Now has the hope and the strength Chorus for St. Michael's Day. Reconstruction Reinhold Kubik by Johann Sebastian Bach 4-Part - Sheet Music

By Johann Sebastian Bach

composed in the late period, around 1740 A lively discussion about the choral movement Nun ist das Heil und die Kraft has been carried on, in which not only all previous assumptions have been called into question – including Bach’s authorship – but also show how little we know about the history of this magnificent movement. Even though there is little to refute the 1982 presumption that the work was handed down in the form of an arrangement, the question remains open concern­ing the identity of the arranger, as well as the alleged form of the original design. Therefore it seemed appropriate to forego any attempts at reconstruct-ion. Rather, for the present new edition the music has been critically examined and commented upon based on the surviving copy from Bach’s circle.

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Details

Summary
Format:
Score
Item types:
Physical
Musical forms:
Cantata
Artist:
Johann Sebastian Bach
Arrangers:
Reinhold Kubik
Usages:
Assurance Saints' Days Psalms
Main Key:
D major
Size:
8.27 x 11.69 inches
Number of Pages:
36
Shipping Weight:
0.38 pounds
Detailed Description
SATB/SATB choir, 2 oboes, oboe d'amore, 3 trumpets, timpani, 2 violin, viola, basso continuo (Coro SATB/SATB, 2 Ob, Obda, 3 Tr, Timp, 2 Vl, Va, Bc)

SKU: CA.3105000

Chorus for St. Michael's Day. Reconstruction Reinhold Kubik. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Reinhold Kubik. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Carus digital: Sheet music as PDF. Sacred vocal music, Cantatas, Special days, Psalms. Full score. Composed circa 1740. BWV 50. 36 pages. Duration 5 minutes. Carus Verlag #CV 31.050/00. Published by Carus Verlag (CA.3105000).

ISBN 9790007043025. 8.27 x 11.69 inches. Key: D major. Language: German/English.

Composed in the late period, around 1740 A lively discussion about the choral movement Nun ist das Heil und die Kraft has been carried on, in which not only all previous assumptions have been called into question – including Bach’s authorship – but also show how little we know about the history of this magnificent movement. Even though there is little to refute the 1982 presumption that the work was handed down in the form of an arrangement, the question remains open concern­ing the identity of the arranger, as well as the alleged form of the original design. Therefore it seemed appropriate to forego any attempts at reconstruct-ion. Rather, for the present new edition the music has been critically examined and commented upon based on the surviving copy from Bach’s circle.

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