(+)
Concert Band/Harmonie and
Bassoon Solo - Grade 5
SKU:
BT.DHP-1084489-140
For bassoon and
concert band.
Composed by Maxime Aulio.
Solo Spectrum. Solo &
Concerto. Score Only.
Composed 2008. 53 pages.
De Haske Publications
#DHP 1084489-140.
Published by De Haske
Publications
(BT.DHP-1084489-140).
9x12 inches.
English-German-French-Dut
ch.
Il Signore
Fagotto begint met
een briljante orkestrale
introductie. Dan
introduceert de fagot het
hoofdthema van het werk.
De uitgebreide toepassing
van een onregelmatige
maatsoort (7/8) geeft de
fagot de mogelijkheid om
zijncharmante en schalkse
kenmerken te
onderstrepen. Dit spreekt
tot onze verbeelding: we
stellen ons voor hoe het
beschreven karakter (Il
Signore Fagotto)
ondeugende streken
levert. Kortom: een
bijzonder boeiende
compositie voor
harmonieorkest,met als
basis een prachtige
hoofdrol voor de
fagot!
Die
Vielseitigkeit des
Fagotts erkannten schon
viele große
Komponisten, wie z.B.
Vivaldi oder
Rimski-Korsakow. Es kann
von melancholisch,
klagend bis hin zu
komisch und grotesk
klingen. Letztere
Eigenschaft war der
Grund, warum in der
commedia dell’arte
im Italien der 1550er
Jahre eine Figur namens
Signor Fagotto,
die das Fagott
verkörperte, eine der
wichtigsten komischen
Rollen spielte. Maxime
Aulio benannte nach ihm
dieses Werk, in dem das
Fagott seine schalkhafte,
charmante Seite voll
ausleben und auch das
übrige
Blasorchester brillieren
kann.
Concert Band/Harmonie and Bassoon Solo - Grade 3 SKU: BT.AMP-450-140 F...(+)
Concert Band/Harmonie and
Bassoon Solo - Grade 3
SKU:
BT.AMP-450-140
For
Bassoon (or Baritone
Saxophone) and Concert
Band. Composed by
Philip Sparke. Anglo
Music Midway Series. Solo
& Concerto. Score Only.
Composed 2017. 28 pages.
Anglo Music Press #AMP
450-140. Published by
Anglo Music Press
(BT.AMP-450-140).
English-German-French-
Dutch.
Wind in
the Reeds was
commissioned by Deena
Draycott in memory of
John Watson, an army
bandsman, teacher and
bassoonist. Wind in
the Reeds is both a
tribute and lasting
memorial to John. The
piece is largely pastoral
in nature, evoking images
conjured up by the
‘play on
words’ in the
title, but includes a
faster central section
which exploits other
aspects of the character
of the bassoon.
Transitions between the
various sections of the
piece are achieved
through a series of
accompanied cadenzas for
the
soloist.
Wind
in the Reeds werd
geschreven in opdracht
van Deena Draycott, ter
nagedachtenis aan John
Watson, muzikant in een
militaire band,
muziekdocent en
fagottist. Het werk is
grotendeels pastoraal van
karakter; het roept
beelden op die de
woordspeling in de titel
(Wind in het riet)
met zich meebrengt, maar
het bevat een sneller
middengedeelte dat andere
aspecten van het karakter
van de fagot in de
schijnwerpers zet. De
overgangen tussen de
verschillende gedeelten
van het werk worden
gerealiseerd middels een
reeks begeleide cadensen
voor de
solist.
Wind in
the Reeds wurde von
Deena Draycott in
Erinnerung an John
Watson, einen
Militärmusiker, Lehrer
und Fagottisten, in
Auftrag gegeben. Wind
in the Reeds ist
sowohl ein Tribut an John
Watson als auch ein
bleibendes Andenken an
ihn. Das Stück hat
einen größtenteils
pastoralen Charakter und
ruft Bilder hervor, die
durch das Wortspiel im
Titel heraufbeschworen
werden. Es enthält
jedoch auch einen
schnelleren Hauptteil,
der andere
Charaktereigenschaften
des Fagotts eines der
Lieblingsinstrumente des
Komponisten erkundet.
Eine Reihe von
Solo-Kadenzen bilden die
Übergänge zwischen
den verschiedenen
Abschnitten des
Stückes.
Wind
in the Reeds fu
commissionato da Deena
Draycott in memoria di
John Watson, un bandista
dell’esercito,
insegnante e fagottista.
Wind in the Reeds
è sia un tributo che
un ultimo memoriale per
John. Il brano ha per lo
più le caratteristiche
di una pastorale, che
evoca immagini richiamate
dal gioco di parole del
titolo, ma include una
sezione centrale più
veloce che sfrutta le
caratteristiche del
fagotto. I passaggi tra
le varie sezioni del
pezzo sono realizzati
tramite una serie di
cadenze accompagnate per
il solista.
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Marc Koninkx. For B...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Arranged by
Marc Koninkx. For Bassoon
and Wind Ensemble. Grade
4. Full score and set of
parts. Duration 18:00.
Published by Baton Music
Bassoon, Piano Accompaniment - Difficulty: medium SKU: HL.841055 Basso...(+)
Bassoon, Piano
Accompaniment -
Difficulty: medium
SKU: HL.841055
Bassoon with Piano
Reduction. Composed
by John Williams. John
Williams Signature
Edition - Woodwinds.
Movies and 20th Century.
Instrumental solo/piano
accompaniment set. With
solo part and piano
accompaniment (orchestral
reduction). 40 pages.
Published by Hal Leonard
(HL.841055).
ISBN
9780793557943. UPC:
073999773705. 9x12
inches.
By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). Arrang...(+)
By Carl Maria von Weber
(1786-1826) and Carl
Maria von Weber
(1786-1826). Arranged by
Roger Niese. For Bassoon
and Concert Band. Grade
4. Full score and set of
parts. Duration 20:00.
Published by Baton Music
. Full score and set of
parts.
Bassoon, piano SKU: FG.55011-438-8 Composed by Paavo Heininen. Fennica Ge...(+)
Bassoon, piano
SKU:
FG.55011-438-8
Composed by Paavo
Heininen. Fennica Gehrman
#55011-438-8. Published
by Fennica Gehrman
(FG.55011-438-8).
ISBN
9790550114388.
All
of Heininen's sonatas
have different characters
that are informed by the
force fields created by
classic solos and
melodies in orchestral
repertoire. There is also
a certain encyclopaedic
nature to the sonata
cycle; many have been
composed to various
instruments. The
character of the bassoon
sonata is serious and
classical, somewhat
solemn.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts.
Cantatas, End of the
church year, Trinity. Set
of Orchestra Parts.
Composed 1726. BWV 52.
Duration 18 minutes.
Carus Verlag #CV
31.052/19. Published by
Carus Verlag
(CA.3105219).
ISBN
9790007206352. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and parts available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. 1x
31.052/21 oboe 1, 1x
31.052/22 oboe 2, 1x
31.052/23 oboe 3, 1x
31.052/24 bassoon, 1x
31.052/31 horns 1 and 2,
1x 31.052/32 horn 2.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Cantatas, End of
the church year, Trinity.
Set of Orchestra Parts.
Composed 1726. BWV 52.
Duration 18 minutes.
Carus Verlag #CV
31.052/09. Published by
Carus Verlag
(CA.3105209).
ISBN
9790007206307. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and parts available
separately - see item
CA.3105200.
Mixed Trios. By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Trios....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Cello or
Bassoon. Trios. Music for
Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 3. Published by Last
Resort Music Publishing.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Oboe 3.
Cantatas, End of the
church year, Trinity.
Single Part, Oboe 3.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/23. Published by
Carus Verlag
(CA.3105223).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Cantatas, End
of the church year,
Trinity. Single Part,
basso continuo. Composed
1726. BWV 52. 12 pages.
Duration 18 minutes.
Carus Verlag #CV
31.052/14. Published by
Carus Verlag
(CA.3105214).
ISBN
9790007206345. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Bassoon.
Cantatas, End of the
church year, Trinity.
Single Part, Bassoon.
Composed 1726. BWV 52. 12
pages. Duration 18
minutes. Carus Verlag #CV
31.052/24. Published by
Carus Verlag
(CA.3105224).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Organ.
Cantatas, End of the
church year, Trinity.
Single Part, Organ.
Composed 1726. BWV 52. 16
pages. Duration 18
minutes. Carus Verlag #CV
31.052/49. Published by
Carus Verlag
(CA.3105249).
ISBN
9790007206369. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Horns 1 and
2. Cantatas, End of the
church year, Trinity.
Single Part, Horn 1 and
2. Composed 1726. BWV 52.
4 pages. Duration 18
minutes. Carus Verlag #CV
31.052/31. Published by
Carus Verlag
(CA.3105231).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Viola.
Cantatas, End of the
church year, Trinity.
Single Part, Viola.
Composed 1726. BWV 52. 4
pages. Duration 18
minutes. Carus Verlag #CV
31.052/13. Published by
Carus Verlag
(CA.3105213).
ISBN
9790007206338. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Cantatas, End
of the church year,
Trinity. Choral Score.
Composed 1726. BWV 52. 2
pages. Duration 18
minutes. Carus Verlag #CV
31.052/05. Published by
Carus Verlag
(CA.3105205).
ISBN
9790007187385. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Cantatas, End of the
church year, Trinity.
Single Part, Violin 1.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/11. Published by
Carus Verlag
(CA.3105211).
ISBN
9790007206314. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Cantatas, End of the
church year, Trinity.
Single Part, Violin 2.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/12. Published by
Carus Verlag
(CA.3105212).
ISBN
9790007206321. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Cantatas, End
of the church year,
Trinity. Full score.
Composed 1726. BWV 52. 40
pages. Duration 18
minutes. Carus Verlag #CV
31.052/00. Published by
Carus Verlag
(CA.3105200).
ISBN
9790007181512. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Cantatas, End
of the church year,
Trinity. Vocal score.
Composed 1726. BWV 52. 24
pages. Duration 18
minutes. Carus Verlag #CV
31.052/03. Published by
Carus Verlag
(CA.3105203).
ISBN
9790007187637. Language:
German/English. Text:
Birkmann,
Christoph.
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Oboe 1.
Cantatas, End of the
church year, Trinity.
Single Part, Oboe 1.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/21. Published by
Carus Verlag
(CA.3105221).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Cantata for the 23rd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Oboe 2.
Cantatas, End of the
church year, Trinity.
Single Part, Oboe 2.
Composed 1726. BWV 52. 8
pages. Duration 18
minutes. Carus Verlag #CV
31.052/22. Published by
Carus Verlag
(CA.3105222).
It only
became apparent a few
years ago that the text
of the soprano cantata
Falsche Welt, dir trau
ich nicht came from the
collection
Gott-geheiligten
Sabbaths-Zehnden by the
Leipzig theology student
and Bach pupil Christoph
Birkmann, printed in 1728
in Nuremberg. Birkmann
was probably therefore
the author of the text.
The cantata was written
for the 23rd Sunday after
Trinity, which fell on 24
November 1726 in the year
of its first performance.
As in other cantatas in
the first annual cycle,
Bach chose an
instrumental sinfonia as
the opening movement -
here the first movement
of the 1st Brandenburg
Concerto. The soprano
soloist has two
recitatives and two
arias, in which the
falsehood of the world is
juxtaposed with trust in
God. The cantata text is
rounded off with the
first verse of the
chorale In dich hab ich
gehoffet, scored for
four-part chorus, as is
usual with Bach. With the
use of two horns and
three oboes added to the
string ensemble, the
cantata has colorful and
varied orchestration.
Score and part available
separately - see item
CA.3105200.
Full Orchestra Music/Misc. Solo And Full Orchestra. Composed by Etienne O...(+)
Full Orchestra
Music/Misc. Solo And Full
Orchestra. Composed
by Etienne Ozi
(1754-1813). Arranged by
Amzie D. Parcell. Mixed
Instruments -
Miscellaneous Solos and
Full Orchestra. Southern
Music. 64 pages. Southern
Music Company #XR15FS.
Published by Southern
Music Company
(HL.3772316).
By Julius Fucik. Trans. Don Stewart. For Bassoon Solo in Woodwind Quintet. This ...(+)
By Julius Fucik. Trans.
Don Stewart. For Bassoon
Solo in Woodwind Quintet.
This edition: Score and
Parts. Duration 2:00.
Published by Trillenium
Music Company.