Search Results: Baroque from Serenissima Music, Inc.

For this beloved Cantata, the classic vocal score arranged by Bernhard Todt as a companion to the renowned Bach Gesellschaft Ausgabe was re-engraved by G. Schirmer in the early part of the 20th century with Henry Drinker's English translation added beneath the original German text. Now available in an easy-to-use, convenient size designed to fit comfortably in choral folders.

Sinfonia
Versus I: Christ lag in Todesbanden (soprano, alto, tenor, bass)
Versus II: Den Tod niemand zwingen kunnt (soprano, alto)
Versus III: Jesus Christus, Gottes Sohn (tenor)
Versus IV: Es war ein wunderlicher Krieg (soprano, alto, tenor, bass)
Versus V: Hier ist das rechte Osterlamm (bass)
Versus VI: So feiern wir das hohe Fest (soprano, tenor)
Versus VII: Chorale: Wir essen und leben wohl (tutti)

SATB soli, SATB chorus / piano ; ISMN: 979-0-800001-44-4

This new vocal score is a digitally enhanced reprint of the one fist issued by C.F. Peters, Leipzig in the late 19th century, based upon the Bach Gesellschaft edition with the classic keyboard reduction by Gustav Rosler. With added measure numbers and in a large, easy-to-read A4 size, choruses and students of Bach's music will appreciate having this authoritative score in their libraries.

SATB soli, SATB chorus / Piano ; ISMN: 979-0-800001-64-2

Composed for an Easter Sunday performance in 1715 during Bach's tenure as court composer at Weimar, this cantata has long been a favorite among the more than 250 he wrote. Unabridged electronically enhanced reissue of the vocal score first published by C. F. Peters in ca.1880 based on the Bach Gesellschft volume which first appeared in 1857.

Sonata
Coro: Der Himmel lacht, die Erde jubilieret
Recitativo: Erwunschter Tag! Sei, Seele, wieder froh (bass)
Aria: Furst des Lebens, starker Streiter (bass)
Recitativo: So stehe denn, du Gott ergebne Seele (tenor)
Aria: Adam muss in uns verwesen (tenor)
Recitativo: Weil denn das Haupt sein Glied, natürlich nach sich zieht (soprano)
Aria: Letzte Stunde, brich herein (soprano)
Chorale: So fahr ich hin zu Jesu Christ

STB soli, SSATB chorus / Piano ; ISMN: 979-0-800001-09-3

This exceptional cantata was probably first heard at the Thomaskirche in Leipzig on June 16, 1726, though scholars cannot rule out it being composed for a festival later that year or early in 1727. The new digitally-enhanced vocal score presented here is reproduced from the series first issued to coincide with the monumental Bach Gesellschaft Ausgabe by Breitkopf und Hartel of Leipzig just over a century ago with keyboard reductions by Bernhard Todt.

Coro: Gelobet sei der Herr, mein Gott
Aria (bass): Gelobet sei der Herr, mein Gott, mein Heil
Aria (soprano): Gelobet sei der Herr, mein Gott, mein Trost
Aria (alto): Gelobet sei der Herr, mein Gott, der ewig lebet
Chorale: Dem wir das Heilig jetzt

SAB soli, SATB chorus / Piano ; ISMN: 979-0-800001-63-5

An interesting case of self-borrowing. Bach took music from his own Mass in B-minor (BWV 191/1 corresponds to the Gloria in excelsis Deo, BWV 191/2 to the Domine Deus, BWV 191/3 to the Cum sancto spiritu) for use in this latin cantata written to celebrate the Peace of Dresden (which ended the 2nd Silesian war). It was first performed on Christmas Day, 1745. Newly engraved carefully edited vocal score based on the Bach Gessellschaft edition produced in an easy-to-read A4 format. Large score and parts from the BGA are also available from Serenissima Music.
Coro: Gloria in excelsis Deo
Duetto: Gloria Patri
Coro: Sicut erat in principio
ST soli, SSATB chorus / Piano ; ISMN: 979-0-800001-33-8

An interesting case of self-borrowing. Bach took music from his own Mass in B-minor (BWV 191/1 corresponds to the Gloria in excelsis Deo, BWV 191/2 to the Domine Deus, BWV 191/3 to the Cum Sancto Spiritu) for use in this latin cantata written to celebrate the Peace of Dresden which marked the end of the 2nd Silesian war. It was first performed on Christmas day, 1745. This vocal score is a reissue of the one which was originally published to coincide with Bach Gessellschaft edition. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable.

Coro. Gloria in excelsis Deo
Duetto. Gloria Patri
Coro. Sicut erat in principio
ST soli, SSATB chorus / Piano ; ISMN: 979-0-58021-064-7

Composed for Reformation Day (October 31) in 1725, this cantata was re-scored for a performance given five years later. With its colorful orchestration and musical allusions to Luther's nailing of the 98 theses to the back door of the Schlosskirche in Wittenberg, the cantata has remained a popular one ever since its first publication in 1870.
This new vocal score is a digitally restored reprint of the one first issued in the early 20th century by G. Schirmer, New York, with Henry Sandwith Drinker's classic English translation beneath the original German text. The keyboard reduction by Bernhard Todt is a classic in its own right, based upon the renowned Bach Gesellschaft Ausgabe.

Coro: Gott, der Herr, ist Sonn und Schild
Aria (Alto): Gott ist unser Sonn und Schild
Choral: Nun danket alle Gott
Recitativo (Bass): Gottlob! Wir wissen den rechten Weg zur Seligkeit
Aria (Soprano, Bass): Gott, ach Gott, verlaß die Deinen nimmermehr
Choral: Erhalt uns in der Wahrheit

SAB soli, SATB chorus / Piano ; ISMN:… Read More

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, and transposed it to D major, providing better sonority for the three trumpets, which is the standard version of the work encountered today. The Magnificat is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir. The four movements from the original version have been transposed to D major and inserted in their original order for those wishing to have the omitted Christmas texts.

This new study score is a digitally enhanced reissue of the full score edited by Alfred Durr for the Neue Bach Ausgabe in 1956. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. The… Read More

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance and transposed it to D major, providing better sonority for the three trumpets. This version, first performed in a 1733 concert for the Feast of the Visitation, is the standard version of the work encountered today. The Magnificat is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir. The four movements from the original version have been transposed to D major and inserted in their original order for those wishing to have the omitted Christmas texts. This new study score prepared by Richard W. Sargeant Jr., based upon the manuscripts and other primary sources, is a must for those who want to appreciate the beauty of one of Bach's most enduring masterworks.
Magnificat… Read More

Unabridged digitally enhanced reprint of the vocal score prepared by musicologist Karl Straube and published by C.F. Peters, Leipzig in the early 20th century. Bach composed the initial version in E-flat in 1723 for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, and transposed it to D major, providing better sonority for the trumpets. The work is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir.
Magnificat anima mea (Coro)
Et exultavit (Aria)
Quia respexit (Aria)
Omnes generationes (Coro)
Quia fecit mihi magna (Aria)
Et misericordia (Duetto)
Fecit potentiam (Coro)
Deposuit (Aria)
Esurientes (Aria)
Suscepit Israel (Terzetto)
Sicut locutus (Coro)
Gloria Patri (Coro)
SSATB soli, SSATB chorus / Piano ; ISMN: 979-0-800001-34-5

A newly engraved vocal score carefully edited and revised from Berhard Todt's reduction issued in conjunction with Bach Gesellschaft edition. One of Bach's earliest extant works (dated 1708 or 1709), this cantata was likely influenced by the those of Dietrich Buxtehude.The opening string sinfonia is follwed by a short opening chorus in motet style. After a brief attractive aria (for soprano), another chorus, also in motet style, commences with an ascending scale after which the line is handed off brilliantly between the various parts. This is followed by a trio for alto, tenor and bass and another chorus featuring a fugal finale. The last movement is a choral chaconne that so impressed Johannes Brahms (one of the few original subscribers to the Bach Gesellschaft edition) that he quoted the bass line in last movement of his "Symphony No. 4." All in the space of a little over fifteen minutes.
Sinfonia
Coro
Aria
Coro
Terzetto
Coro
Coro
SATB soli, SATB chorus / Piano ; ISMN: 979-0-800001-36-9

There have been several orchestrations of Bach's famous organ masterwork over the years, including some by notable conductors such as Leopold Stokowski, Eugene Ormandy, Rene Leibowitz, Andrew Davis plus a couple by composers: Ottorino Respighi and the one offered here by the Russian Aleksandr Gedike. The exact date of Gedike's orchestration is unknown but could date from before the Russian revolution of 1917 which would make it one of the earliest orchestral settings. It's a splendid example of Gedike's typically Russian orchestrational style which employs the full compliment of orchestral forces. The study score offered here is a newly engraved edition prepared by Richard W. Sargeant, Jr. The large conductor's score and orchestra parts compatible with this new edition are also available from Serenissima Music.
Orchestra (2+1, 2, 2+1, 2+1 - 4, 3, 3, 1, timp, perc, strs) ; ISMN: 979-0-58042-114-2

Unlike Bach's other oratorio compositions, there is no definitive version of the St. John Passion. The first version of 1724 which is today's standard version represents a mixture of different readings. The second version of 1725 was performed under the direction of Bach himself and can therefore be considered authentic. In addition to a change in order of several movements, the second version differs from the earlier version by the use of the opening chorus "O Mensch, bewein".
The performance material corresponds to the Urtext edition of the 1725 version which was recently published as part of the Neue Bach Ausgabe (NBArev).
SATBB soli, SATB chorus / Piano ; ISMN: 979-0-006-54399-1

Mahler's arrangement of four Bach pieces - two each from the baroque master's Orchestral Suites Nos. 3 and 4 (BWV 1067, 1068) were prepared specially for a concert of the New York Philharmonic he conducted on November 10, 1909. Mahler's arrangement is quite unusual for its era and does not significantly depart from Bach's original in the forces required. Mahler's use of the harpsichord (he played the part himself at the premiere) is quite personal - adding the instrument to the orchestra a color more than the conventional continuo accompaniment function played in Bach's era.

Mahler's re-working is itself within the Bach tradition as the Leipzig master was no stranger at making adaptations of earlier composers' works for his own concerts. This new study score is a digitally-enhanced reissue of the one first published by G. Schirmer in 1910. In contrast to so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is… Read More