SKU: BR.OB-32119-19
ISBN 9790004349489. 10 x 12.5 inches.
The cantata O heilige Zeit [O Holy Time] of the former St. Thomas cantor Johann Kuhnau is the ideal baroque festive music for small scorings. Even though this is the larger of two cantatas with this text underlay, it can be performed by four soloists (SATB), single or double strings, and continuo organ. The participation of a choir in non-soloistic passages is optional, for historically unproven. The cantata was composed in the years 1704/05 and can therefore be placed in Kuhnau's term as St. Thomas cantor in Leipzig. A contemporary text by Erdmann Neumeister is fitted with a modern musical garb here while keeping unconditional adherence to it. Using a structural artifice as simple as it is effective, he provides a ritornello-like musical equivalent to the repeatedly recurring line of text O heilige Zeit!. This edition continues the series of works by Kuhnau started in the Pfefferkorn Musikverlag. Another festive music by Kuhnau with larger scoring is found in the Magnificat in C major, deemed a direct predecessor of Bach's Magnificat.
SKU: BR.OB-32119-26
ISBN 9790004349502. 10 x 12.5 inches.
SKU: BR.EB-32119
ISBN 9790004187265. 7.5 x 10.5 inches.
SKU: BR.OB-32119-15
ISBN 9790004349465. 10 x 12.5 inches.
SKU: BR.OB-32119-16
ISBN 9790004349472. 10 x 12.5 inches.
SKU: BR.OB-32119-11
ISBN 9790004349458. 10 x 12.5 inches.
SKU: BR.OB-32119-20
ISBN 9790004349496. 10 x 12.5 inches.
SKU: BR.PB-32119
ISBN 9790004215852. 10 x 12.5 inches. German.
SKU: HH.HH369-FSP
ISBN 9790708041887.
This previously-unpublished Concerto a Quadro presumably started life as a concerto for the standard Baroque forces of flute, strings and continuo, now otherwise unknown; it is preserved in its surviving form for flute, violin, viola and cello in a set of manuscript parts apparently copied by an amateur musician in Sweden. Although unlikely to be the work of Handel, as a rare early example of music for flute quartet it is an attractive extension to a repertoire otherwise dominated by the works of Mozart and his contemporaries. In the present publication, editorial figuring in the cello part allows for the possibility of expanding the texture with additional continuo instruments.
SKU: BA.BA10011-65
ISBN 9790006522552. 32.5 x 25.5 cm inches.
Bach composed his oratorio for the Feast of the Ascension in Leipzig in 1735. Though this work has the duration of a cantata, the choice of text places it among the oratorios. It combines the biblical account of the Ascension with chorales and free madrigal poems.As in other works which were composed during this same year (e.g. theChristmas Oratorio), Bach reveals a special fondness for colourful orchestration, with two flutes, two oboes, three trumpets, timpani and strings, creating a splendid Baroque sound with a strikingly festive character.This edition is based on the thoroughly researched musical text from theNew Bach Edition.- Lavishly scored oratorio of a festive nature- Based on theNew Bach Edition- Bilingual foreword by Andreas Glockner (Ger/Eng)
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: HL.50601273
7.75x10.5 inches.
This single-movement setting of the Vesper psalm Laetatus sum was discovered by Michael Talbot in the spring of 2017 among the online collection of digitized scores of sacred music held by the SLUB in Dresden. Four works by Vivaldi deliberately misattributed to Baldassare Galuppi by the Venetian copyist Iseppo Baldan had already been uncovered in the previous decades, and it was during anexploratory examination of scores sharing a paper type and copyist (Baldan himself) with them that this fifth such work came to light. Vivaldi's single movement pieno settings (for choir alone without soloists) form an important subset of his sacred vocal music, and this new setting is the most elaborate and expansive of any of them. It features effective musical contrasts, and its many felicitous examples of word-painting show what a complete master of vocal composition he had become by the 1730s, the decade from which this setting clearly originates. As usual in Vivaldi's choral compositions the ever-changing relationship between the vocal and instrumental components constantly fascinates, as each in turn captures the listener's attention. This previously unknown Laetatus sum promises to become a much-performed work.