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Cantata for the 3rd Sunday of Christmas (1st version). Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Carus digital: Sheet music as PDF. Sacred vocal music, Cantatas, Christmas. Full score. Composed 1725. BWV 151. 28 pages. Duration 19 minutes. Carus Verlag #CV 31.151/00. Published by Carus Verlag (CA.3115100).
ISBN 9790007049362. 8.27 x 11.69 inches. Key: G major. Language: German/English. Text: Georg Christian Lehms.
Bach’s cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach’s "most inspired ideas" (Alfred Dürr), was composed for the 3rd day of Christmas 1725. Flute and oboe d’amore lend pastoral coloring to the chamber music sound picture. The oboe d’amore was not originally included in Bach’s score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728–1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann.
Cantata for the 3rd Sunday of Christmas (1st version). Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Carus digital: Sheet music as PDF. Sacred vocal music, Cantatas, Christmas. Full score. Composed 1725. BWV 151. 28 pages. Duration 19 minutes. Carus Verlag #CV 31.151/00. Published by Carus Verlag (CA.3115100).
ISBN 9790007049362. 8.27 x 11.69 inches. Key: G major. Language: German/English. Text: Georg Christian Lehms.
Bach’s cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach’s "most inspired ideas" (Alfred Dürr), was composed for the 3rd day of Christmas 1725. Flute and oboe d’amore lend pastoral coloring to the chamber music sound picture. The oboe d’amore was not originally included in Bach’s score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728–1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann.
Preview: Comfort sweet, that Jesus came
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