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Couverture
Jesu, Meine Freude - Gloria Sei Dir Gesungen - Anon.: Alta Trinita Beata - Burck: Nun Laßt Uns Gott, Dem Herren (DIVERS AUTEURS / BACH JOHANN SEBASTIAN / BURCK JOA)
3.10
Jesu, Meine Freude - Gloria Sei Dir Gesungen - Anon.: Alta Trinita Beata - Burck: Nun Laßt Uns Gott, Dem Herren (DIVERS AUTEURS / BACH JOHANN SEBASTIAN / BURCK JOA)
Chorale SATB
[Partition]
Carus Verlag
Gloria sei dir gesungen - Alta trinita beata. Par DIVERS AUTEURS / BACH JOHANN S...
(+)
Gloria sei dir gesungen - Alta trinita beata. Par DIVERS AUTEURS / BACH JOHANN SEBASTIAN / BURCK JOA. Gattungen: Hymnen, Kirchenlieder, Sätze - Verwendung / Kirchenjahr: Ende des Kirchenjahres -/ Répertoire / Choeur Mixte
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 62Cantata for the First Sunday of AdventBach began two of his cantatas (BWV 61 and 62) - belonging to the Weimar and Leipzig periods respectively - with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. The cantata can be described as a Choral Cantata typical of Bach's late creative period incorporating the older technical processes of polyphonic chorale settings as well as more modern solo movements.Urtext of the New Bach EditionPerformance material (BA10062) Vocal score (BA10062-90) & study scoreformat 22.5 x 16cm (TP1062) available for sale
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 61Cantat...
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Cantata for the First Sunday of Advent-Nun komm der Heiden Heiland BWV 61Cantata for the First Sunday of AdventBach began two of his cantatas with Martin Luther`s Advent hymn 'Nun komm der Heiden Heiland' a German version of the early church hymn 'Veni redemptor gentium'. One of the most gripping solo parts (following the pattern recitative – aria – recitative – aria) is the bass recitative on the words of the Revelation with its highly expressive declamation of the vocal line and the naive graphicness of the pounding string accompaniment.Equally captivating is the following soprano aria which 'opens its heart' upon the Saviour's 'knocking' in a melody full of thecheerful tidings of Advent. The cantata ends brilliantly with a lovely figurative chorale movement enhanced by the interplay of a lively bustling violin part which ultimately soars upward to breathtaking heights.- Urtext of the New Bach Edition
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The Novello Book Of Hymns: SATB: Vocal Score
19.99
The Novello Book Of Hymns: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Novello & Co Ltd.
50 Hymn Arrangements for SATB Choir and Congregation-The Novello Book Of Hymns i...
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50 Hymn Arrangements for SATB Choir and Congregation-The Novello Book Of Hymns is a collection of 50 favourite hymns inspiringly and engagingly written for SATB Choirs. Edited by David Hill all the arrangements in this book are designed to be singable by congregations without music and can be used in any church or school service.As well as providing uplifting versions of hymns these arrangements also work well as easy anthems enabling church and school choirs to learn an often striking and dramatic piece of music quickly and easily.The hymns have been arranged by a range of well-loved composers including Richard Lloyd John Bertalot David Hill Stephen Jackson Philip Moore Christopher Robinson and many others.Editor of the collection David Hill is a Choral Advisor to Novello. He is Chief Conductor of the BBC Singers Musical Director of the Bach Choir Chief Conductor of the Southern Sinfonia Associate Guest Conductor of the Bournemouth Symphony Orchestra Music Director of Leeds Philharmonic Society and Professor of Choral Conducting at Yale University.
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Johann Sebastian Bach: Cantata BWV 140 Wachet auf ruft uns die Stimme: Mixed
9.50
Johann Sebastian Bach: Cantata BWV 140 Wachet auf ruft uns die Stimme: Mixed
Soli, choeur mixte et accompagnement
Soli, chœur mixte et piano
[Partition]
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Wachet auf ruft uns die Stimme (Wake ye maids! hark strikes the hour) (BWV 140...
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Wachet auf ruft uns die Stimme (Wake ye maids! hark strikes the hour) (BWV 140)Cantata for the 27th sunday after Trinity The Cantata BWV 140 was written in 1731 and first performed in Leipzig on November 25 of that year - the performance was directed by Bach himself. In addition to three vocal soloists and chorus the work is scored for two Oboes English Horn Bassoon Horn Violino Piccolo Strings and Continuo. The Cantata Wachet auf 'Sleepers Awake' is based on a hymn by Philipp Nicolai also written in 1731 for the 27th Sunday after Trinity. Urtext of the NewBach Edition Study score format 22.5 x 16.5cm (TP1140) performance material (BA10140) and vocal score (BA10140-90) available for sale
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Johann Sebastian Bach: Ein Feste Burg Ist Unser Gott BWV 80: SATB: Vocal Score
9.10
Johann Sebastian Bach: Ein Feste Burg Ist Unser Gott BWV 80: SATB: Vocal Score
Chorale SATB
satb (soli), SATB (chœur), Clavier
[Vocal Score]
Carus Verlag
Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein fe...
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Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein feste Burg ist unser Gott for SATB and Orchestra.Bach's Reformation cantata based on what is probably Martin Luther's most famous hymn evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716 now missing which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730 Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on in the 1730s or 1740s Bach replaced the introductory chorale movement with achorale setting which was unique spacious and motet-like in its style; this uniquely in this respect incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets timpani as playing score) by Wilhelm Friedemann Bach are available.
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Liebster Immanuel, Herzog Der Frommen (BACH JOHANN SEBASTIAN)
10.33
Liebster Immanuel, Herzog Der Frommen (BACH JOHANN SEBASTIAN)
Chorale SATB
SATB, Piano
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Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata...
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Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Piano
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Liebster Immanuel, Herzog Der Frommen (BACH JOHANN SEBASTIAN)
37.80
Liebster Immanuel, Herzog Der Frommen (BACH JOHANN SEBASTIAN)
Chorale SATB
SATB, Orchestre
[Partition]
Carus Verlag
Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata...
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Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre
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Johann Sebastian Bach: Complete Book Of Bach Chorales: Mixed Songbook
32.99
Johann Sebastian Bach: Complete Book Of Bach Chorales: Mixed Songbook
Piano, Voix
[Partition]
-
Facile
Mel Bay
This book presents 375 of J.S. Bach's surviving chorale harmonizations with si...
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This book presents 375 of J.S. Bach's surviving chorale harmonizations with singable English translations of the original German text by choral conductor Henry S. Drinker. Printed in an easy-to-read format this edition wasdesigned to facilitate both analysis of Bach's musical genius in voice leading and renewed performance of these works by congregations. It is hoped that this user-friendly edition will inspire students and congregations alike totake a fresh look at this priceless musical treasure. Today they remain some of the finest examples of voice leading and harmonic movement making them appropriate study material for any student of music theory and harmony.Chorales are also the root of traditional hymnody especially from the Lutheran tradition. The chorales were originally text and melody sung a cappella and were for congregational singing. Chorales were set in four parts forchoir use and are still appropriate for performance in worship services today. Many of the melodies will be familiar to those who sing traditional hymns. Choirs will love singing these beautifully written settings.
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Johann Sebastian Bach: Jesu Priceless Treasure: SATB: Vocal Score
10.99
Johann Sebastian Bach: Jesu Priceless Treasure: SATB: Vocal Score
Chorale SATB
SATB, Piano
[Vocal Score]
-
Intermédiaire/avancé
Novello & Co Ltd.
Jesu Priceless Treasure is one of very few Bach motets which are in five parts....
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Jesu Priceless Treasure is one of very few Bach motets which are in five parts. Of all of Bach's motets it is the longest the most varied and has the greatest emotional range. It is founded on the hymn Jesu Meine Freude by Johannes Franck and the melody which Bach has used as the main feature of this motet is the one set to Franck's hymn by Johann Cruger and appeared first in his Praxis Pietatis Melica. The motet seems to have been written for the funeral of Frau Reese in 1723.This piece for SSATB voices can be sung unaccompanied or with the Piano Accompaniment provided in this edition.
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Wohl Dem, Der Sich Auf Seinen Gott (BACH JOHANN SEBASTIAN)
12.34
Wohl Dem, Der Sich Auf Seinen Gott (BACH JOHANN SEBASTIAN)
Chorale SATB
[Partition]
Carus Verlag
Kantate Zum 23. Sonntag Nach Trinitatis, Bwv 139, 1724. Par BACH JOHANN SEBASTIA...
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Kantate Zum 23. Sonntag Nach Trinitatis, Bwv 139, 1724. Par BACH JOHANN SEBASTIAN. Bach's chorale cantata with its opening text 'Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen” (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout - this is followed by a lively tenor aria 'Gott ist mein Freund” (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria 'Das Unglück schlägt auf allen Seiten” (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello./ Répertoire / Chœur Mixte et Piano
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Complete Book Of Bach Chorales (SILVERMAN JERRY)
45.26
Complete Book Of Bach Chorales (SILVERMAN JERRY)
Piano, Voix
Mel Bay
Par SILVERMAN JERRY. This book presents 375 of J.S. Bach's surviving chorale har...
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Par SILVERMAN JERRY. This book presents 375 of J.S. Bach's surviving chorale harmonizations with singable English translations of the original German text by choral conductor Henry S. Drinker. Printed in an easy-to-read format, this edition was designed to facilitate both analysis of Bach's musical genius in voice leading and renewed performance of these works by congregations. It is hoped that this user-friendly edition will inspire students and congregations alike to take a fresh look at this priceless musical treasure. Today they remain some of the finest examples of voice leading and harmonic movement, making them appropriate study material for any student of music theory and harmony. Chorales are also the root of traditional hymnody, especially from the Lutheran tradition. The chorales were originally text and melody sung a cappella, and were for congregational singing. Chorales were set in four parts for choir use, and are still appropriate for performance in worship services today. Many of the melodies will be familiar to those who sing traditional hymns. Choirs will love singing these beautifully written settings. / Niveau : Débutant à Intermédiaire / Classic - Songbooks / Recueil / Chant et Piano
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
9.50
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
[Partition]
Carus Verlag
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
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Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2004-03-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
3.30
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
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Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
(+)
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
3.60
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
[Partition]
Carus Verlag
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
(+)
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
3.60
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
[Partition]
Carus Verlag
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
(+)
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Johann Sebastian Bach: Now Thank We All Our God: SATB: Vocal Score
2.25
Johann Sebastian Bach: Now Thank We All Our God: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Novello & Co Ltd.
Now Thank We All Our God was a hymn first written by the German priest Martin Ri...
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Now Thank We All Our God was a hymn first written by the German priest Martin Rinkart in the 1630s. It has been adapted many times over the years most famously by Mendelssohn as a hymn tune. The version here was created as the third movement of Bach's Cantata BWV 79 (The Lord is a Sun and Shield) written for Reformation Day in 1725. It has been arranged for SATB choir with keyboard accompaniment presented here with the popular English text.J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organistand choirmaster and wrote many ecclesiastical works.
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
3.60
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
[Partition]
Carus Verlag
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
(+)
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
29.00
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
[Partition]
Carus Verlag
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
(+)
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-08-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
11.40
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
(+)
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Musique religieuse / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
10.60
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
[Partition]
Carus Verlag
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
(+)
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Musique religieuse / Date parution : 2006-08-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
3.60
Ach Herr, Mich Armen Sünder (BACH JOHANN SEBASTIAN)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
[Partition]
Carus Verlag
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed...
(+)
Kantate Zum 3. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach composed BWV 135 as the fourth cantata in the second annual cycle of Leipzig cantatas. The hymn 'Ach Herr, mich armen Sünder' was written in the 16th century to the tune of 'Herzlich tut mich verlangen'. The unidentified Leipzig librettist of the 2nd cycle of chorale cantatas made free use of this hymn as the basis of an exemplary cantata text. / Date parution : 2005-05-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Violons,
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Bach J.s. - Now My Soul Exalts The Lord Bwv 10 - Vocal Score
9.50
Bach J.s. - Now My Soul Exalts The Lord Bwv 10 - Vocal Score
Chorale SATB
[Partition]
Barenreiter
Bach, Johann Sebastian Now my soul exalts the Lord BWV 10 Cantata for the Feast ...
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Bach, Johann Sebastian Now my soul exalts the Lord BWV 10 Cantata for the Feast of Visitation B. V. M. With his cantata 'Meine Seel erhebt den Herren' which Bach composed for the Visitation of Mary (2 July), he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation, the basis being the Marian hymn of praise from the Gospel according to Luke. The 9th psalm tone acts as the chorale melody and becomes a recurring musical theme. With a small scoring of one trumpet (which if need be can be omitted), two oboes, strings and basso continuo along with four soloists and choir, Bach succeeds in writing a festive music of 20-25 minutes. This performing edition is based on the Urtext of the 'New Bach Edition'. - Festive cantata based on the Urtext of the 'New Bach Edition' - With a duration of 20-25 minutes Edition no.: BA 10010-90 ISMN: 9790006561520 Editor: Wolf, Uwe Arranger: Grünert, Matthias Language(s) of work: German, English Language(s) of text: English, German Product format: Piano reduction, Urtext edition Binding: Stapled Pages / Format: IV, 33 S. - 27,0 x 19,0 cm
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Bereitet Die Wege, Bereitet Die Bahn (BACH JOHANN SEBASTIAN)
9.50
Bereitet Die Wege, Bereitet Die Bahn (BACH JOHANN SEBASTIAN)
Solistes SATB, Choeur SATB, HautboiSBasson, 2 Viol
satb (soli), SATB (chœur), Clavier
[Partition]
Carus Verlag
Kantate Zum 4. Advent. Par BACH JOHANN SEBASTIAN. Bach’s cantata BWV 132 was w...
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Kantate Zum 4. Advent. Par BACH JOHANN SEBASTIAN. Bach’s cantata BWV 132 was written for the 4th Sunday in Advent, and the autograph score is dated 1715. It was composed while Bach was at Weimar, to a libretto by the Weimar Court Preacher Salomon Franck. Its subject matter is the testimony of John the Baptist addressed to the Christian community and to individual believers. Since the original concluding chorale, the fifth verse of the hymn “Herr Christ der einig Gotts Sohn' [Elisabeth Cruziger], has been lost, here the cantata ends with the last movement [transposed from B flat to A major], to the same words, of the cantata BWV 164./ Répertoire / Solistes SATB, Choeur SATB, HautboiSBasson, 2 Viol
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Johann Sebastian Bach: Cantata No. 10: Mixed Choir: Vocal Score
8.00
Johann Sebastian Bach: Cantata No. 10: Mixed Choir: Vocal Score
Soli, choeur mixte et accompagnement
Barenreiter
Cantata for the Feast of Visitation B. V. M.-Now My Soul Exalts The Lord BWV 10:...
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Cantata for the Feast of Visitation B. V. M.-Now My Soul Exalts The Lord BWV 10: Cantata for the Feast of Visitation B. V. M.With his cantata Meine Seel Erhebt Den Herren which Bach composed for the Visitation of Mary (2 July) he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation the basis being the Marian hymn of praise from the Gospel according to Luke. The 9th psalm tone acts as the chorale melody and becomes a recurring musical theme.With a small scoring of one trumpet (which if need be can be omitted) two oboes strings and basso continuo along with four soloists and choir Bach succeeds in writing a festive music of 20-25 minutes.This performing edition is based on the Urtext of the New Bach Edition.
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Ach Wie Fluchtig, Ach Wie Nichtig Bwv 26 (BACH JOHANN SEBASTIAN)
11.28
Ach Wie Fluchtig, Ach Wie Nichtig Bwv 26 (BACH JOHANN SEBASTIAN)
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satb (soli), SATB (chœur), Clavier
[Partition]
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Kantate für den 24. Sonntag nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach’...
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Kantate für den 24. Sonntag nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach’s cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of ”vanity. ”/ Répertoire / Chant
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Ich Freue Mich In Dir (BACH JOHANN SEBASTIAN)
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Ich Freue Mich In Dir (BACH JOHANN SEBASTIAN)
Solistes SATB, Choeur SATB, 2 Hautbois d'Amour, 2
satb (soli), SATB (chœur), Clavier
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Kantate Zum 3. Weihnachtstag. Par BACH JOHANN SEBASTIAN. The cantata 'Ich freue ...
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Kantate Zum 3. Weihnachtstag. Par BACH JOHANN SEBASTIAN. The cantata 'Ich freue mich in dir' was first performed during Bach's second year as Thomaskantor, on the 3rd day of Christmas, and belongs to the so-called annual cycle of chorale cantatas. Here the focus of the composition is the hymn of the same name by Philipp Ziegler, in which the first and final strophes were adopted, word for word, in the first and sixth movements of the cantata. The soprano, which carries the chorale, is supported by the conrnett [Zink], which already at this time had become a seldom-used instrument. The joyful, lively choral movement with instrumental interludes directly follows the first aria, and begins with a marked, ascending motive at the word'Getrost!' [safely]. The oboes d'amore which accompany the alto lend the movement a special color. In the second aria [for soprano], Bach again shows himself to be the master of text interpretation. The words 'Wie lieblich klingt es in den Ohren' are emphasized in an exchange between open strings and sixteenth note figures. / Date parution : 2004-03-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois d'Amour, 2
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Nun Danket Alle Gott (BACH JOHANN SEBASTIAN)
9.67
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Kirchenkantate, Bwv 192, 1730Ca. Par BACH JOHANN SEBASTIAN. The cantata 'Nun dan...
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Kirchenkantate, Bwv 192, 1730Ca. Par BACH JOHANN SEBASTIAN. The cantata 'Nun danket alle Gott” (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig)./ Répertoire / Chœur Mixte et Piano
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