SKU: GI.G-8246CD
One in Love and Peace is a comprehensive and practical collection of the most frequently requested wedding instrumentals, including such classics as “Canon in D†by Pachelbel, “Bridal Chorus†by Wagner, and “Ode to Joy†by Beethoven. Each of the twenty-three preludes, processionals, and recessionals found in this compilation is arranged for both organ and piano. The instrumental edition—sold separately—includes reproducible parts for B< trumpet, C solo instrument, and string quartet. They are compatible with both the piano and organ arrangements and with each other. A complete recording is also available. Affordable enough to purchase multiple copies, these demonstration CDs can be offered either on loan or as a gift to couples for use in their selection process. This versatile collection is perfect for any church musician. Helpful background notes on each piece, the complete recording, and a variety of performance options make One in Love and Peace an essential resource for wedding planning. Contents: Air (Bach) • La Grace (Telemann) • Sheep May Safely Graze (Bach) • Bist du bei mir (Stölzel, attr. Bach) • Arioso (Bach) • St. Anthony Chorale (Brahms, attr. Haydn) • Largo (Handel) • C Major Prelude (Bach) • Canon in D (Pachelbel) • Jesu, Joy of Man's Desiring (Bach) • Prince of Denmark's March or Trumpet Voluntary (Clarke, attr. Purcell) • Air (Handel) • Bridal Chorus (Wagner) • Trumpet Tune (Clarke, attr. Purcell) • Prelude (Charpentier) • Nuptial March (Moore) • Hornpipe (Handel) • Rondeau (Mouret) • Ode to Joy (Beethoven) • La Réjouissance (Handel) • Wedding March (Mendelssohn) • Psalm XIX (Marcello) • Rigaudon (Campra).
SKU: CA.3100209
ISBN 9790007041335. Key: D minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.
Bach composed the cantata O God, from heaven look on us BWV 2 for the 2nd Trinity Sunday 1724 as the second cantata of the annual cycle of chorale cantatas. It is based on Martin Luther's rewriting of Psalm 112. The opening movement is one of a group of cantata opening movements which are not concertante but kept entirely in the motet style, with the instruments serving only to reinforce the singers. The archaic character of this movement is heightened by the addition of a trombone quartet. The concertante style is all the more significant in the first aria for contralto, solo violin and continuo. The first secco recitative represents a special feature: two fragments of the chorale are woven as arioso into the recitative, both in text and melody; futhermore, they are also taken up canonically by the continuo. Score and parts available separately - see item CA.3100200.