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Ich Bin Ein Recheter Weinstock SWV 389

Ich Bin Ein Recheter Weinstock SWV 389

Published in 1648, Heinrich Schütz’s “Geistliche Chor-Music” is still regarded as one of his seminal works. A two-volume performance edition based on Werner Breig’s revised new text is available (BA5901/BA 5902).Now selected motets are being issued in separate volumes. They offer a modern notation and layout, retain the original keys and include an integrated figured bass realisation.In keeping withcontemporary performance practice, the ‘choral’ parts can be performed by instruments as well as voices. Instrumental parts with underlaid words may be purchased separately for performances with instruments(seeperformance material for BA 5901 and BA 5902).- Ich bin ein rechter Weinstock SWV 389 No.21 from Geistliche Chor-Music- Cantus, Sextus, Countertenor, Tenor, Quintus, Bassus, Basso continuo ad lib.

SEK 99.00
1

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Fürchte dich nicht, ich bin bei dir for two four-part mixed choirs A major BWV 228All 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 fromthe seventeenth century tradition, reserving his own motet compositions for special occasions.- Urtext of the New Bach Edition.- Performance material and choral score (BA5133) available forsale.-Complete edition of the 6 Motets vocal score with piano reduction (BA5193-90), choral score (BA5193)

SEK 96.00
1

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Fürchte dich nicht, ich bin bei dir for two four-part mixed choirs A major BWV 228All 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 fromthe seventeenth century tradition, reserving his own motet compositions for special occasions.- Urtext of the New Bach Edition.- Performance material and choral score (BA5133) available forsale.-Complete edition of the 6 Motets vocal score with piano reduction (BA5193-90), choral score (BA5193)

SEK 202.00
1

Motet No.4 'Fürchte Dich Nicht, Ich Bin Bei Dir' : Motet for two four-part mixed choirs

Motet No.4 'Fürchte Dich Nicht, Ich Bin Bei Dir' : 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 fromthe 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)

SEK 116.00
1

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Fürchte dich nicht, ich bin bei dir for two four-part mixed choirs A major BWV 228All 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 fromthe seventeenth century tradition, reserving his own motet compositions for special occasions.- Urtext of the New Bach Edition.- Performance material and choral score (BA5133) available forsale.-Complete edition of the 6 Motets vocal score with piano reduction (BA5193-90), choral score (BA5193)

SEK 165.00
1

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Fürchte dich nicht, ich bin bei dir for two four-part mixed choirs A major BWV 228All 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 fromthe seventeenth century tradition, reserving his own motet compositions for special occasions.- Urtext of the New Bach Edition.- Performance material and choral score (BA5133) available forsale.-Complete edition of the 6 Motets vocal score with piano reduction (BA5193-90), choral score (BA5193)

SEK 96.00
1

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Fürchte dich nicht, ich bin bei dir for two four-part mixed choirs A major BWV 228All 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 fromthe seventeenth century tradition, reserving his own motet compositions for special occasions.- Urtext of the New Bach Edition.- Performance material and choral score (BA5133) available forsale.-Complete edition of the 6 Motets vocal score with piano reduction (BA5193-90), choral score (BA5193)

SEK 96.00
1

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Fürchte dich nicht, ich bin bei dir for two four-part mixed choirs A major BWV 228All 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 fromthe seventeenth century tradition, reserving his own motet compositions for special occasions.- Urtext of the New Bach Edition.- Performance material and choral score (BA5133) available forsale.-Complete edition of the 6 Motets vocal score with piano reduction (BA5193-90), choral score (BA5193)

SEK 90.00
1

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Motet No.4 Fürchte dich nicht, ich bin bei dir : Motet for two four-part mixed choirs

Fürchte dich nicht, ich bin bei dir for two four-part mixed choirs A major BWV 228All 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 fromthe seventeenth century tradition, reserving his own motet compositions for special occasions.- Urtext of the New Bach Edition.- Performance material and choral score (BA5133) available forsale.-Complete edition of the 6 Motets vocal score with piano reduction (BA5193-90), choral score (BA5193)

SEK 96.00
1

Symphony No.8 In G Op.88 (Full Score) : In G Major

Symphony No.8 In G Op.88 (Full Score) : In G Major

The performance material available up till now for Dvorák’s sun-filled cheerful Symphony No.8 has been notorious for its myriad mistakes. The challenge of correcting it has now been taken over by the editor Jonathan Del Mar. Hehas taken into account the engraver’s copy, which was actually discovered in a rubbish bin at Novello’s in 1964. Its title page bears the words “Copied from my original manuscript” in Dvorák’s hand. This source proves that many ofthe readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyist’s pen.This new edition with score and orchestral parts in an enlarged format is accompanied byadetailed Critical Commentary on the sources and alternative readings. It also contains important facsimile pages to clarify problematical readings.Score and orchestral parts in an enlargedformatInformative Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) on sources and alternative readingsWith facsimile pages

SEK 876.00
1

Symphony No.8 In G Op.88 (Cello) : In G Major

Symphony No.8 In G Op.88 (Cello) : In G Major

The performance material available up till now for Dvorák’s sun-filled cheerful Symphony No.8 has been notorious for its myriad mistakes. The challenge of correcting it has now been taken over by the editor Jonathan Del Mar. Hehas taken into account the engraver’s copy, which was actually discovered in a rubbish bin at Novello’s in 1964. Its title page bears the words “Copied from my original manuscript” in Dvorák’s hand. This source proves that many ofthe readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyist’s pen.This new edition with score and orchestral parts in an enlarged format is accompanied byadetailed Critical Commentary on the sources and alternative readings. It also contains important facsimile pages to clarify problematical readings.Score and orchestral parts in an enlarged formatInformativeForeword (Eng/Cz/Ger) and Critical Commentary (Eng) on sources and alternative readingsWith facsimile pages

SEK 128.00
1