STB vocal soli, SATB choir, 2 recorders, bassoon, 4 violas, basso continuo

SKU: CA.3101812

Cantata for Sexagesima. Leipzig version. Composed by Johann Sebastian Bach. Edited by Frieder Rempp. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Viola 2. Sacred vocal music, Cantatas, Holy Week. Single Part, Viola 2. Composed 1715(?). BWV 18. 8 pages. Duration 21 minutes. Carus Verlag #CV 31.018/12. Published by Carus Verlag (CA.3101812).

ISBN 9790007204853. Text language: German/English.

The cantata dates from Bach's time in Weimar. The instrumental scoring of four violas and basso continuo - in the Leipzig performances enhanced by two recorders doubling viola I and II at the octave - is unique in Bach's cantata oeuvre. It lends a dark, luxurious sound to the four movements which is gently illuminated by the recorders. The work - with its instrumental sinfonia, a short secco recitative and an extended accompagnato recitative (both of which contain arioso inserts), a short soprano aria and a simple closing chorale - makes no great demands on the performing forces. Admirers of text interpretation by means of instrumental figuration will be richly rewarded. Score and part available separately - see item CA.3101800.

Orchestra STB vocal soli, SATB choir, 2 recorders, bassoon, 4 violas, basso continuo

SKU: CA.3101807

Cantata for Sexagesima. Leipzig version. Composed by Johann Sebastian Bach. Edited by Frieder Rempp. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Holy Week. Study score. Composed 1715(?). BWV 18. 32 pages. Duration 21 minutes. Carus Verlag #CV 31.018/07. Published by Carus Verlag (CA.3101807).

ISBN 9790007165680. Text language: German/English.

The cantata dates from Bach's time in Weimar. The instrumental scoring of four violas and basso continuo - in the Leipzig performances enhanced by two recorders doubling viola I and II at the octave - is unique in Bach's cantata oeuvre. It lends a dark, luxurious sound to the four movements which is gently illuminated by the recorders. The work - with its instrumental sinfonia, a short secco recitative and an extended accompagnato recitative (both of which contain arioso inserts), a short soprano aria and a simple closing chorale - makes no great demands on the performing forces. Admirers of text interpretation by means of instrumental figuration will be richly rewarded. Score available separately - see item CA.3101800.

Viola - Intermediate

SKU: FH.VA5

Viola Series, 2013 Edition. Composed by The Royal Conservatory. Viola Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VA5. Published by The Frederick Harris Music Company (FH.VA5).

ISBN 978-1-55440-567-1.

This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.
Concertos and Concertinos:
Concerto in C Minor, op. 12, no. 3 - Seitz, Friedrich
- First Movement
Concerto in G Major, TWV 51:G9 - Telemann, Georg Philipp
- Third Movement
- Fourth Movement
Concerto in D Minor, op. 3, no. 6, RV 356 - Vivaldi, Antonio arr. Christine Donkin
- Third Movement
Sonatas and Sonatinas:
Sonata in E flat Major - Dittersdorf, Carl Ditters von
Sonata - Cerha, Friedrich
- First Movement
- Second Movement
Sonata in G Major, op. 2, no. 6 - Flackton, William arr. Harold Birston
- Second Movement
- Third Movement
Concert Repertoire:
Langsam, op. 102, no. 2 - Schumann, Robert
La Provencale - Marais, Marin arr. May Mukle
Arioso - Bach, Johann Sebastian arr. Mark Mrozinski
Tambourin - d'Hervelois, Louis de Caix arr. Paul Doktor
Gypsy Pavan - Mozetich, Marjan
Space Dance - Mozetich, Marjan
Nocturne, op. 186, no. 2 - Kalliwoda, Johann Wenzel
Cradle Song - Bridge, Frank.

Guitar solo - Intermediate

SKU: DZ.DZ-4018

Composed by Variés. Arranged by Laurent Méneret. Score. Les Productions d'OZ #DZ 4018. Published by Les Productions d'OZ (DZ.DZ-4018).

ISBN 9782897959357.

1. Arioso, J.S. Bach
2. Little Serenade, J. Haydn
3. Valse poétique no. 1, E. Granados
4. Valse, J. Brahms
5. Menuet, J.S. Bach
6. Waltz in B minor, F. Schubert
7. Malagueña, P. de Sarasate
8. Sonatine, L.V. Beethoven.

Tenor Recorder & Piano (Organ) or CD Play Back / Play Along - Grade 2, Grade 3

SKU: MA.EMR-913PC

Composed by Dennis Armitage and Marc Reift. Tenor Recorder & CD Playback (Play Along). Score and parts. Duration 11'05. Editions Marc Reift #EMR 913PC. Published by Editions Marc Reift (MA.EMR-913PC).

Hochzeitsmarsch (Mendelssohn) / John Brown's Body - Glory, Glory, Halleluja / Summertime (Gershwin) / St. Anthony Choral (Haydn) / Arioso (Bach).

Concert Band/Harmonie - Grade 2

SKU: HL.44007127

Composed by Johann Sebastian Bach. Arranged by Jacob De Haan. De Haske Play-Along Book. Festive and Solemn Music. Score Only. Composed 2000. De Haske Publications #1002058. Published by De Haske Publications (HL.44007127).

UPC: 884088167943.

Viele der zahlreichen Werke von Johann Sebastian Bach sind bis heute bei einem grossen Publikum bekannt und beliebt. Hierzu zahlen die Matthaus-Passion, das Weihnachtsoratorium und das Air aus der dritten Orchestersuite. Das Arioso aus BWV 156 gehort ebenfalls zu seinen bekanntesten Kompositionen. Jacob de Haan arrangierte dieses Werk, ohne den Charakter des Originals zu verfalschen. In einer abwechslungsreichen Instrumentierung kommt die Schonheit dieser Musik voll und ganz zur Geltung.

Soli ATB, SATB Choir, 2 Ob, 4 Trb, Vl solo, 2 Vl, Va, Bc - Level 3

SKU: CA.3100249

2nd Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Reinhold Kubik. Hymns by Martin Luther: Ach Gott, vom Himmel sieh darein. Organ. Sacred vocal music, Cantatas. Single Part, Organ. Composed 1724. BWV 2. 20 pages. Duration 20 minutes. Carus Verlag #CV 31.002/49. Published by Carus Verlag (CA.3100249).

ISBN 9790007204419. Key: D minor. Language: German/English. Text: Luther, Martin.

Bach composed the cantata O God, from heaven look on us BWV 2 for the 2nd Trinity Sunday 1724 as the second cantata of the annual cycle of chorale cantatas. It is based on Martin Luther's rewriting of Psalm 112. The opening movement is one of a group of cantata opening movements which are not concertante but kept entirely in the motet style, with the instruments serving only to reinforce the singers. The archaic character of this movement is heightened by the addition of a trombone quartet. The concertante style is all the more significant in the first aria for contralto, solo violin and continuo. The first secco recitative represents a special feature: two fragments of the chorale are woven as arioso into the recitative, both in text and melody; futhermore, they are also taken up canonically by the continuo. Score and part available separately - see item CA.3100200.

Orchestra ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'amore, 2 violins, viola, basso continuo - Level 3

SKU: CA.3108107

Cantata for the 4th Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. This edition: Paperbound. German title: Jesus schlaft. Sacred vocal music, Cantatas, Epiphany. Study score. Composed 1724. BWV 81. 52 pages. Duration 19 minutes. Carus Verlag #CV 31.081/07. Published by Carus Verlag (CA.3108107).

ISBN 9790007045449. Key: E minor. Language: German/English.

Bac h composed the cantata Jesus schlaft, was soll ich hoffen [Jesus sleeps, what hope have I] BWV 81 for the fourth Epiphany Sunday, 1724. The cantata is structured as a little drama: In the beginning, fear prevails. The seas rage and Jesus is asleep. The threateningly foaming waves are vividly depicted in the soughing string accompaniment of the tenor aria. Jesus's words Ihr Kleinglaubigen, warum seid ihr so furchtsam? [You of little faith, why are you so fearful?] are set as a bass arioso at the center of the cantata; they provide the turning point. In the subsequent bass aria, the towering seas are silenced. A recitative - Wohl mir [Well for me] - leads into the closing chorale with its certainty Unter deinen Schirmen bin ich vor den Sturmen aller Feinde frei [Under Your protection I am spared the tempests of my enemies]. Score available separately - see item CA.3108100.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'amore, 2 violins, viola, basso continuo - Level 3

SKU: CA.3108111

Cantata for the 4th Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Jesus schlaft. Sacred vocal music, Cantatas, Epiphany. Single Part, Violin 1. Composed 1724. BWV 81. 8 pages. Duration 19 minutes. Carus Verlag #CV 31.081/11. Published by Carus Verlag (CA.3108111).

ISBN 9790007045463. Key: E minor. Language: German/English.

Bac h composed the cantata Jesus schlaft, was soll ich hoffen [Jesus sleeps, what hope have I] BWV 81 for the fourth Epiphany Sunday, 1724. The cantata is structured as a little drama: In the beginning, fear prevails. The seas rage and Jesus is asleep. The threateningly foaming waves are vividly depicted in the soughing string accompaniment of the tenor aria. Jesus's words Ihr Kleinglaubigen, warum seid ihr so furchtsam? [You of little faith, why are you so fearful?] are set as a bass arioso at the center of the cantata; they provide the turning point. In the subsequent bass aria, the towering seas are silenced. A recitative - Wohl mir [Well for me] - leads into the closing chorale with its certainty Unter deinen Schirmen bin ich vor den Sturmen aller Feinde frei [Under Your protection I am spared the tempests of my enemies]. Score and part available separately - see item CA.3108100.

Orchestra ATB vocal soli, SATB choir, 2 oboes, [4 trombones], violin solo, 2 violins, viola, basso continuo - Grade 3

SKU: CA.3100212

2nd Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Reinhold Kubik. Hymns by Martin Luther: Ach Gott, vom Himmel sieh darein. German title: Ach Gott, vom Himmel. Sacred vocal music, Cantatas. Single Part, Violin 2. Composed 1724. BWV 2. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.002/12. Published by Carus Verlag (CA.3100212).

ISBN 9790007041359. Key: D minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach composed the cantata O God, from heaven look on us BWV 2 for the 2nd Trinity Sunday 1724 as the second cantata of the annual cycle of chorale cantatas. It is based on Martin Luther's rewriting of Psalm 112. The opening movement is one of a group of cantata opening movements which are not concertante but kept entirely in the motet style, with the instruments serving only to reinforce the singers. The archaic character of this movement is heightened by the addition of a trombone quartet. The concertante style is all the more significant in the first aria for contralto, solo violin and continuo. The first secco recitative represents a special feature: two fragments of the chorale are woven as arioso into the recitative, both in text and melody; futhermore, they are also taken up canonically by the continuo. Score and part available separately - see item CA.3100200.

Eb Bass & Piano (Organ) or CD Play Back / Play Along - Grade 2

SKU: MA.EMR-906VC

Composed by Dennis Armitage and Marc Reift. Eb Bass & CD Playback (Play Along). Score and parts. Duration 18'52. Editions Marc Reift #EMR 906VC. Published by Editions Marc Reift (MA.EMR-906VC).

Trumpet Voluntary (Stanley) / Nobody Knows The Trouble I've See / Il Silenzio / So nimm denn meine Hande / Arioso (Handel).

Study Score Orchestra (3 (3. auch Picc.) * 2 * Engl. Hr. * 2 * Bassklar. * 2 - 4 * 3 * 3 * 1 - P. S. (Vibr. * Trgl. * 3 hg. Beck. * Sizzle-Beck. * Gong * Tamt.) (2 Spieler) - Hfe. - Str.)

SKU: HL.49017992

Orchestra Study Score. Composed by Bertold Hummel. This edition: Saddle stitching. Sheet music. Study Score. Classical. Softcover. Composed 1977. Op. 65. 32 pages. Duration 8'. Schott Music #ED20694. Published by Schott Music (HL.49017992).

ISBN 9790001168977. UPC: 884088601867. 8.25x11.75x0.123 inches.

The brief Fantasia gregoriana, op.65, is based on the Gregorian Easter Hallelujah. Like a mosaic, the individual heterogenic episodes, lyrical, dance-like, hymnal and dramatic in turn, are combined through the permanent presence of the theme into a unified whole.The Gregorian Hallelujah is present as a type of mode in every bar of the work. The subdued introduction, characterised by the tritonically transposed structure of the original material, is followed by a sharply accentuated presentation of the theme in the bass. Over the partially engarlanded resolved variants, a first bitonal climax is reached (F minor and D major simultaneously). The dramatic development is repeated, interspersed with arioso interruptions, until the main idea is brought to culmination in brilliant instrumentation. The final chord consists of all notes of the theme.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'amore, 2 violins, viola, basso continuo - Level 3

SKU: CA.3108114

Cantata for the 4th Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Jesus schlaft. Sacred vocal music, Cantatas, Epiphany. Single Part, Cello/Double Bass. Composed 1724. BWV 81. 8 pages. Duration 19 minutes. Carus Verlag #CV 31.081/14. Published by Carus Verlag (CA.3108114).

ISBN 9790007045494. Key: E minor. Language: German/English.

Bac h composed the cantata Jesus schlaft, was soll ich hoffen [Jesus sleeps, what hope have I] BWV 81 for the fourth Epiphany Sunday, 1724. The cantata is structured as a little drama: In the beginning, fear prevails. The seas rage and Jesus is asleep. The threateningly foaming waves are vividly depicted in the soughing string accompaniment of the tenor aria. Jesus's words Ihr Kleinglaubigen, warum seid ihr so furchtsam? [You of little faith, why are you so fearful?] are set as a bass arioso at the center of the cantata; they provide the turning point. In the subsequent bass aria, the towering seas are silenced. A recitative - Wohl mir [Well for me] - leads into the closing chorale with its certainty Unter deinen Schirmen bin ich vor den Sturmen aller Feinde frei [Under Your protection I am spared the tempests of my enemies]. Score and part available separately - see item CA.3108100.

Organ

SKU: LM.C05708R

Composed by Roger Calmel. Classical: 20th Century (Contemporary). Score. Editions Combre #C05708R. Published by Editions Combre (LM.C05708R).

ISBN 9790230303118.

Pass acaille - Arioso - Lento sostenuto - Toccata.

Organ

SKU: PL.PPM02150M

Composed by Robert Cockroft. Score. Paraclete Press #PPM02150M. Published by Paraclete Press (PL.PPM02150M).

Explore several poetic works for organ by Robert Cockroft. Arioso, Ave Maris Stella, and Reverie feature soft colors and make excellent preludes.

Piano

SKU: NR.21979

Recitativo ed arioso : [piano]. Composed by Ruggiero Leoncavallo. Edited by M. Arpenit. Score. Noten Roehr #21979. Published by Noten Roehr (NR.21979).

Voice, piano

SKU: BR.SON-605

Lieder 1. Composed by Jean Sibelius. Edited by K. Kilpelainen and T. Virtanen. Linen. Complete Works. Late-romantic; Early modern. Complete Works. 336 pages. Breitkopf and Haertel #SON 605. Published by Breitkopf and Haertel (BR.SON-605).

ISBN 9790004802472. 10 x 12.5 inches.

Sibelius secured his international reputation as a 20th-century classic above all with his large orchestral works. However, his vocal works, including the songs for voice and orchestra, are just as important and innovative. They combine Sibelius's masterful command of the orchestral apparatus with a uniquely sensitive feeling for the textual sources. They range from the dramatic ballad Koskenlaskijan morsiamet Op. 33 to the intimate, lyrical Arioso Op. 3, and from the post-Wagnerian Serenad JS 183 (presented here for the first time) to the boldly orchestrated vision Luonnotar Op. 70. Following the two books of songs with piano accompaniment, this volume of the Sibelius Complete Edition (JSW) will definitely make an important contribution to the international reception of Sibelius' works.

STB vocal soli, SATB choir, 2 recorders, bassoon, 4 violas, basso continuo

SKU: CA.3101815

Cantata for Sexagesima. Leipzig version. Composed by Johann Sebastian Bach. Edited by Frieder Rempp. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violoncello/double bass. Sacred vocal music, Cantatas, Holy Week. Single Part, Cello/Double Bass. Composed 1715(?). BWV 18. 8 pages. Duration 21 minutes. Carus Verlag #CV 31.018/15. Published by Carus Verlag (CA.3101815).

ISBN 9790007204884. Text language: German/English.

The cantata dates from Bach's time in Weimar. The instrumental scoring of four violas and basso continuo - in the Leipzig performances enhanced by two recorders doubling viola I and II at the octave - is unique in Bach's cantata oeuvre. It lends a dark, luxurious sound to the four movements which is gently illuminated by the recorders. The work - with its instrumental sinfonia, a short secco recitative and an extended accompagnato recitative (both of which contain arioso inserts), a short soprano aria and a simple closing chorale - makes no great demands on the performing forces. Admirers of text interpretation by means of instrumental figuration will be richly rewarded. Score and part available separately - see item CA.3101800.

STB vocal soli, SATB choir, 2 recorders, bassoon, 4 violas, basso continuo

SKU: CA.3101800

Cantata for Sexagesima. Leipzig version. Composed by Johann Sebastian Bach. Edited by Frieder Rempp. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Holy Week. Full score. Composed 1715(?). BWV 18. 32 pages. Duration 21 minutes. Carus Verlag #CV 31.018/00. Published by Carus Verlag (CA.3101800).

ISBN 9790007143190. Text language: German/English.

The cantata dates from Bach's time in Weimar. The instrumental scoring of four violas and basso continuo - in the Leipzig performances enhanced by two recorders doubling viola I and II at the octave - is unique in Bach's cantata oeuvre. It lends a dark, luxurious sound to the four movements which is gently illuminated by the recorders. The work - with its instrumental sinfonia, a short secco recitative and an extended accompagnato recitative (both of which contain arioso inserts), a short soprano aria and a simple closing chorale - makes no great demands on the performing forces. Admirers of text interpretation by means of instrumental figuration will be richly rewarded.

Bb Bass & Piano (Organ) or CD Play Back / Play Along - Grade 2, Grade 3

SKU: MA.EMR-913WC

Composed by Dennis Armitage and Marc Reift. Bb Bass & CD Playback (Play Along). Score and parts. Duration 11'05. Editions Marc Reift #EMR 913WC. Published by Editions Marc Reift (MA.EMR-913WC).

Hochzeitsmarsch (Mendelssohn) / John Brown's Body - Glory, Glory, Halleluja / Summertime (Gershwin) / St. Anthony Choral (Haydn) / Arioso (Bach).

Guitar

SKU: HL.49014562

Moto perpetuo and Arioso. Composed by Oliver Hunt. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 6 pages. Schott Music #ED 11375. Published by Schott Music (HL.49014562).

ISBN 9790220109768. 8.5x11.5x0.052 inches.

Bass Clarinet & 21 Strings

SKU: SS.50600030

Composed by Fred Cohen. Study Score. Published by Seesaw Music Corp (SS.50600030).

Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor. First performed in 2006. Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet - and bass clarinetists - to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things - he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me - I'm much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment - that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piu mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist's gentle cajoling and supportive commentary, the strings accompany - with pleasure, you might say - the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist's substratum A, accompanied quietly by the strings.

Tenor Recorder & Piano (Organ) or CD Play Back / Play Along - Grade 2

SKU: MA.EMR-906PC

Composed by Dennis Armitage and Marc Reift. Tenor Recorder & CD Playback (Play Along). Score and parts. Duration 18'52. Editions Marc Reift #EMR 906PC. Published by Editions Marc Reift (MA.EMR-906PC).

Trumpet Voluntary (Stanley) / Nobody Knows The Trouble I've See / Il Silenzio / So nimm denn meine Hande / Arioso (Handel).

Oboe, Bassoon & Piano

SKU: SS.50600012

Composed by Fred Cohen. Score & Parts. Duration 15'. Published by Seesaw Music Corp (SS.50600012).

Performing Materials: score and parts Composer's Note: A fancy is an English version of the Italian capriccio, a form introduced in the 16th century for works in various media wherein the force of imagination has better success than observation of the rules of art (Furetiere, Dictionnaire universel). The term is also used to describe a suite of dances. Fred's Fancies is a series of six dances that are quite capricious in nature, a fair portrait of the person to whom the work is dedicated. The suite's musical material is introduced in the first movement, an athletic Allegro. The following four movements emphasize some aspect of the first. The second, Waltz, is a quiet variation of the first movement's opening gesture. The third, Manic, combines the opening gesture with a secondary theme emphasizing descending perfect fourths separated by half-steps. The fourth movement, Arioso, re-visits themes from the Waltz, now set in a freer rhythm. The fifth, Favotte, combines elements of the gavotte with fugal episodes. The cycle culminates in a speedy final movement, Vivace, that brings back the all principal themes of cycle.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'amore, 2 violins, viola, basso continuo - Level 3

SKU: CA.3108109

Cantata for the 4th Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. 1x 31.081/21 recorder 1, 1x 31.081/22 recorder 2, 1x 31.081/23 oboe d'amore 1, 1x 31.081/24 oboe d'amore 2. German title: Jesus schlaft 4. Sacred vocal music, Cantatas, Epiphany. Set of Orchestra Parts. Composed 1724. BWV 81. 12 pages. Duration 19 minutes. Carus Verlag #CV 31.081/09. Published by Carus Verlag (CA.3108109).

ISBN 9790007045456. Key: E minor. Language: German/English.

Bac h composed the cantata Jesus schlaft, was soll ich hoffen [Jesus sleeps, what hope have I] BWV 81 for the fourth Epiphany Sunday, 1724. The cantata is structured as a little drama: In the beginning, fear prevails. The seas rage and Jesus is asleep. The threateningly foaming waves are vividly depicted in the soughing string accompaniment of the tenor aria. Jesus's words Ihr Kleinglaubigen, warum seid ihr so furchtsam? [You of little faith, why are you so fearful?] are set as a bass arioso at the center of the cantata; they provide the turning point. In the subsequent bass aria, the towering seas are silenced. A recitative - Wohl mir [Well for me] - leads into the closing chorale with its certainty Unter deinen Schirmen bin ich vor den Sturmen aller Feinde frei [Under Your protection I am spared the tempests of my enemies]. Score and parts available separately - see item CA.3108100.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'amore, 2 violins, viola, basso continuo - Level 3

SKU: CA.3108112

Cantata for the 4th Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Jesus schlaft. Sacred vocal music, Cantatas, Epiphany. Single Part, Violin 2. Composed 1724. BWV 81. 8 pages. Duration 19 minutes. Carus Verlag #CV 31.081/12. Published by Carus Verlag (CA.3108112).

ISBN 9790007045470. Key: E minor. Language: German/English.

Bac h composed the cantata Jesus schlaft, was soll ich hoffen [Jesus sleeps, what hope have I] BWV 81 for the fourth Epiphany Sunday, 1724. The cantata is structured as a little drama: In the beginning, fear prevails. The seas rage and Jesus is asleep. The threateningly foaming waves are vividly depicted in the soughing string accompaniment of the tenor aria. Jesus's words Ihr Kleinglaubigen, warum seid ihr so furchtsam? [You of little faith, why are you so fearful?] are set as a bass arioso at the center of the cantata; they provide the turning point. In the subsequent bass aria, the towering seas are silenced. A recitative - Wohl mir [Well for me] - leads into the closing chorale with its certainty Unter deinen Schirmen bin ich vor den Sturmen aller Feinde frei [Under Your protection I am spared the tempests of my enemies]. Score and part available separately - see item CA.3108100.

Orchestra ATB vocal soli, SATB choir, 2 oboes, [4 trombones], violin solo, 2 violins, viola, basso continuo - Grade 3

SKU: CA.3100211

2nd Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Reinhold Kubik. Hymns by Martin Luther: Ach Gott, vom Himmel sieh darein. German title: Ach Gott, vom Himmel sieh darein. Sacred vocal music, Cantatas. Single Part, Violin solo + Vio. Composed 1724. BWV 2. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.002/11. Published by Carus Verlag (CA.3100211).

ISBN 9790007041342. Key: D minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach composed the cantata O God, from heaven look on us BWV 2 for the 2nd Trinity Sunday 1724 as the second cantata of the annual cycle of chorale cantatas. It is based on Martin Luther's rewriting of Psalm 112. The opening movement is one of a group of cantata opening movements which are not concertante but kept entirely in the motet style, with the instruments serving only to reinforce the singers. The archaic character of this movement is heightened by the addition of a trombone quartet. The concertante style is all the more significant in the first aria for contralto, solo violin and continuo. The first secco recitative represents a special feature: two fragments of the chorale are woven as arioso into the recitative, both in text and melody; futhermore, they are also taken up canonically by the continuo. Score and part available separately - see item CA.3100200.