نت برگ

ماخذ

Membra Jesu Nostri. Dietrich Buxtehude. 2 violins, 2 violas. da gamba. , Basso continuo. II. Ad genua. knees. Complete cantata. CPDL # 18641. Editor. Shigekazu Nimura. submitted 2008-12-23. Score information. A4, 26 pages, 344 kB Copyright. Personal. Edition notes. Concerto Ad ubera portabimini. CPDL # 05543. Capella. Editor. Michael Dreschel. submitted 2003-08-25. Score information. A4, 4 pages, 44 kB Copyright. Personal. Edition notes. Choral parts only. Cappella file is zipped. Voicing. SSATB chorus, SSATB soli. Sacred , Cantata. Language. Latin. SSATB chorus, SSB soli.

ترجمه

Membra Jesu Nostri. دیتریش BUXTEHUDE. 2 violins, 2 violas. دا گامبا. ، شدتگرفتن. II. Ad genua. knees. Complete cantata. CPDL # 18641. ویرایشگر. Shigekazu Nimura. submitted 2008-12-23. امتیاز اطلاعات. A4, 26 pages, 344 kB Copyright. شخصی. یادداشت ها نسخه. Concerto Ad ubera portabimini. CPDL # 05543. دسته جمعی. ویرایشگر. Michael Dreschel. submitted 2003-08-25. امتیاز اطلاعات. A4, 4 pages, 44 kB Copyright. شخصی. یادداشت ها نسخه. Choral parts only. Cappella file is zipped. Voicing. SSATB chorus, SSATB soli. مقدس، کانتات. زبان. Latin. SSATB chorus, SSB soli.

ماخذ

This is a cycle of seven cantatas, and dedicated to Gustaf Düben. The text, Salve mundi salutare is a poem written by Arnulf of Louvain. died 1250. Each of the seven parts pertains to a different part of the crucified Christ's body. feet, knees, hands, side, chest, heart, and head. The structure of each cantata follows the same form. Sonata. Concerto. chorus. Aria. Aria. Aria. Concerto. chorus. In all but the last cantata, the final concerto chorus is simply a repeat of the first chorus. in the seventh cantata, an Amen chorus is subsituted. The "arias" are actually solos, trios, or quintets.

ترجمه

This is a cycle of seven cantatas, and dedicated to Gustaf Düben. The text, Salve mundi salutare is a poem written by Arnulf of Louvain. died 1250. Each of the seven parts pertains to a different part of the crucified Christ's body. feet, knees, hands, side, chest, heart, and head. The structure of each cantata follows the same form. سوناتا. کنسرت. chorus. هوا. هوا. هوا. کنسرت. chorus. In all but the last cantata, the final concerto chorus is simply a repeat of the first chorus. in the seventh cantata, an Amen chorus is subsituted. The "arias" are actually solos, trios, or quintets.