Johann Sebastian Bach: Nach dir Herr verlanget mich: Organ: Part

Vocal Score of Johann Sebastian Bach's Christmas Oratorio BWV 248 for Soli Chorus and Orchestra.

Arias with 1 or 2 flutes obbligato (with the complete vocal part)-Arias with 1 or 2 Flutes obbligato (with the complete vocal part).Selected movements from secular cantatas from St Matthew Passion Mass in B minor and the Lutheran Mass in A major. This volume presents for the first time all those arias from the oratorios Passions Masses and sacred and secular cantatas of Johann Sebastian Bach that contain obbligato parts for one or two Flutes. The musical text has been adopted from the “ Urtext ” of the New Bach Edition. Music and words are inseparable in Bach’s works. Therefore as an aid to the interpretation of these Flute solos our richly annotated collection offers notonly Flute part but also the complete vocal part for each movement. In this way the edition not only represents a novel form of Orchestral studies it also opens up an important area of the Flute repertoire. Contents:Kantate 45. Es ist dir gesagt Mensch was gut ist. Nr. 5 Alt-Arie: Wer Gott bekenntKantate 55. Ich armer Mensch ich Sündenknecht. Nr. 3 Tenor-Arie: Erbarme dichKantate 79. Gott der Herr ist Sonn und Schild. Nr. 2 Alt-Arie: Gott ist unsre Sonn und SchildKantate 180. Schmücke dich o liebe Seel. Nr. 2 Tenor-Arie: Ermuntre dich dein Heiland kommtKantate 94. Was frag ich nach der Welt. Nr. 4 Alt-Arie: Betörte Welt betörte WeltKantate 110. Unser Mund sei voll Lachens. Nr. 2 Tenor-Arie: Ihr Gedanken und ihr Sinnen (2 Flöten)Kantate 78. Jesu der du meine Seel. Nr. 4 Tenor-Arie: Das Blut so meine Schuld durchstreichtKantate 100. Was Gott tut das ist wohlgetan. Nr. 3 Sopran-Arie (Vers): Was Gott tut das ist wohlgetanKantate 96. Herr Christ der einge Gottessohn. Nr. 3 Tenor-Arie: Ach ziehe die Seele mit Seilen der LiebeKantate 102. Herr deine Augen sehen nach dem Glauben. Nr. 5 Tenor-Arie: Erschrecke doch du allzu sichre SeeleKantate 113. Herr Jesu Christ du höchstes Gut. Nr. 5 Tenor-Arie: Jesus nimmt die Sünder anKantate 99. Was Gott tut das ist wohlgetan. Nr. 3 Tenor-Arie: Erschüttre dich nur nicht verzagte SeeleKantate 114. Ach lieben Christen seid getrost. Nr. 2 Tenor-Arie: Wo wird in diesem JammertaleKantate 130. Herr Gott

Kantate Zum 3. Weihnachtsfesttag (Urfassung). Par BACH JOHANN SEBASTIAN. Bach’s cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach’s “most inspired ideas” [Alfred Dürr], was composed for the 3rd day of Christmas 1725. Flute and oboe d’amore lend pastoral coloring to the chamber music sound picture. The oboe d’amore was not originally included in Bach’s score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728–1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962publication by Diethard Hellmann./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, Ins

Kantate Zum 3. Weihnachtsfesttag (Urfassung). Par BACH JOHANN SEBASTIAN. Bach’s cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach’s “most inspired ideas” [Alfred Dürr], was composed for the 3rd day of Christmas 1725. Flute and oboe d’amore lend pastoral coloring to the chamber music sound picture. The oboe d’amore was not originally included in Bach’s score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728–1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962publication by Diethard Hellmann./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, Ins

Kantate Zum 3. Weihnachtsfesttag (Urfassung). Par BACH JOHANN SEBASTIAN. Bach’s cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach’s “most inspired ideas” [Alfred Dürr], was composed for the 3rd day of Christmas 1725. Flute and oboe d’amore lend pastoral coloring to the chamber music sound picture. The oboe d’amore was not originally included in Bach’s score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728–1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962publication by Diethard Hellmann./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, Ins

Kommt, Eilet Und Laufet. Par BACH JOHANN SEBASTIAN. Critical new edition 2004, edited by Ulrich Leisinger: Carus 31. 249; old edition, edited by Dieter Hellmann: Carus 31. 249/50. Parody of the secula cantata 'Entfliehet, verschwindet, entweichet, ihr Sorgen' BWV 249a. Like the Ascension Oratorio BWV 11, Johann Sebastian Bach’s Easter Oratorio BWV 249 is entirely and unjustly overshadowed by his two great Passion settings and the Christmas Oratorio. It was given its first hearing on 1 April 1725. Thereafter Bach performed the work for his Leipzig congregations on at least three Easter Sundays, touching up the composition each time. Our new edition is the first to reproduce the musical text of the fair autographe scoredating from the late 1730s – the text that Bach regarded as the repertoire version. / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes à Bec F1, Flû

Kommt, Eilet Und Laufet. Par BACH JOHANN SEBASTIAN. Critical new edition 2004, edited by Ulrich Leisinger: Carus 31. 249; old edition, edited by Dieter Hellmann: Carus 31. 249/50. Parody of the secula cantata 'Entfliehet, verschwindet, entweichet, ihr Sorgen' BWV 249a. Like the Ascension Oratorio BWV 11, Johann Sebastian Bach’s Easter Oratorio BWV 249 is entirely and unjustly overshadowed by his two great Passion settings and the Christmas Oratorio. It was given its first hearing on 1 April 1725. Thereafter Bach performed the work for his Leipzig congregations on at least three Easter Sundays, touching up the composition each time. Our new edition is the first to reproduce the musical text of the fair autographe scoredating from the late 1730s – the text that Bach regarded as the repertoire version. / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes à Bec F1, Flû