Cantata No. 10-The opening Chorus from Bach's Cantata 10: 'Meine Seel erhebt den Herren'. This arrangement requires four instrumentals and either a soprano/mezzo or a choir singing in unison (upper voices only) or simply a fifth instrumentalist to play the simple 'Chorale' theme. In 1989 in Oxford a group of four bassoonist friends decided to form 'The Equal Opportunities Bassoon Quartet' and met regularly to rehearse. The wife of one of the players Katherine Manville often generously prepared a sumptuous meal for the quartet and this piece was written so that Katherine a fine singer could join in too! The piece was laterperformed by the fledgling 'Headington Singers' singing the vocal part in unison accompanied 'on the night' by the bassoons. The piece has since been published as 'Bach for Blonde and Bassoons' (SP112) and also here arranged for flexible ensemble (SP1382) therefore widening its appeal. This set comprises a full score a set of various instrumental parts and a single sided part for the singer or further instrumentalist. The latter is also freely downloadable from the website to allow easy (and legal) duplication for the purposes of a choir as required.
SKU: CA.3124402
ISBN 9790007187873. Language: German/English.
Practical performing Urtext edition based on the latest state of Bach research. Every era hears and interprets Bach anew, and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition, Klaus Hofmann, Director of the Johann Sebastian Bach Institute Gottingen for many years and a contributing editor to the New Bach Edition, presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach's intentions. Bach scholars are well aware that Bach's original score and performance parts, running to almost 500 pages of music, are full of ambiguities and contradictions, particularly regarding articulation, which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report, frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus, for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research. Score available separately - see item CA.3124400.
SKU: CA.3124420
ISBN 9790007211363. Language: German/English.
Practical performing Urtext edition based on the latest state of Bach research. Every era hears and interprets Bach anew, and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition, Klaus Hofmann, Director of the Johann Sebastian Bach Institute Gottingen for many years and a contributing editor to the New Bach Edition, presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach's intentions. Bach scholars are well aware that Bach's original score and performance parts, running to almost 500 pages of music, are full of ambiguities and contradictions, particularly regarding articulation, which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report, frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus, for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research. Score and part available separately - see item CA.3124400.
SKU: CA.3124409
ISBN 9790007211271. Language: German/English.
Practical performing Urtext edition based on the latest state of Bach research. Every era hears and interprets Bach anew, and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition, Klaus Hofmann, Director of the Johann Sebastian Bach Institute Gottingen for many years and a contributing editor to the New Bach Edition, presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach's intentions. Bach scholars are well aware that Bach's original score and performance parts, running to almost 500 pages of music, are full of ambiguities and contradictions, particularly regarding articulation, which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report, frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus, for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research. Score and parts available separately - see item CA.3124400.
SKU: CA.3124406
ISBN 9790007051181. Language: German/English.
SKU: CA.3124494
Language: German.
SKU: CA.3124492
SKU: CA.3124491
SKU: CA.3124493
SKU: CA.3140103
ISBN 9790007295042. German/English. Text: Franck, Salomon.
Ein feste Burg ist unser Gott BWV 80 (Carus 31.080/00) is one of Johann Sebastian Bach's most frequently-performed cantatas. But the well-known form of the work, with its great opening chorale chorus, represents the final stage of a multi-layered version history, beginning with the cantata Alles, was von Gott geboren BWV 80a, probably composed for Oculi Sunday (the third Sunday in Lent) 1716. As no cantatas were performed during Passiontide in Leipzig, if Bach wanted to re-use the cantata he had to rewrite it for another Sunday or feast day. Reformation Day suggests itself, as Bach had also incorporated the hymn Ein feste Burg ist unser Gott into the Oculi cantata (as an instrumental cantus firmus in the opening movement and in the final chorale). The first version of the Reformation cantata Ein feste Burg ist unser Gott BWV 80b (Carus 31.080/50) was simply expanded by the addition of chorale movements, then the movements of the Oculi cantata, slightly altered, were included in the cantata in the form known today as BWV 80.Only the text of the Oculi cantata Alles, was von Gott geboren BWV 80a survives today. However, the early version of the cantata can easily be extrapolated from the two later versions. This first published reconstruction to date, by the renowned Bach scholar Klaus Hofmann, represents a welcome addition to the small repertoire of Bach cantatas for Passion Sundays.
SKU: CA.3140105
ISBN 9790007295059. German/English. Text: Franck, Salomon.
SKU: CA.3140111
ISBN 9790007298166. German/English. Text: Franck, Salomon.
SKU: CA.3140114
ISBN 9790007298197. German/English. Text: Franck, Salomon.
SKU: CA.3140149
ISBN 9790007297121. German/English. Text: Franck, Salomon.
SKU: CA.3140113
ISBN 9790007298180. German/English. Text: Franck, Salomon.
SKU: CA.3140112
ISBN 9790007298173. German/English. Text: Franck, Salomon.
SKU: CA.3140119
ISBN 9790007296889. German/English. Text: Franck, Salomon.
SKU: CA.3140100
ISBN 9790007295028. German/English. Text: Franck, Salomon.
SKU: CA.3105819
ISBN 9790007136208. Key: C major. Language: German/English.
The cantata O God, what glut of care and pain BWV 58, which Bach subtitled Dialogus and wrote for the Sunday after New Year, limits itself accordingly to the dialog couple consisting of soprano and bass; further soloists or a choir are not required. In the framing movements, the dialog takes on the form of a chorale arrangement: the soprano presents a cantus firmus whose words are consolingly commented on by the bass. Both the expansive chorale arrangements leave room for an aria which is framed by two recitatives. The cantata was composed for the Sunday after New Year 1727, but the received form is from a subsequent performance that took place six or seven years later. For this performance, Bach not only expanded the instrumentation but also replaced an entire aria. Later, he assigned the cantata to his annual cycle of chorale cantatas, probably due to its high proportion of chorales; this Sunday was missing in that annual cycle as there was no Sunday between New Year and Epiphany in 1725. Score and parts available separately - see item CA.3105800.
