Georg Benda

This Annunciation cantata opens with a tutti. Following a secco recitative for alto comes an aria for bass. The first part closes with a chorale. An aria for tenor is followed by a secco recitative for bass, and then the opening tutti is repeated.

Edited by Brian Clark.
12pp, printed on quality paper and finished by DU Print.
Scoring: SATB, 2 horns (in both G and C), strings, continuo.

Click HERE to see the first page of the score.

Performance material by negotiation. Contact us for details.

The two Da Capo arias in this cantata for the 14th Sunday after Trinity are for soprano (with flutes and strings) and tenor (with the whole ensemble); the second is one of the most varied movements in the entire cycle, alternating common time adagio with triple time vivace and even a central passage of secco recitative. Clearly the composer's creative juices were flowing that day!

Edited by Brian Clark.
40pp, printed on quality paper and finished by DU Print.
Scoring: SATB, 2 flutes, 2 horns, strings, continuo.

Click HERE to see the first page of the score.

Performance material by negotiation.

Like all of the cantatas in this cycle, the opening chorus of this work for Septugemisa Sunday (the ninth before Easter) is followed by a recitative and a Da Capo aria (this one for tenor) then a chorale. After a second Da Capo aria (for alto) comes another secco recitative, and then the opening chorus should be reprised.

Edited by Brian Clark.
32pp, printed on quality paper and finished by DU Print.
Scoring: SATB, strings, continuo.

Click HERE to see the first page of the score.

Performance material by negotiation.