Classical Music (Baroque) Sheet Music for Mixed Choir (SATB)

The most famous of several Vivaldi works entitled Gloria (RV 589), this edition by Clayton Westermann includes a short preface to explain performance practice. Of the three recorded Glorias Vivaldi wr...

The present Laudate Dominum RV 614 is written for solo soprano and alto, mixed chorus, 2 violins, 2 horns and organ continuo though Vivaldi usually writes his music for four string parts (2 violins, v...

The present Laudate Dominum RV 614 is written for solo soprano and alto, mixed chorus, 2 violins, 2 horns and organ continuo though Vivaldi usually writes his music for four string parts (2 violins, v...

The present Laudate Dominum RV 614 is written for solo soprano and alto, mixed chorus, 2 violins, 2 horns and organ continuo though Vivaldi usually writes his music for four string parts (2 violins, v...

In the almost six months from 14 August 1736 to 27 January 1737, George Frideric Handel had achieved unprecedented productivity in his operatic oeuvre with the composition of three operas. In addition...

'Pigmalion' was the first example of a one-act ballet, preceded by an overture, composed specifically for the Académie royale de musique. With this work, Rameau turned to the form of the petit opéra....

The previous first-edition editions of Caldara's works by Butz Verlag have met with a great response and have aroused curiosity about the as yet unpublished treasures from the pen of this cosmopolitan...

The composition by the Viennese Baroque master, which appears here in its first edition, combines southern freshness and elegance with intimate expression. The deeply felt invocation, which can also b...

The present work also shows why the Mozart family, who were close friends with the composer, appreciated Eberlin's works so much: mastery of compositional technique is happily combined here with south...

Bach was not able to use the Weimar Advent cantata 'Ärgre dich, o Seele, nicht' BWV 186a in Leipzig, as there was no performance of church music there between the 1st Sunday of Advent and Christmas. B...

Bach was not able to use the Weimar Advent cantata 'Ärgre dich, o Seele, nicht' BWV 186a in Leipzig, as there was no performance of church music there between the 1st Sunday of Advent and Christmas. B...

Bach was not able to use the Weimar Advent cantata 'Ärgre dich, o Seele, nicht' BWV 186a in Leipzig, as there was no performance of church music there between the 1st Sunday of Advent and Christmas. B...

A joyful dispute of the gods' is how Johann Sebastian Bachs librettist Salomon Franck described the Birthday Cantata for the court of Saxony-Weißenfels, now generally known as the 'Hunting Cantata' BW...

A joyful dispute of the gods' is how Johann Sebastian Bachs librettist Salomon Franck described the Birthday Cantata for the court of Saxony-Weißenfels, now generally known as the 'Hunting Cantata' BW...

A joyful dispute of the gods' is how Johann Sebastian Bachs librettist Salomon Franck described the Birthday Cantata for the court of Saxony-Weißenfels, now generally known as the 'Hunting Cantata' BW...

Johann Sebastian Bach's librettist Salomon Franck called the congratulatory music for the court of Saxe-Weissenfels, which is generally known today as the "Hunting Cantata" BWV 208, "Frohlockender Göt...

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20t...

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20t...

The first version of the Reformation cantata "Eine feste Burg ist unser Gott" BWV 80b, published for the first time in a practical edition by Carus-Verlag, remained unknown to Bach scholars until well...

'Ich steh mit einem Fuß im Grabe' (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle....

'Ich steh mit einem Fuß im Grabe' (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle....

'Ich steh mit einem Fuß im Grabe' (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle....

Ich steh mit einem Fuß im Grabe BWV 156 is one of Johann Sebastian Bach's few surviving cantatas on texts from what is known as the Picander period. As in several other cantatas on texts by this poet,...