Orchestra solo voices,
SSAATTBB chorus, 2 Fl, 2
Ob, 2 Clt, 2 Fg, 2 Cor, 2
Tr, 3 Trb, Timp, 2 Vl,
Va, Vc, Cb - Grade 5
SKU: CA.2709432
Individual part, horn
2. Composed by Anton
Bruckner. Edited by Felix
Loy. Individual part.
Composed 1893. WAB 28. 12
pages. Duration 60
minutes. Carus Verlag
#2709432. Published by
Carus Verlag
(CA.2709432).
Key: F
minor.
Latin.
Brucknerâ
™s mighty Mass in F
minor is one of his most
significant creations and
one of the great
19th-century choral
works. The composer
uniquely succeeds in
exploring faith through
the lens of music. In
doing so, he ventures
into extreme forms of
expression, which caused
some disgruntlement among
the musicians at
rehearsals for the
premiere in November
1868. In subsequent
years, however, the work
has gradually become more
accepted, and today
presents a highly
appealing challenge to
advanced choirs.
The Carus edition
presents the Mass in F
minor as the final 1893
version based on the
autograph and the
surviving copies from the
copyist. As an Urtext
edition it follows the
latest scholarly
standards ready for the
Bruckner anniversary year
in 2024!
On
Allein Gott in der Hoh
sei Ehr. Composed by
Georg Philipp Telemann.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Missa Brevis Uber
Allein Gott In Der.
Sacred vocal music, Missa
brevis in Latin, Praise
and thanks. Single Part,
Viola. TVWV 9:2. 4 pages.
Duration 6 minutes. Carus
Verlag #CV 39.096/13.
Published by Carus Verlag
(CA.3909613).
ISBN
9790007215262. Key: G
major. Language:
Latin.
Telemann's
Missa brevis on Allein
Gott in der Hoh sei Ehr
is one of his eleven
surviving Latin Missae
breves based on church
hymns. The motet-like
composition calls for a
mixed choir accompanied
by a basso continuo,
reinforced by colla-parte
instruments. However, the
mass can also be
performed solely with an
organ accompaniment.
Score and part available
separately - see item
CA.3909600.
Choir SKU: ST.EC32 Composed by Robert White. Edited by David Mateer. Libr...(+)
Choir
SKU: ST.EC32
Composed by Robert White.
Edited by David Mateer.
Library Volumes. Edited
by David Mateer. First
published in 1986. Pages:
164. Format: Paperback.
Dimensions (mm): 254 x
177 x 11. Choral Score.
Stainer & Bell Ltd.
#EC32. Published by
Stainer & Bell Ltd.
(ST.EC32).
ISBN
9790220218378.
Incl
uded are Libera me,
Domine, de morte
aeterna, the ninth
respond at Matins in the
Office of the Dead, and
WhiteAs only surviving
essay in respond form.
There are also four hymn
settings with Sarum
texts, and two
Lamentation settings.
They hold an important
place in the ranks of a
genre that briefly
flourished during the
Elizabethan period,
despite a lack of
indigenous precedent for
the form.
Individual titles
from this volume are
available as Adobe PDF
files...
Violin and Contra Bass SKU: BT.YE0067 Composed by Johann Baptist Vanhal. ...(+)
Violin and Contra Bass
SKU: BT.YE0067
Composed by Johann
Baptist Vanhal. Book
Only. Yorke Edition
#YE0067. Published by
Yorke Edition
(BT.YE0067).
Violin, viola
and bass. Anamazing piece
of musical research
enabled this work to be
assembled from autographs
surviving in Prague,
Bologna, Vienna and
Paris. Vintage Vanhal,
published here for the
first time; five short
movementsin best late
18th century style. Score
and parts.
(Revised Edition). By Wolfgang Amadeus Mozart (1756-1791). Edited by Peter Jost....(+)
(Revised Edition). By
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Peter Jost. Henle Music
Folios. Softcover. 210
pages. G. Henle #HN932.
Published by G. Henle
Composed by Marc-Antoine
Charpentier. Edited by
Jean-Paul Montagnier.
Choir; stapled. Eulenburg
Orchestral Series. Mass;
Renaissance/early
Baroque; Baroque. Part.
16 pages. Duration 20'.
Breitkopf and Haertel
#EOS 8041-15. Published
by Breitkopf and Haertel
(BR.EOS-8041-15).
ISBN
9790004789612. 8.5 x 11.5
inches.
Of the 11
surviving settings of the
Mass by Charpentier, the
present work, ,Messe de
Minuit', ist without
doubt one of the most
popular. The work belongs
to the tradition of the
parody-Mass: the composer
adapted 10 noels - whose
titles are given in the
autograph - to the text
of the Ordinary. The
resulting music is fresh,
charming and
jubilant. The single
extant source is book 66
of the 25th volume of
Charpentier's autograph
,Meslanges' which was
sold to the Bibliotheque
Royale (now Bibliotheque
Nationale) Paris. The
manuscript is extremely
clear. All editorial
additions are placed in
square
brackets. (Jean-Paul
Montagnier)
(Jean-Paul
Montagnier) The
present edition is based
on the manuscript from
the Bibliotheque
Nationale de France
(Paris). It it the oldest
known source of the work.
The very few errors have
been corrected.
(Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung.
Wedding cantata.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. Stuttgart
Urtext Edition: Bach
vocal. Dem Gerechten Muss
Das Licht Immer Wieder.
Sacred vocal music,
Cantatas, Wedding. Full
score. BWV 195. 96 pages.
Duration 16 minutes.
Carus Verlag #CV
31.195/00. Published by
Carus Verlag
(CA.3119500).
ISBN
9790007171674. Language:
German/English.
The
Hochzeitskantate (Wedding
Cantata) BWV 195 was
performed by Bach from
around 1730 at various
wedding celebrations in
different forms, and was
evidently also lent out
for performances further
afield. The only
surviving version of the
work dates from the last
years of Bach's life. The
opulently-scored first
part begins and ends with
grand choral movements,
and Bach scored both
parts for soloists and
for chorus. At the centre
of the cantata is an
exceptionally sensitive
bass aria, probably one
of Bach's most modern
vocal compositions of
all. A chorale movement
(Nun danket all and
bringet Ehr/ Now thank we
all and offer praise)
with obbligato horns
concludes the cantata as
the second part after the
consummation.
Piano SKU: BT.EMBZ14711 Softcover, Works for Piano Solo, Supplementary...(+)
Piano
SKU:
BT.EMBZ14711
Softcover, Works for
Piano Solo, Supplementary
vol. 13. By Adrienne
Kaczmarczyk. By Ferenc
Liszt. EMB Liszt Works.
Book Only. Composed 2010.
264 pages. Editio Musica
Budapest #EMBZ14711.
Published by Editio
Musica Budapest
(BT.EMBZ14711).
Composed
by Georg Philipp
Telemann. Edited by Felix
Schroeder. Arranged by
Felix Schroeder.
Stuttgart Urtext Edition:
Telemann-Archiv. Organ.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Single Part, Organ.
Composed 1744. TVWV 5:29.
72 pages. Carus Verlag
#CV 39.495/49. Published
by Carus Verlag
(CA.3949549).
ISBN
9790007241186. Language:
German/English.
Of
the five surviving St.
Luke Passions by
Telemann, this first
printing of the Passion
of 1744 distinguishes
itself first with, aside
from expressive arias,
the dramatic choruses. In
contrast to his other
Passions, Telemann only
uses three chorales here:
as an opening, during the
scene on the Mount of
Olives, and as a closing.
This setting of the
Passion is an
full-evening of music of
only moderate difficulty
and moderate scoring
requirements. Score and
part available separately
- see item
CA.3949500.
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, ...(+)
Orchestra Solo soprano
voice, solo tenor voice,
SATB chorus (div.), 2 Fl,
2 Ob, 2 Clt, 2 Fg, 4 Cor,
2 Tr, 3 Trb, Oficleide
(Tb), Timp, Arpa, 2 Vl,
Va, Vc, Cb - Grade 3
SKU: CA.2718732
Composed by Georges
Bizet. Edited by Marc
Rigaudière. Single
Part, horn 1. Composed
1858. 8 pages. Duration
20 minutes. Carus Verlag
#2718732. Published by
Carus Verlag
(CA.2718732).
Latin.
As an
acclaimed opera composer,
Georges Bizet admitted
that he had no real
sensibility for sacred
music. His Te Deum is
nonetheless a truly
fascinating and highly
expressive work. From the
majestic “Te Deum
laudamusâ€, to the
skillful choral fugue of
“Fiat misericordia
tuaâ€, and the
opening's powerful
recapitulation, the
composition shows no
trace of the difficulties
that beset the young
Bizet by his own
admission before he
finally completed the
work in 1858.
In
the extensive trilingual
preface to this Urtext
edition, editor Marc
Rigaudière illuminates
the circumstances
surrounding the
composition of the Te
Deum, a work which
occupies a singular
position in
Bizet’s œuvre.
The edition is based on
the composer’s
autograph score —
the work's only surviving
source. For the first
time, this work is
available with all
performance parts.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Single Part,
Violin 1. Composed 1727.
BWV 198. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
31.198/11. Published by
Carus Verlag
(CA.3119811).
ISBN
9790007210595. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Missa solemnis Soli, choeur mixte et accompagnement Carus Verlag
Composed by Ludwig van Beethoven (1770-1827). Edited by Meinrad Walter. Caru...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Meinrad Walter. Carus
book
series: Studies of
composers,
Wort. Werk. Wirkung -
publications with
Deutsche
Bibel-Gesellschaft. With
CD.
Book. Composed 1817/23.
Op.
123. Duration 91 minutes.
Carus Verlag #CV
24.171/00.
Published by Carus Verla
Vespers
1610. Composed by
Claudio Monteverdi.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Marienvesper. Innovative
practice aids, Sacred
vocal music, Feasts of
the Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Single Part,
Violin 3. SV 206. 16
pages. Duration 90
minutes. Carus Verlag #CV
27.801/13. Published by
Carus Verlag
(CA.2780113).
ISBN
9790007202712. Language:
Latin.
As with
scarcely any other work
of the 17th century,
Monteverdi's Vespers has
found its way into
today's repertoire.
Nevertheless, the Vespers
still leaves open many
questions. The new
edition, with its
critical examination of
the sources, takes up
these oft-discussed
issues concerning scoring
possibilities,
performance practice,
transpositions and
liturgical unity. It is
based on all of the
surviving copies of the
print of 1610 and the
earliest handwritten
entries have also been
critically examined and
evaluated. Performance
material is organized in
a flexible manner to
allow for the use of
different instruments in
those movements without
obbligato instruments in
order to reinforce the
vocal parts and thus
invites an individual
musical approach to the
challenge presented by
Monteverdi's Vespers.
Score and part available
separately - see item
CA.2780100.
Organ SKU: BR.EB-9304 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9304
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
108 pages. Breitkopf and
Haertel #EB 9304.
Published by Breitkopf
and Haertel (BR.EB-9304).
ISBN 9790004187685. 12
x 9 inches.
This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions);
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only)); good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility); contains
facsimiles. The
corresponding Critical
Commentary is contained
in Volume I/2 (EB
9305).
Soli SATB, SATB Choir, 2 Ob, Tl (Eh), 2 Vl, Va, Vc, organ obl, Bc SKU: CA.311...(+)
Soli SATB, SATB Choir, 2
Ob, Tl (Eh), 2 Vl, Va,
Vc, organ obl, Bc
SKU:
CA.3118819
Cantata
for the 21st Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Pieter Dirksen.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, End of the
church year, Trinity. Set
of Orchestra Parts.
Composed 1728. BWV 188.
Duration 25 minutes.
Carus Verlag #CV
31.188/19. Published by
Carus Verlag
(CA.3118819).
ISBN
9790007210076. Language:
German/English.
The
cantata Ich habe meine
Zuversicht BWV 188 comes
from the so-called
Picander cycle and was
written for the 21st
Sunday after Trinity in
1728 or 1729. There are
some particular problems
associated with its
transmission. The
original set of parts was
lost, and the manuscript
score only survives in
fragmentary form.
Probably as early as the
18th century the score
was divided up into
numerous separate parts
in order to make more
money, or to be able to
provide as many Bach
relics as possible for
posterity. The first
movement, an instrumental
sinfonia, is missing
apart from the final
bars. We simply know that
this sinfonia is based on
the 3rd movement of the
Harpsichord Concerto BWV
1052 in D minor and that
instead of the
harpsichord, an obbligato
organ was envisaged. Its
successful reconstruction
by the baroque specialist
and organist Pieter
Dirksen now makes it
possible to perform the
cantata again complete
with the introductory
sinfonia. Score and parts
available separately -
see item CA.3118800.
Composed by Heinrich
Schutz. Edited by Uwe
Wolf. Sacred vocal music.
Stuttgart Urtext Edition:
Schutz. Organ. Sacred
vocal music. Single Part,
Organ. SWV 453. Duration
4 minutes. Carus Verlag
#CV 20.453/49. Published
by Carus Verlag
(CA.2045349).
ISBN
9790007249366. Language:
German.
This
composition survives in
the sources as a wedding
song, even though the
occasion it was written
for is not known. It is
stylistically close to
the Symphoniae sacrae I,
sharing its exquisite
scoring with the last
composition in the set
(Bucinate in neomenia
tuba/Jubilate Deo) with
concertante instrumental
parts for cornett and
trumpet (or two
cornetts). The text,
taken from Proverbs, has
an opening verse in
triple meter which recurs
in the middle (shortened)
and at the end of the
composition in the style
of a ritornello, then
commonly found in Italy.
This verse ends with a
characteristically
dissonant transition for
the upper instrumental
parts to the final chord
- as the key message of
the composition. Score
and part available
separately - see item
CA.2045300.
Composed by Frantisek Xaver Dusek. Edited by Vojtech Spurny. This edition: urt...(+)
Composed by Frantisek
Xaver
Dusek. Edited by Vojtech
Spurny. This edition:
urtext
edition. Paperback.
Performance score.
Published
by Baerenreiter Verlag
On
Allein Gott in der Hoh
sei Ehr. Composed by
Georg Philipp Telemann.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Missa Brevis Uber
Allein Gott In Der.
Sacred vocal music, Missa
brevis in Latin, Praise
and thanks. Full score.
TVWV 9:2. 16 pages.
Duration 6 minutes. Carus
Verlag #CV 39.096/00.
Published by Carus Verlag
(CA.3909600).
ISBN
9790007097509. Key: G
major. Language:
Latin.
Telemann's
Missa brevis on Allein
Gott in der Hoh sei Ehr
is one of his eleven
surviving Latin Missae
breves based on church
hymns. The motet-like
composition calls for a
mixed choir accompanied
by a basso continuo,
reinforced by colla-parte
instruments. However, the
mass can also be
performed solely with an
organ accompaniment.
Solomotette zum
Dreifaltigkeitsfest oder
zu Weihnachten.
Composed by Wolfgang
Amadeus Mozart. Edited by
Wolfgang Hochstein. This
edition: urtext.
Stuttgart Urtext Edition:
Mozart. Exsultate,
Jubilate Rev.2000. Sacred
vocal music, Trinity,
Christmas, Praise and
thanks, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Reduction
for organ. Composed 1773.
KV 165 (158a). 16 pages.
Duration 17 minutes.
Carus Verlag #CV
40.767/04. Published by
Carus Verlag
(CA.4076704).
ISBN
9790007084998. Key: F
major. Language:
Latin.
A good six
years following its first
performance in Milan
(1773) a second version
of Exsultate, jubilate
was completed for a
performance on Trinity
Sunday in 1779. It has
survived in a manuscript
from Salzburg. This
Salzburg version, which
was discovered in 1978,
differs from the Milan
version primarily through
the use of flutes instead
of oboes and also through
the use of two different
texts for the first aria.
In the first version the
text refers to Christmas,
whereas in the second
version it refers to the
festival of Trinity.
Mozart's autograph of the
Milan version had been
thought to be missing
since the second world
war and it has only been
accessible in the
Biblioteka Jagiellonska
in Krakow for a little
over a decade. The
present new critical
edition by Wolfgang
Hochstein is the first
which could be based on
both versions. Score
available separately -
see item CA.4076700.
Marianischer
Hymnus. Composed by
Antonio Caldara. Edited
by Guido Erdmann. This
edition: Paperbound.
Music from Vienna. German
title: Ave Maris Stella
(Bpack). Sacred vocal
music, Hymns, Motets,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary, Daily hours. Full
score. Composed before
1737 (circa 1720). 8
pages. Duration 3
minutes. Carus Verlag #CV
27.701/00. Published by
Carus Verlag
(CA.2770100).
ISBN
9790007097103. Key: F
major. Language:
Latin.
The series
Vienna - Music of the
imperial royal seat has
been initiated with
Caldara's Ave maris
stella for solo soprano
and alto, two obbligato
violins and basso
continuo. The performance
dates in the surviving
source material show that
the piece was performed
on 1 February in 1752 and
1754 during the first
solemn vespers for
Candlemas, probably in
the Great Hofburgkapella.
The short pleasing piece
is suitable in a
concertante setting as
well as for sacred
services (especially on
feasts to the Virgin Mary
and during vespers), but
it is also appropriate
for prayer services.
Soli SATB, SATB Choir, 2 Ob, Tl (Eh), 2 Vl, Va, Vc, organ obl, Bc SKU: CA.311...(+)
Soli SATB, SATB Choir, 2
Ob, Tl (Eh), 2 Vl, Va,
Vc, organ obl, Bc
SKU:
CA.3118812
Cantata
for the 21st Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Pieter Dirksen.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music, End
of the church year,
Trinity. Single Part,
Violin 2. Composed 1728.
BWV 188. 8 pages.
Duration 25 minutes.
Carus Verlag #CV
31.188/12. Published by
Carus Verlag
(CA.3118812).
ISBN
9790007210045. Language:
German/English.
The
cantata Ich habe meine
Zuversicht BWV 188 comes
from the so-called
Picander cycle and was
written for the 21st
Sunday after Trinity in
1728 or 1729. There are
some particular problems
associated with its
transmission. The
original set of parts was
lost, and the manuscript
score only survives in
fragmentary form.
Probably as early as the
18th century the score
was divided up into
numerous separate parts
in order to make more
money, or to be able to
provide as many Bach
relics as possible for
posterity. The first
movement, an instrumental
sinfonia, is missing
apart from the final
bars. We simply know that
this sinfonia is based on
the 3rd movement of the
Harpsichord Concerto BWV
1052 in D minor and that
instead of the
harpsichord, an obbligato
organ was envisaged. Its
successful reconstruction
by the baroque specialist
and organist Pieter
Dirksen now makes it
possible to perform the
cantata again complete
with the introductory
sinfonia. Score and part
available separately -
see item CA.3118800.
Soli SATB, SATB Choir, Ob (auch Obdc), 2 Vl, Va, Bc - Level 3 SKU: CA.3108064...(+)
Soli SATB, SATB Choir, Ob
(auch Obdc), 2 Vl, Va, Bc
- Level 3
SKU:
CA.3108064
Cantata
for Reformation Day.
First Leipzig
version. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
Stuttgart Urtext Edition:
Bach vocal; Hymns by
Martin Luther: Ein feste
Burg ist unser Gott. Ein
Feste Burg (Erste Leipz.
Fassung). Sacred vocal
music, Cantatas,
Reformation day. Single
Part, basso continuo.
Composed 1728/31. BWV
80b. 16 pages. Duration
30 minutes. Carus Verlag
#CV 31.080/64. Published
by Carus Verlag
(CA.3108064).
ISBN
9790007206826. Key: D
major. Language:
German/English. Text:
Luther, Martin / Franck,
Salomo.
The
Reformation cantata Ein
feste Burg ist unser Gott
BWV 80b, published by
Carus-Verlag for the
first time in a practical
performing edition,
remained unknown to Bach
scholars until well into
the 20th century. The
evidence of its existence
is three fragments of the
first folio of Bach's
score, which can be dated
to the years 1728-1731.
By contrast, the
long-familiar expanded
new version of the
cantata with its powerful
opening chorus (BWV 80)
dates from the 1730s or
1740s. It only survives
in a copy of Bach's
score, but this allows
conclusions to be drawn
about the history of the
versions; thus, by using
the fragments mentioned
above, it has been
possible to reconstruct
the first version. This
result is a Bach cantata
which is less extensive
and in a more concise
normal format, with
reduced wind instruments.
A relaxed, contrapuntal
four-part chorale
movement with the first
and last verses of the
Lutheran hymn forms the
framework, and the other
movements are the same as
in the later new version.
This simpler cantata is
also entirely suitable
for celebrating
Reformation Day, as Bach
did around 1730. Score
and part available
separately - see item
CA.3108000.
Composed by Gustav Mahler (1860-1911). Edited by Christoph Flamm. For Piano Quar...(+)
Composed by Gustav Mahler
(1860-1911). Edited by
Christoph Flamm. For
Piano Quartet. Henle
Music Folios. Softcover.
32 pages. G. Henle
#HN1228. Published by G.
Henle
Composed by Johann
Christoph Altnickol.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Violin 1. Sacred vocal
music, Mass sections.
Single Part, Violin 1. 4
pages. Duration 3
minutes. Carus Verlag #CV
27.087/11. Published by
Carus Verlag
(CA.2708711).
ISBN
9790007200176. Key: F
major. Text language:
Latin.
Ultimately,
he is a pupil for whom I
need not feel
embarrassed, wrote J. S.
Bach, summarizing the
qualities of his
son-in-law to be, J. C:
Altnickol. Altnickol's
two settings of the
Sanctus, based on a
Gregorian cantus firmus,
are among his few works
which have survived.
While in the second of
these compositions he
chose to write a
polyphonic choral
setting, in the present
Sanctus he allows all
four voices of the choir
to sing unisono,
accompanied by a
polyphonically treated
string ensemble. In both
compositions, however, he
proves himself to be a
contrapuntalist fully
worthy of Bach's
appraisal. Score and part
available separately -
see item CA.2708700.