Ein Lob-und Danklied

Kantate zum Sonntag nach Weihnachten. Par BACH JOHANN SEBASTIAN. Die Kantate 'Gottlob! nun geht das Jahr zu Ende' BWV 28 für den Sonntag nach Weihnachten beginnt ungewöhnlich: mit einer Arie anstelle des üblichen Eingangschores, geprägt von freudig-tänzerischen Rhythmen im Dreivierteltakt und dem doppelchörig konzertanten Orchesterpart. In starkem Kontrast zu dieser ausgesprochen 'modernen' Musik folgt das Danklied des Chores 'Nun lob, mein Seel, den Herren', motettisch im stile antico. Dieser Satz hat als Bearbeitung innerhalb der Motette 'Jauchzet dem Herrn, alle Welt' BWV Anh. 160 weite Verbreitung gefunden, in welcher er auf den Text 'Sei Lob und Preis mit Ehren' gesungen wird. Der Text von Erdmann Neumeister widmet sich ganz dem Dank fürdas vergangene und der Bitte um Segen für das kommende Jahr./ Répertoire / Chant

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. ' / Musique religieuse / Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. ' / Musique religieuse / Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Das 'Kölner Chorbuch Abendlob/Evensong' ist eine Sammlung von Gesängen und Texten für das Abendgebet und zugleich ein Gebet- und Gesangbuch für Chöre. Es bietet ein breites Spektrum an Stilen aus neuerer Zeit - etwas die Hälfte der Stücke dieses Chorbuches wird hier erstmals in dieser Form gedruckt. Zudem bietet das Chorbuch ein Angebot an Texten für Lesungen, Fürbitt- und Schlussgebete, so dass man mit diesem Buch in die Kirche gehen kann, ohne noch andere Bücher mitnehmen zu müssen./ Répertoire / Choeur

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische Sprüche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation between soli and choir in the second and third sections is especially fascinating./ Répertoire / Choeur (SA), 2 Violons et Basse Continue, (Choeur

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische Sprüche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation between soli and choir in the second and third sections is especially fascinating./ Répertoire / Choeur SS (SA), 2 Violons et Basse Continue, (Choe

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische Sprüche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation between soli and choir in the second and third sections is especially fascinating./ Répertoire / Choeur SS (SA), 2 Violons et Basse Continue, (Choe

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische Sprüche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation between soli and choir in the second and third sections is especially fascinating./ Répertoire / Choeur (SA), 2 Violons et Basse Continue, (Choeur

Choral. Par MENDELSSOHN-BARTHOLDY FELIX. The German setting of the Te Deum was comissioned for the celebration of the 1000th aniversary of the German Reich in the Berlin cathedral. In the entirely homorhythmic choral arrangement, Mendelssohn seeks variety of sound through colorful harmonies and contrast between the different groups [choir, organ, brass and strings]. / Date parution : 1996-08-01/ Répertoire / Solistes SATB, Choeur SATB/SATB, 4 Trombones, 2 Vi

Choral. Par MENDELSSOHN-BARTHOLDY FELIX. The German setting of the Te Deum was comissioned for the celebration of the 1000th aniversary of the German Reich in the Berlin cathedral. In the entirely homorhythmic choral arrangement, Mendelssohn seeks variety of sound through colorful harmonies and contrast between the different groups [choir, organ, brass and strings]. / Date parution : 1997-06-01/ Répertoire / Solistes SATB, Choeur SATB/SATB, 4 Trombones, 2 Vi

Choral. Par MENDELSSOHN-BARTHOLDY FELIX. The German setting of the Te Deum was comissioned for the celebration of the 1000th aniversary of the German Reich in the Berlin cathedral. In the entirely homorhythmic choral arrangement, Mendelssohn seeks variety of sound through colorful harmonies and contrast between the different groups [choir, organ, brass and strings]./ Répertoire / Solistes SATB, Choeur SATB/SATB, 4 Trombones, 2 Vi

Choral. Par MENDELSSOHN-BARTHOLDY FELIX. The German setting of the Te Deum was comissioned for the celebration of the 1000th aniversary of the German Reich in the Berlin cathedral. In the entirely homorhythmic choral arrangement, Mendelssohn seeks variety of sound through colorful harmonies and contrast between the different groups [choir, organ, brass and strings]. / Date parution : 1997-06-01/ Répertoire / Solistes SATB, Choeur SATB/SATB, 4 Trombones, 2 Vi

Par REIMERDES FRIEDRICH. Gattungen: choralgebundene Orgelmusik - Verwendung / Anlässe: L Hautbois und Dank - Verwendung / Kirchenjahr: Pianoingsten -/ Répertoire / Orgue