/ Chant
SKU: CA.3112303
ISBN 9790007166465. Text language: German/English. Text: Fritsch, Ahasverus.
This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter 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. Score available separately - see item CA.3112300.
SKU: CA.4018904
ISBN 9790007187323. Language: German/English. Text: Luther, Martin.
During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score available separately - see item CA.4018900.
SKU: CA.3119503
ISBN 9790007182908. 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. Score available separately - see item CA.3119500.
SKU: CA.3112305
ISBN 9790007166519. Text language: German/English. Text: Fritsch, Ahasverus.
SKU: CA.3112307
ISBN 9790007166748. Language: German/English. Text: Fritsch, Ahasverus. Text by Ahasverus Fritsch.
SKU: CA.3112300
ISBN 9790007164843. Text language: German/English. Text: Fritsch, Ahasverus.
This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter 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.
SKU: CA.3118653
ISBN 9790007186517. Key: G minor / c dorian. Language: German/English.
The cantata Argre dich, o Seele, nicht BWV 186 is in a sense the companion work to the much better-known cantata Herz und Mund und Tat und Leben BWV 147. Both were composed in Advent 1716 as Bach's last two cantatas for the Weimar court, and both were arranged for another Sunday in Bach's first Leipzig cantata cycle by the addition of recitatives and a large-scale chorale movement, heard at the end of both parts. The sound of the Cantata BWV 186 is characterized by the four-part woodwind ensemble writing. The final chorale, heard twice, anticipates the opening choruses of the chorale cantatas from Bach's second cycle. Cantata BWV 186 for the 7th Sunday after Trinity is a considerably expanded reworking of a Weimar Advent cantata of 1716. Only the text survives of the Advent cantata, but Diethard Hellmann has been able to reconstruct the work from the later version (Carus 31.186). Score available separately - see item CA.3118600.
SKU: BR.PB-4521
Bach's great ,,Heaviness Cantata - Now with a new piano-vocal score by Matthias Grunert.
ISBN 9790004204191. 9 x 12 inches.
The cantata I had great heaviness of heart BWV 21 is one of the most popular and beloved vocal works of Johann Sebastian Bach. Intended for a performance on the third Sunday after Trinity as well as in ogni tempo (for any occasion), this work occupies a special place within Bach's cantata oeuvre. Particularly unusual is not only its approx. 40-minute duration, but also the work's wealth of forms and sounds. Matthias Grunert, cantor of the Dresden Frauenkirche, put together an entirely new piano-vocal score to this main work from Breitkopf's Bach Cantata series. His work is supplemented by a revised new engraving of the continuo part.Bach's great ,,Heaviness Cantata - Now with a new piano-vocal score by Matthias Grunert.
SKU: CA.4007650
ISBN 9790007293581. German/English.
Men delssohn described his 1840 work “Lobgesang†as “a symphony for chorus and orchestraâ€. It is now firmly established in the standard repertoire of the major oratorio choirs. For many choirs, Lobgesang remains on their wishlist of works they want to sing. But what can be done if the choir is to small, the budget is limited, and the performance space is tight?Here, the experienced arranger and orchestral musician Joachim Linckelmann offers an excellent tried-and-tested solution. In his arrangement for soloists, chorus, and chamber orchestra, he has reduced the wind instruments from the original 17 to just 7 single instruments. The string parts remain largely identical to the original, but can also be played by smaller numbers. And the vocal parts (soloists and choir) remain unaltered in this arrangement, so that they can be sung from the piano reductions and choral scores of the Carus Urtext edition.•,M ajor work which can now be performed by smaller choirs•,Wind and brass parts of the original version reduced to seven single instruments•,Vo cal scores and choral scores from the original version can be used•,carus plus: the work (original version) is available in carus music, the Choir Coach, and in the Carus Choir Coach series (audio only). Score available separately - see item CA.4007600.