Nach Dem 2. Menuett Aus Bachs Partita In B, Bwv 825. Par BACH JOHANN SEBASTIAN / CORNELIUS PETER. based on the 2nd Minuet from Bach's Partita in B flat Major, BWV 825/ Répertoire / Choeur SATB

Bachs Ave Maria-Die 'Wedding-Edition' aus der Reihe 'Power of Voice' besteht aus Chor-Titeln für den schönsten Tag im Leben eines Paares. Hier das Ave Maria von J.S. Bach (Charles Gounod). Die Bearbeitung für Chor SATB mit Orgelbegleitung ist von Thorsten Kuhn. Ebenso erhältlich mit Klavierbegleitung unter der Bestellnummer PMV16160G. Beispielcover (alle Cover dieser Serie sind bis auf den Titel identisch).

Cantata for Trinity Sunday-Es ist ein trotzig und verzagt Ding BWV 176Cantata for Trinity SundayThis cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed byBach apparently within a few weeks on texts by the contempotary Leipzig poetess Marianne von Ziegler.It is scored for Soprano Alto and Bass soloists mixed choir (SATB) 2 Oboes Oboe da caccia Strings and Basso continuo.- Urtext of the New Bach Edition- Performance material (BA10176) choral score (BA10176-91) & study score format 22.5 x 16.5cm (TP1176) available for sale

Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein feste Burg ist unser Gott for SATB and Orchestra.Bach's Reformation cantata based on what is probably Martin Luther's most famous hymn evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716 now missing which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730 Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on in the 1730s or 1740s Bach replaced the introductory chorale movement with achorale setting which was unique spacious and motet-like in its style; this uniquely in this respect incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets timpani as playing score) by Wilhelm Friedemann Bach are available.

Cross Staff Cantata (Kreuzstabkantate)-Ich Will Den Kreuzstab Gerne Tragen 'Kreuzstabkantate' (I will my cross-staff gladly carry) 'Cross Staff Cantata (Kreuzstabkantate)') BWV 56Cantata for the 19th Sunday after TrinityBach’s solo cantata Ich Will Den Kreuzstab Gerne Tragen is taken from his third cantata cycle for Leipzig. To judge from its position in the liturgy it was probably first performed on 27 October 1726 the nineteenth Sunday after Trinity.Urtext of the New Bach EditionPerformance material (BA10056) vocal score (BA10056-90) & study score format 22.5 x 16cm (TP1056) available for sale

Bachs famous instrumental arioso is set here with a simple Latin text. The expressive piano accompaniment can be used alone or with the optional string parts richly enhancing this choral work. A beautiful way to introduce your singers to importantworks of the master composers.

Sing, Choirs! is a library in miniature. It contains many of the Christian church's popular traditional anthems, including at least one example that will be suitable for each of the major services of the year. A number of Anglican chants (Psalms, Magnificat and Nunc Dimittis) are included, set out in a way that should enable those who are unfamiliar with the style to perform them easily. The selection of movements from the Mass can be used to enrich the music of the liturgy in services. Many of the works in Sing, Choirs! are presented in their original form, such as Bruckner's Locus Iste and Mozart's Laudate Dominum . Others are arrangements, adaptations or longer pieces, abridged to bring them into the scope of a useable anthem, including choral arrangements of Handel's Largo , the Ave Marias by Schubert and by Bach and Gounod, and Franck's Panis Angelicus amongst many others. This collection has practicability as a priority. The Organ parts can be played on either the Piano or the Keyboard. Much of the music in Sing, Choirs! will be suitable for special occasions, making this an indispensable volume for choirs singing at weekly church services, weddings, funerals and in the concert hall. / Choeur Mixte (SATB) Et Orgue

Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre

Bach, Johann Sebastian Now my soul exalts the Lord BWV 10 Cantata for the Feast of Visitation B. V. M. With his cantata 'Meine Seel erhebt den Herren' which Bach composed for the Visitation of Mary (2 July), he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation, the basis being the Marian hymn of praise from the Gospel according to Luke. The 9th psalm tone acts as the chorale melody and becomes a recurring musical theme. With a small scoring of one trumpet (which if need be can be omitted), two oboes, strings and basso continuo along with four soloists and choir, Bach succeeds in writing a festive music of 20-25 minutes. This performing edition is based on the Urtext of the 'New Bach Edition'. - Festive cantata based on the Urtext of the 'New Bach Edition' - With a duration of 20-25 minutes Edition no.: BA 10010-90 ISMN: 9790006561520 Editor: Wolf, Uwe Arranger: Grünert, Matthias Language(s) of work: German, English Language(s) of text: English, German Product format: Piano reduction, Urtext edition Binding: Stapled Pages / Format: IV, 33 S. - 27,0 x 19,0 cm

(Let the Children Come)-In this piece the title (which means 'Let The Children Come' in Swahili) is used as a refrain. The original verse text by Herb from Bach tells us that Jesus loves us all especially the children. This is a perfect piece for your adult and children's choirs to sing together. The optional percussion adds a rhythmic intensity and requires three players. Try it for Confirmation or festival of the Christian home.

Description Carl Philipp Emanuel Bach's Magnificat for soli, chorus and orchestra, with English text adapted by Henry S. Drinker. This vocal score is edited, and the orchestral accompaniment adapted for piano or organ, by Carl Deis. Songlist Deposuit Potentes (Mighty Ones) Cpe Bach Et Misericordia (And His Mercy) Cpe Bach Fecit Potentiam (His Arm Omnipotent) Cpe Bach Gloria Patri (Glory To Father) Cpe Bach Magnificat Anima (My Heart And Soul) Cpe Bach Quia Fecit Mihi (For The Lord) Cpe Bach Quia Respexit (Lo,He Regarded) Cpe Bach Sicut Erat (As It Was) Cpe Bach Suscepit Israel (His Servant) Cpe Bach

O Teach Us So To Count Our Days a figured Chorale from Cantata 186 by J.S. Bach. Words by J. Montgomery and B. Hall Kennedy. Organ arrangement by Walter Emery.

Motet for two four-part mixed choirs-Fürchte dich nicht ich bin bei dir for two four-part mixed choirs A major BWV 228 All of Bach’s six authenticated motets were written between 1723 and 1727 for St Thomas’ Church Leipzig where Bach was appointed as director of music in 1723. During this period Bach composed most of his cantatas and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition reserving his own motet compositions for special occasions. - Urtext of the New Bach Edition. - Performance material and choral score (BA5133) available for sale. -Complete edition of the 6 Motets vocal score with piano reduction (BA5193-90) choral score (BA5193)

Kantate Zum 23. Sonntag Nach Trinitatis, Bwv 139, 1724. Par BACH JOHANN SEBASTIAN. Bach's chorale cantata with its opening text 'Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen” (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout - this is followed by a lively tenor aria 'Gott ist mein Freund” (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria 'Das Unglück schlägt auf allen Seiten” (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello./ Répertoire / Chœur Mixte et Piano

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 Göttingen 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.