Vocal ensembles (with and without instruments)

Der Engel des Herrn

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Edited by Juliane Peetz.
20pp, printed on quality paper and finished by DU Print.
Scoring: Soprano, alto, tenor, bass, violin, cornettino, trombone, bassoon, continuo.

Click HERE to see the first page of the score.

Amo te, Deus meus

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Edited by Brian Clark.
24pp.
Scoring: Soprano, alto, bass, 2 violins, bassoon, continuo.

Benedicam Dominum I

This setting of verses from Psalm 34 combines Pohle's contrapuntal ingenuity with word painting - no more evidently at the phrase "the humble shall hear thereof, and be glad".
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This setting of verses from Psalm 34 combines Pohle's contrapuntal ingenuity with word painting - no more evidently at the phrase "the humble shall hear thereof, and be glad".
Edited by Juliane Peetz.
16pp.
Scoring: Soprano, alto, 2 violins, bassoon, continuo.

Benedicam Dominum II

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25 bars longer that the composer's other setting, the present motet displays all of the composer's declamatory and contrapuntal abilities.

Edited by Juliane Peetz.
12pp, printed on quality paper and finished by DU Print.
Scoring: Soprano, alto, 2 violins, bassoon, continuo.

Click HERE to see the first page of the score.

Bonum est confiteri

 
One of the few surviving works by Pohle for voices and continuo without obbligato instruments, this is a setting of verses from Psalm 92.
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One of the few surviving works by Pohle for voices and continuo without obbligato instruments, this is a setting of verses from Psalm 92.
Edited by Juliane Peetz.
12pp.Scoring: Alto, tenor, bass, continuo.

Es wird ein Stern

This fine Advent motet consists of a sonata for two violins, bassoon and continuo,
a Tutti setting the Bible text about the star arising in the East, a central six-verse aria
(one verse for each of the voices and two duets), then the Tutti is reprised.
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  • Description
This fine Advent motet consists of a sonata for two violins, bassoon and continuo,
a Tutti setting the Bible text about the star arising in the East, a central six-verse aria
(one verse for each of the voices and two duets), then the Tutti is reprised.

Edited by Gottfried Gille.
24pp.
Scoring: SATB, 2 violins, bassoon, continuo.

Performance material by negotiation.

Ihr Völker bringet her

A setting of verses from Psalm 96. Following the Sinfonia, the two upper voices have short solos,
then the whole ensemble joins for the remainder, a typical patchwork of duple and triple time imitation.
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A setting of verses from Psalm 96. Following the Sinfonia, the two upper voices have short solos,
then the whole ensemble joins for the remainder, a typical patchwork of duple and triple time imitation.
Edited by Brian Clark.
20pp.Scoring: Soprano, alto, bass, 2 violins, bassoon, continuo.

Jesu meine Freude

Following a sinfonia, each voice has one verse of a poetic text. The sinfonia is repeated as a ritornello between verses.
Finally, the whole ensemble come together for the fifth verse.
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Following a sinfonia, each voice has one verse of a poetic text. The sinfonia is repeated as a ritornello between verses.
Finally, the whole ensemble come together for the fifth verse.
Edited by Gottfried Gille.
16pp.Scoring: SATB, 3 "viole", continuo.

Jesus auctor clementiae

This is a setting of words from the Jubilus Bernardi, but also has a contemporary German translation.
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  • Description
This is a setting of words from the Jubilus Bernardi, but also has a contemporary German translation.
Edited by Juliane Peetz.
20pp.
Scoring: Alto, tenor, bass, 2 violins, continuo.

Kein Augenblick vergeht

This short piece consists of three contrasted sections.
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This short piece consists of three contrasted sections.
Edited by Brian Clark.
8pp.Scoring: 2 solo Sopranos, Bass solo, continuo.The text was translated by David Bellinger.

Marindchen, du siehst hold

This short piece for soprano, alto and 5-parts strings sets a text comparing the poet's beloved with various goddesses (some sort of role reversal of the Judgment of Paris story?) Only the two voice parts, the continuo part and Violin 1 survive, so the lower four string parts have been reconstructed.
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  • Description
This short piece for soprano, alto and 5-parts strings sets a text comparing the poet's beloved with various goddesses (some sort of role reversal of the Judgment of Paris story?) Only the two voice parts, the continuo part and Violin 1 survive, so the lower four string parts have been reconstructed.
Edited by Brian Clark.12pp.Scoring: Soprano solo, Alto solo, 2 violins, 2 violas, violone, continuo.The text was translated by David Bellinger.

Miserere mei Deus

Pohle's setting of eight verses from Psalm 50 is headed "Concerto à 5 Voci con 5 Viole se piace" (Concerto for 5 voices and 5 viols, ad lib.). The strings selectively double the voices, although there are solo passages, including the opening. The setting has a curious modal feel to it.
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Pohle's setting of eight verses from Psalm 50 is headed "Concerto à 5 Voci con 5 Viole se piace" (Concerto for 5 voices and 5 viols, ad lib.). The strings selectively double the voices, although there are solo passages, including the opening. The setting has a curious modal feel to it.

Edited by Gottfried Gille.
24pp.
Scoring: SSATB, [optional doubling strings, though they do play an opening sonata], continuo.

Performance material by negotiation.

Nascitur Immanuel

This is a Christmas piece with a difference. After the four violins and bassoon play a sonata, the SSATB soloists are joined by a ripieno choir to announce the birth of Christ. The opening mood shifts as each of the soloists takes one verse each of an aria con ritornello in which the text concentrates on the darker side of Christ's works on earth. The opening chorus is repeated to bring the piece to a cheerful close.
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This is a Christmas piece with a difference. After the four violins and bassoon play a sonata, the SSATB soloists are joined by a ripieno choir to announce the birth of Christ. The opening mood shifts as each of the soloists takes one verse each of an aria con ritornello in which the text concentrates on the darker side of Christ's works on earth. The opening chorus is repeated to bring the piece to a cheerful close.

Edited by Brian Clark.
16pp.
Scoring: SSATB, 4 violins, continuo.

Performance material by negotiation.

Oculi mei semper ad Dominum

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Edited by Juliane Peetz.
12pp.
Scoring: Soprano, alto, bass, 2 violins, continuo.

Siehe, es hat überwunden

This is a very important work in the history of the German church cantata. It is the first known setting in the Concerto-Aria form, where (after a sonata) the voices sing a Biblical text, then take turns in the verses of a poetic "Aria", before repeating the Concerto (or Biblical text) to close. The poet was David Elias Heidenreich.
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  • Description
This is a very important work in the history of the German church cantata. It is the first known setting in the Concerto-Aria form, where (after a sonata) the voices sing a Biblical text, then take turns in the verses of a poetic "Aria", before repeating the Concerto (or Biblical text) to close. The poet was David Elias Heidenreich.

Edited by Gottfried Gille.
40pp.
Scoring: SSATB, 2 trumpets, 2 violins, 2 violas (ad lib), viola da gamba, bassoon, continuo.

Performance material by negotiation.

Tulerunt Dominum

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Edited by Brian Clark.
24pp.
Scoring: SSATTB, 2 violins, 3 viole, bassoon, continuo.

Performing materials by negotiation.