Bach, Johann Christoph : 44 Chorales for Preambulating for Organ

SKU: CA.3500605

ISBN 9790007162054. Text language: Latin.

Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score available separately - see item CA.3500600.

SKU: CA.3500612

ISBN 9790007212940. Text language: Latin.

Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score and part available separately - see item CA.3500600.

SKU: CA.3500615

ISBN 9790007212971. Text language: Latin.

Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score and part available separately - see item CA.3500600.

SKU: CA.3500611

ISBN 9790007212933. Text language: Latin.

Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score and part available separately - see item CA.3500600.

SKU: CA.3500619

ISBN 9790007143282. Text language: Latin.

Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score and parts available separately - see item CA.3500600.

SKU: CA.3500614

ISBN 9790007212964. Text language: Latin.

Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score and part available separately - see item CA.3500600.

SKU: CA.3500613

ISBN 9790007212957. Text language: Latin.

Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring. Score and part available separately - see item CA.3500600.

SKU: CA.3500600

ISBN 9790007142605. Text language: Latin.

Johann Sebastian Bach knew the value of good compositions by other composers, as is evidenced by contemporary accounts and by looking through the remains of his music library. However, in certain instances when copying works which he prepared for his own use he could seldom refrain from making corrections. In both of the following movements of the Missa Sancti Lambertie by Johann Christoph Pez Bach made only a few changes. With regard to his motive for copying out these rather simple movements, this may been due primarily to his inquisitiveness. In spite of their simplicity the vocal and instrumental parts are treated with ingenuity and the volume of sound is surprising, given the modest scoring.

SKU: CA.3105205

ISBN 9790007187385. Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score available separately - see item CA.3105200.

SKU: CA.3105223

Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and part available separately - see item CA.3105200.

SKU: CA.3105214

ISBN 9790007206345. Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and part available separately - see item CA.3105200.

SKU: CA.3105224

Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and part available separately - see item CA.3105200.

SKU: CA.3105249

ISBN 9790007206369. Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and part available separately - see item CA.3105200.

SKU: CA.3105231

Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and part available separately - see item CA.3105200.

SKU: CA.3105209

ISBN 9790007206307. Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and parts available separately - see item CA.3105200.

SKU: CA.3105219

ISBN 9790007206352. Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and parts available separately - see item CA.3105200.

SKU: CA.3105213

ISBN 9790007206338. Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and part available separately - see item CA.3105200.

SKU: CA.3105211

ISBN 9790007206314. Language: German/English. Text: Birkmann, Christoph.

It only became apparent a few years ago that the text of the soprano cantata Falsche Welt, dir trau ich nicht came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology student and Bach pupil Christoph Birkmann, printed in 1728 in Nuremberg. Birkmann was probably therefore the author of the text. The cantata was written for the 23rd Sunday after Trinity, which fell on 24 November 1726 in the year of its first performance. As in other cantatas in the first annual cycle, Bach chose an instrumental sinfonia as the opening movement - here the first movement of the 1st Brandenburg Concerto. The soprano soloist has two recitatives and two arias, in which the falsehood of the world is juxtaposed with trust in God. The cantata text is rounded off with the first verse of the chorale In dich hab ich gehoffet, scored for four-part chorus, as is usual with Bach. With the use of two horns and three oboes added to the string ensemble, the cantata has colorful and varied orchestration. Score and part available separately - see item CA.3105200.