Wie bereits in seiner Jazz-Partita über Lobe den Herren (Schott, ED 21913) kombiniert Peter Wittrich auch in dieser Komposition wieder Jazz-Elemente mit traditioneller Orgelschreibweise. Nun danket all ist mit seinem gemäßigten Schwierigkeitsgrad gleichermaßen für das Konzert und für den liturgischen Einsatz geeignet. Das Rock-Prélude und die Toccata in Funk', als erster und letzter Satz, sind typische Eingangs- bzw. Auszugssätze, mit denen ein feierlicher Rahmen gesetzt werden kann. Kontrastierend und eher meditativ in ihrer Grundstimmung verhalten sich der 2. Satz mit typischem Walking-Bass und Blues-Elementen sowie der 4. Satz, im typischen Groove des Jazz-Waltz auf einem Orgelpunkt über g. / Orgue
SKU: CA.3601619
ISBN 9790007144388. Language: German.
This work has survived in an autograph, unfortunately undated, preserved in the Duben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24-26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on Nun danket alle Gott create the work's structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. Score and parts available separately - see item CA.3601600.
SKU: CA.3601605
ISBN 9790007112578. Language: German.
This work has survived in an autograph, unfortunately undated, preserved in the Duben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24-26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on Nun danket alle Gott create the work's structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. Score available separately - see item CA.3601600.
SKU: CA.3601614
ISBN 9790007213787. Language: German.
This work has survived in an autograph, unfortunately undated, preserved in the Duben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24-26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on Nun danket alle Gott create the work's structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. Score and part available separately - see item CA.3601600.
SKU: CA.3601611
ISBN 9790007213756. Language: German.
SKU: CA.3601613
ISBN 9790007213770. Language: German.
SKU: CA.3601612
ISBN 9790007213763. Language: German.
SKU: CA.3601609
ISBN 9790007213749. Language: German.
SKU: HL.48185182
UPC: 888680851460. 7x10.25 inches.
“Transcribed by popular brass arranger, Robert King, this edition of Johann Pachelbel's Nun danket alle Gott provides an exciting performance piece for Choir, Organ and a large Brass Ensemble. Pachelbel (1653-1906) is, of course best remembered today for his Canon in D. However, his vocal music is also significant. Nun danket alle Gott is a motet based on a short passage from Ecclesiastes. An important feature of the work is that the endings of sections are in four-part chorale settings, with the sopranos singing long notes values whilst the other voices present shorter note values. King's arrangement of this historical work makes for an exciting performance. &rdquo.
SKU: CA.4009309
ISBN 9790007061401. Key: F major. Language: German.
Score available separately - see item CA.4009300.
SKU: CA.182600
ISBN 9790007146153. Language: German/English.
Johann Hermann Schein's Israelsbrunnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written in the Italian madrigal manner 23 are settings of Old Testament texts, a fact to which the collection owes its title. The source for the text of this collection is the inexhaustible fountain of the Psalms, the books of Moses, the Prophets, the Songs of Solomon, and other books of the Old Testament.
