D'Amore Sonata Op. 25, No. 2

SKU: HL.49000337

ISBN 9790001003261. UPC: 073999290547. 9.0x12.0x0.099 inches.

Flute, violin or viola d'amore (also flutes, oboe, 2 flutes, 2 violins) and basso continuo.

SKU: TM.01536SC

Does not incl #12 Trio Sonata (see #650-5603). No. 1 Ricercar, No. 2 Canon perpetuus super Thema Regium, No. 3 Canon 1 a 2, No. 4 Canon 2 a 2 Violini in Unisono, No. 5 Canon 3 a 2 per Motum contrarium, No. 6 Canon 4 a 2 per Augmentationem contrario Motu, No. 7 Canon 5 a 2, No. 8 Fuga canonica in Epidiapente, No. 9 Ricercar a 6, No. 10 Canon a 2 Quaerendo invenietis, No. 11 Canon a 4, No. 12 Sonata Siehe die gesondert beiliegende Stimme, No. 13 Canon perpetuus.

SKU: TM.01536SET

Does not incl #12 Trio Sonata (see #650-5603). No. 1 Ricercar, No. 2 Canon perpetuus super Thema Regium, No. 3 Canon 1 a 2, No. 4 Canon 2 a 2 Violini in Unisono, No. 5 Canon 3 a 2 per Motum contrarium, No. 6 Canon 4 a 2 per Augmentationem contrario Motu, No. 7 Canon 5 a 2, No. 8 Fuga canonica in Epidiapente, No. 9 Ricercar a 6, No. 10 Canon a 2 Quaerendo invenietis, No. 11 Canon a 4, No. 12 Sonata Siehe die gesondert beiliegende Stimme, No. 13 Canon perpetuus.

SKU: BR.OB-32091-30

ISBN 9790004351277. 0 x 0 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.

SKU: BR.OB-32091-15

ISBN 9790004351222. 0 x 0 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.

SKU: BR.EB-32091

ISBN 9790004186695. 7.5 x 10.5 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.

SKU: BR.OB-32091-16

ISBN 9790004351239. 0 x 0 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.

SKU: BR.PB-32091

ISBN 9790004215777. 9.5 x 12 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.

SKU: BR.OB-32091-20

0 x 0 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.

SKU: BR.OB-32091-11

ISBN 9790004351215. 0 x 0 inches.

The date of composition of the cantata Lobe den Herren, meine Seele can only be conjectured. However, several indications suggest an early composition, possibly during Kuhnau's stay in Zittau. The work is one of only two known cantatas by Kuhnau in which cornetti are scored - the second work is the cantata Christ lag in Todes-Banden (PB 32034) -, even so in combination with three trombones as an early baroque wind section. In addition, the musical texture of the introductory Sonata can certainly be understood as a reminiscence of the polychorality known from the Renaissance and early Baroque as well as their connection with the basso continuo era, since four strings and bassoon on the one side and five wind instruments on the other side face each other over a continuous continuo part. The text of the cantata is a selection of a few verses from Psalm 103. This is the larger scored cantata with this textual basis; parallel to it exists a smaller scored one for alto, bass, violin, oboe d'amore and continuo.