SKU: CA.3106009
ISBN 9790007043414. Key: D major / a major. Language: German/English.
The cantata Eternity, O awesome word BWV 60, which belongs to Bach's first Leipzig annual cycle and was written for the 24th Sunday after Trinity Sunday, is one of Bach's few dialog cantatas. It deals with the conflict between Dread (contralto) and Hope (tenor) in the face of death, which is already the topic of the expansive opening chorale arrangement . Using a device which was surprisingly dramatic for a Baroque church cantata, the bass joins in as a third vocal part (functioning as Vox Christi) in the penultimate movement - the recitative Der Tod bleibt doch der menschlichen Natur verhasst (Dread) - with the Bible quote Blessed are the dead which die in the Lord. This also convinces Dread and leads into the concluding chorale Es ist genug, so nimm Herr meinen Geist.. Score and parts available separately - see item CA.3106000.
SKU: CA.3106005
ISBN 9790007043391. Key: D major / a major. Language: German/English.
The cantata Eternity, O awesome word BWV 60, which belongs to Bach's first Leipzig annual cycle and was written for the 24th Sunday after Trinity Sunday, is one of Bach's few dialog cantatas. It deals with the conflict between Dread (contralto) and Hope (tenor) in the face of death, which is already the topic of the expansive opening chorale arrangement . Using a device which was surprisingly dramatic for a Baroque church cantata, the bass joins in as a third vocal part (functioning as Vox Christi) in the penultimate movement - the recitative Der Tod bleibt doch der menschlichen Natur verhasst (Dread) - with the Bible quote Blessed are the dead which die in the Lord. This also convinces Dread and leads into the concluding chorale Es ist genug, so nimm Herr meinen Geist.. Score available separately - see item CA.3106000.
SKU: CA.3106014
ISBN 9790007043452. Key: D major / a major. Language: German/English.
The cantata Eternity, O awesome word BWV 60, which belongs to Bach's first Leipzig annual cycle and was written for the 24th Sunday after Trinity Sunday, is one of Bach's few dialog cantatas. It deals with the conflict between Dread (contralto) and Hope (tenor) in the face of death, which is already the topic of the expansive opening chorale arrangement . Using a device which was surprisingly dramatic for a Baroque church cantata, the bass joins in as a third vocal part (functioning as Vox Christi) in the penultimate movement - the recitative Der Tod bleibt doch der menschlichen Natur verhasst (Dread) - with the Bible quote Blessed are the dead which die in the Lord. This also convinces Dread and leads into the concluding chorale Es ist genug, so nimm Herr meinen Geist.. Score and part available separately - see item CA.3106000.
SKU: CA.3106007
ISBN 9790007043407. Key: D major / a major. Language: German/English.
SKU: CA.3106019
ISBN 9790007134044. Key: D major / a major. Language: German/English.
SKU: CA.3106013
ISBN 9790007043445. Key: D major / a major. Language: German/English.
SKU: CA.3106000
ISBN 9790007043377. Key: D major / a major. Language: German/English.
The cantata Eternity, O awesome word BWV 60, which belongs to Bach's first Leipzig annual cycle and was written for the 24th Sunday after Trinity Sunday, is one of Bach's few dialog cantatas. It deals with the conflict between Dread (contralto) and Hope (tenor) in the face of death, which is already the topic of the expansive opening chorale arrangement . Using a device which was surprisingly dramatic for a Baroque church cantata, the bass joins in as a third vocal part (functioning as Vox Christi) in the penultimate movement - the recitative Der Tod bleibt doch der menschlichen Natur verhasst (Dread) - with the Bible quote Blessed are the dead which die in the Lord. This also convinces Dread and leads into the concluding chorale Es ist genug, so nimm Herr meinen Geist..
SKU: CA.3106011
ISBN 9790007043421. Key: D major / a major. Language: German/English.
SKU: BA.BA06361
ISBN 9790006478620. 27 x 19 cm inches.
SKU: CA.3103419
ISBN 9790007134006. Key: D major. Language: German/English.
The marriage cantata (BWV 34a) on which this work is based was composed in 1726. This parody was composed in the first half of the 1740's. Score and parts available separately - see item CA.3103400.
SKU: JK.00909
Romans 8:16-17, Acts 17:28-29 (22-31).
Choral arrangement with text from Eliza R. Snow's O My Father and original melody from Thomas R. Winkel, arranged for mixed chorus (SATB) and piano.Composer: Thomas R. Winkel Arranger: Nico D. Snel Lyricist: Eliza R. Snow Difficulty: Medium / medium-difficult acc. Performance time: 3:30Reference: Romans 8:16-17, Acts 17:28-29 (22-31).
SKU: CA.3103411
ISBN 9790007042608. Key: D major. Language: German/English.
The marriage cantata (BWV 34a) on which this work is based was composed in 1726. This parody was composed in the first half of the 1740's. Score and part available separately - see item CA.3103400.
SKU: CA.3103412
ISBN 9790007042615. Key: D major. Language: German/English.
SKU: CA.3103414
ISBN 9790007042639. Key: D major. Language: German/English.
SKU: CA.3103413
ISBN 9790007042622. Key: D major. Language: German/English.
SKU: CA.3103409
ISBN 9790007042592. Key: D major. Language: German/English.
SKU: CA.3103449
ISBN 9790007042646. Key: D major. Language: German/English.
SKU: AP.47633
UPC: 038081543260. English.
From Trans-Siberian Orchestra's triple platinum album, Christmas Eve and Other Stories, this respectful treatment of Pachelbel's Canon features patterned vocal parts that can be quickly taught and layered. The four-hand piano accompaniment is for two players at one piano, but is not difficult to play. Combine with Bob Phillips' string orchestra arrangement or the classical sounding SoundTrax CD. A highlight for any holiday concert!
SKU: CA.3106049
Key: D major / a major. Language: German/English.
SKU: 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.