Set of Parts. By Various. Arranged by John Kember. Schott. 52 pages. Published by Schott.

SATB vocal soli, SATB choir, 2 oboes d'amore, 2 violins, viola, basso continuo

SKU: CA.3116803

Cantata for the 9th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Ulrich Bartels. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Tue Rechnung, Donnerwort. Sacred vocal music, Cantatas, Trinity. Vocal score. Composed 1725. BWV 168. 24 pages. Duration 17 minutes. Carus Verlag #CV 31.168/03. Published by Carus Verlag (CA.3116803).

ISBN 9790007166724. Language: German/English. Text: Franck, Salomo. Text by Salomo Franck.

The text of Bach's cantata Tue Rechnung! Donnerwort was published in 1715, that is during Bach's Weimar period, in the Evangelisches Andachts-Opffer by Salomon Frank. This concisely-written but powerful work was, however, only composed ten years later in Leipzig, and was heard for the first time on 29 July 1725, the 9th Sunday after Trinity. Its main dramatic-musical emphasis lies clearly in the first movement, a dark, almost operatic movement for baritone and string orchestra in B minor. By contrast, the ensuing aria for tenor with obbligato oboe accompaniment is distinctly more intimate, and the duet between soprano and alto - just accompanied by continuo - is more restrained in its musical language and expression than the first movement. In between there are two extended recitatives, the first of which leads into an arioso. The breadth of expression within the cantata is striking, its opening movement a masterpiece of Bach's dramatic writing. Score available separately - see item CA.3116800.

Orchestra SATB vocal soli, SATB choir, 2 oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3116807

Cantata for the 9th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Ulrich Bartels. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Trinity. Study score. Composed 1725. BWV 168. 28 pages. Duration 17 minutes. Carus Verlag #CV 31.168/07. Published by Carus Verlag (CA.3116807).

ISBN 9790007242220. Language: German/English. Text: Franck, Salomo.

The text of Bach's cantata Tue Rechnung! Donnerwort was published in 1715, that is during Bach's Weimar period, in the Evangelisches Andachts-Opffer by Salomon Frank. This concisely-written but powerful work was, however, only composed ten years later in Leipzig, and was heard for the first time on 29 July 1725, the 9th Sunday after Trinity. Its main dramatic-musical emphasis lies clearly in the first movement, a dark, almost operatic movement for baritone and string orchestra in B minor. By contrast, the ensuing aria for tenor with obbligato oboe accompaniment is distinctly more intimate, and the duet between soprano and alto - just accompanied by continuo - is more restrained in its musical language and expression than the first movement. In between there are two extended recitatives, the first of which leads into an arioso. The breadth of expression within the cantata is striking, its opening movement a masterpiece of Bach's dramatic writing. Score available separately - see item CA.3116800.

SATB vocal soli, SATB choir, 2 oboes d'amore, 2 violins, viola, basso continuo

SKU: CA.3116819

Cantata for the 9th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Ulrich Bartels. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Tue Rechnung, Donnerwort. Sacred vocal music, Cantatas, Trinity. Set of Orchestra Parts. Composed 1725. BWV 168. Duration 17 minutes. Carus Verlag #CV 31.168/19. Published by Carus Verlag (CA.3116819).

ISBN 9790007166786. Language: German/English. Text: Franck, Salomo. Text by Salomo Franck.

The text of Bach's cantata Tue Rechnung! Donnerwort was published in 1715, that is during Bach's Weimar period, in the Evangelisches Andachts-Opffer by Salomon Frank. This concisely-written but powerful work was, however, only composed ten years later in Leipzig, and was heard for the first time on 29 July 1725, the 9th Sunday after Trinity. Its main dramatic-musical emphasis lies clearly in the first movement, a dark, almost operatic movement for baritone and string orchestra in B minor. By contrast, the ensuing aria for tenor with obbligato oboe accompaniment is distinctly more intimate, and the duet between soprano and alto - just accompanied by continuo - is more restrained in its musical language and expression than the first movement. In between there are two extended recitatives, the first of which leads into an arioso. The breadth of expression within the cantata is striking, its opening movement a masterpiece of Bach's dramatic writing. Score and parts available separately - see item CA.3116800.

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

SKU: CA.3108149

Cantata for the 4th Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. Organ. Sacred vocal music, Cantatas, Epiphany. Single Part, Organ. Composed 1724. BWV 81. 20 pages. Duration 19 minutes. Carus Verlag #CV 31.081/49. Published by Carus Verlag (CA.3108149).

ISBN 9790007206864. Key: E minor. Text 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.

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.

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

SKU: CA.3108113

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, Viola. Composed 1724. BWV 81. 8 pages. Duration 19 minutes. Carus Verlag #CV 31.081/13. Published by Carus Verlag (CA.3108113).

ISBN 9790007045487. 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.

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.

AT vocal soli, SATB choir, recorder d2 (flute or violin), 2 oboe d'amore, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3110319

Cantata for the Sunday of Jubilate. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Ihr werdet weinen und heulen. Sacred vocal music, Cantatas, Special days, Easter and Eastertide. Set of Orchestra Parts. Composed 1725. BWV 103. Duration 18 minutes. Carus Verlag #CV 31.103/19. Published by Carus Verlag (CA.3110319).

ISBN 9790007136536. Key: B minor. Language: German/English. Text: von Ziegler, Christiane Mariane. Text: Christiane Mariane von Ziegler.

The cantata Ihr werdet weinen und heulen [You will weep and wail] BWV 103 for Jubilate Sunday is one of the cantatas composed on texts by the Leipzig poetess Christiane Mariane von Ziegler with which Bach concluded his second annual cycle of cantatas after he had abandoned the annual cycle of chorale cantatas at Easter 1725. A large-scale choral movement on Jesus's words quoted from the Sunday gospel reading opens the cantata; the choir is interrupted by a bass arioso - the vox Christi. Both arias are introduced by a recitative with arioso conclusion; in each, exquisite solo instruments are deployed: flauto piccolo in the contralto aria and trumpet in the tenor aria. Score and parts available separately - see item CA.3110300.

AT vocal soli, SATB choir, recorder d2 (flute or violin), 2 oboe d'amore, trumpet, 2 violins, viola, basso continuo - Level 3

SKU: CA.3110305

Cantata for the Sunday of Jubilate. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Ihr werdet weinen. Sacred vocal music, Cantatas, Special days, Easter and Eastertide. Choral Score. Composed 1725. BWV 103. 16 pages. Duration 18 minutes. Carus Verlag #CV 31.103/05. Published by Carus Verlag (CA.3110305).

ISBN 9790007047467. Key: B minor. Language: German/English. Text: von Ziegler, Christiane Mariane. Text: Christiane Mariane von Ziegler.

The cantata Ihr werdet weinen und heulen [You will weep and wail] BWV 103 for Jubilate Sunday is one of the cantatas composed on texts by the Leipzig poetess Christiane Mariane von Ziegler with which Bach concluded his second annual cycle of cantatas after he had abandoned the annual cycle of chorale cantatas at Easter 1725. A large-scale choral movement on Jesus's words quoted from the Sunday gospel reading opens the cantata; the choir is interrupted by a bass arioso - the vox Christi. Both arias are introduced by a recitative with arioso conclusion; in each, exquisite solo instruments are deployed: flauto piccolo in the contralto aria and trumpet in the tenor aria. Score available separately - see item CA.3110300.

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

SKU: CA.3108105

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. Choral Score. Composed 1724. BWV 81. 2 pages. Duration 19 minutes. Carus Verlag #CV 31.081/05. Published by Carus Verlag (CA.3108105).

ISBN 9790007045432. 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.3108119

Cantata for the 4th Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Jesus schlaft, was soll ich hoffen. Sacred vocal music, Cantatas, Epiphany. Set of Orchestra Parts. Composed 1724. BWV 81. Duration 19 minutes. Carus Verlag #CV 31.081/19. Published by Carus Verlag (CA.3108119).

ISBN 9790007136345. 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.

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.3108100

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, was soll ich hoffen. Sacred vocal music, Cantatas, Epiphany. Full score. Composed 1724. BWV 81. 52 pages. Duration 19 minutes. Carus Verlag #CV 31.081/00. Published by Carus Verlag (CA.3108100).

ISBN 9790007045418. 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].

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.

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.

SATB vocal soli, SATB choir, 2 Violins, Viola, Basso continuo

SKU: CA.2706812

Kyrie-Gloria-Messe . Composed by Johann Christoph Altnickol. Edited by Clemens Harasim. Violin 2. Sacred vocal music, Masses, Latin. Single Part, Violin 2. 8 pages. Carus Verlag #CV 27.068/12. Published by Carus Verlag (CA.2706812).

ISBN 9790007199852. Language: Latin.

The Missa in d, composed around 1750, is one of the few surviving compositions of Altnickol. He was the student and later son-in-law of Johann Sebastian Bach. The wealth of forms and at the same time, the clarity of this composition show the influence of his teacher, but above all it shows the expression of an individual style of church music. With its contrapuntal mastery and musical depth this Kyrie-Gloria Mass, presented here in a first edition, represents a high point in this widely disseminated genre. Score and part available separately - see item CA.2706800.

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

SKU: CA.3100213

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, Viola. Composed 1724. BWV 2. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.002/13. Published by Carus Verlag (CA.3100213).

ISBN 9790007041366. 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.

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

SKU: CA.3100214

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, Cello/Double Bass. Composed 1724. BWV 2. 12 pages. Duration 20 minutes. Carus Verlag #CV 31.002/14. Published by Carus Verlag (CA.3100214).

ISBN 9790007041373. 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.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104612

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Violin 2. Composed 1723. BWV 46. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.046/12. Published by Carus Verlag (CA.3104612).

ISBN 9790007042981. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.

SATB vocal soli, SATB choir, 2 Violins, Viola, Basso continuo

SKU: CA.2706811

Kyrie-Gloria-Messe . Composed by Johann Christoph Altnickol. Edited by Clemens Harasim. Violin 1. Sacred vocal music, Masses, Latin. Single Part, Violin 1. 8 pages. Carus Verlag #CV 27.068/11. Published by Carus Verlag (CA.2706811).

ISBN 9790007199845. Language: Latin.

The Missa in d, composed around 1750, is one of the few surviving compositions of Altnickol. He was the student and later son-in-law of Johann Sebastian Bach. The wealth of forms and at the same time, the clarity of this composition show the influence of his teacher, but above all it shows the expression of an individual style of church music. With its contrapuntal mastery and musical depth this Kyrie-Gloria Mass, presented here in a first edition, represents a high point in this widely disseminated genre. Score and part available separately - see item CA.2706800.

(Cantata for the Sunday of Jubilate). Composed by Johann Sebastian Bach (1685-1750). Edited by Reinhold Kubik. Arranged by Paul Horn. For AT vocal soli, SATB choir, recorder d2 (flute or violin), 2 oboe d'amore, trumpet, 2 violins, viola, basso continuo. H-Moll (B minor). German title: Ihr werdet weinen 4. Cantatas, Special days, Easter and Eastertide. Level 3. Set of instrumental parts (except strings). Language: German/English. Composed 1725. BWV 103. 26 pages. Duration 18 minutes. Published by Carus Verlag

(New revised version). By Johann Sebastian Bach (1685-1750). Edited by Uwe Wolf. Arranged by Andreas Kohs. For 2 soprano voice solos, alto voice solo, tenor voice solo, bass voice solo, double SATB choir, 2 flutes, 3 oboes (2 oboes d'amore), 2 english horns, 2 bassoons, horn, 3 trumpets, timpani, 2 violins, viola, basso continuo (organ) (2 Solo Sopranos/Solo Alto/Solo Tenor/Solo Bass/Mixed Choir: SSAATTBB/2 Flutes/3 Oboes (2 Oboes d'amore)/2 English Horns/2 Bassoons/Horn/3 Trumpets or 3 Horns or 3 Clarinets/Timpani/2 Violins/Viola/Basso continuo (Organ)). This edition: Paperback, Urtext edition. Paperback. New revised version. Level 4. Piano reduction. Language: Latin. BWV 232. 243 pages. Duration 2 hours, 15 minutes. Published by Baerenreiter Verlag

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

SKU: CA.3100209

2nd Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Reinhold Kubik. 2x 31.002/21 2 oboes, 1x 31.002/31 trumpet, 1x 31.002/32 trombone 1, 1x 31.002/33 trombone 2, 1x 31.002/34 trombone 3, 1x 31.002/35 trombone 4. Hymns by Martin Luther: Ach Gott, vom Himmel sieh darein. German title: Ach Gott, vom Himmel sieh darein 7. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed 1724. BWV 2. 20 pages. Duration 20 minutes. Carus Verlag #CV 31.002/09. Published by Carus Verlag (CA.3100209).

ISBN 9790007041335. 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 parts available separately - see item CA.3100200.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104649

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Organ. Composed 1723. BWV 46. 16 pages. Duration 20 minutes. Carus Verlag #CV 31.046/49. Published by Carus Verlag (CA.3104649).

ISBN 9790007043018. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104613

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Viola. Composed 1723. BWV 46. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.046/13. Published by Carus Verlag (CA.3104613).

ISBN 9790007042998. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.

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

SKU: CA.3100205

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. Choral Score. Composed 1724. BWV 2. 12 pages. Duration 20 minutes. Carus Verlag #CV 31.002/05. Published by Carus Verlag (CA.3100205).

ISBN 9790007041311. 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 available separately - see item CA.3100200.

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

SKU: CA.3100219

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. Set of Orchestra Parts. Composed 1724. BWV 2. Duration 20 minutes. Carus Verlag #CV 31.002/19. Published by Carus Verlag (CA.3100219).

ISBN 9790007135904. 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 parts available separately - see item CA.3100200.