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Anonymous
Dall' Abaco
Ahle
Albrechtsberger
Albrici
Altnikol
Ariosti
Georg Arnold
C. P. E. Bach
Heinrich Bach
J. S. Bach
Badia
Becker
Franz Benda
Bernabei
Bertali
Biber
Bodinus
Bononcini
Boxberg
Burney
Buxtehude
Francesca Caccini
Caldara
Capricornus
Cavalli
Charpentier
Clemens
Corrette
Croft
Dittersdorf
Donati
Du Mont
Endler
Erlebach
Fasch
Ferrandini
Finger
Foerster
Fux
Galuppi
Gassmann
Geist
Gentili
Gletle
Goldberg
Gombert
Grandi
J. G. Graun
K. H. Graun
Graupner
Graziani
Handel
Michael Haydn
Heinichen
J. W. Hertel
Hoeckh
Hoffner
Josquin
Keiser
Kraus
Lassus
Legrenzi
Leonarda
Leopold I
Lully
Manfredini
Biagio Marini
Rupert Ignaz Mayr
Virgilio Mazzochi
Meck
Meder
Merula
Monteverdi
Muller
Muffat
Naumann
Nichelmann
Oliver y Astorga
d'Ordonez
Andreas Oswald
Pachelbel
Pepusch
Peranda
Pfleger
Pohle
D. Purcell
Rameau
Ranisius
T. Richter
Rigatti
Ristori
Roellig
Rogers
Rosenmüller
Luigi Rossi
Rovetta
de la Rue
Sances
A. Scarlatti
Schelle
Schmelzer
Sebastian
Smieton
Somis
Steffani
Stölzel
B. Strozzi
Luigi Taglietti
Tartini
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Tunder
Vaet
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Veracini
Wagenseil
S. Wesley
Wetzke
Zelenka
David Pohle
David Pohle was born in 1624 and during a long career he held positions in Kassel, Magdeburg, Halle, Weißenfels, Zeitz and finally Merseburg, where he died in 1695. Only 25 sacred vocal works have survived, ranging for solo motets with instrumental accompaniment to larger works with winds. 26 sonatas are known and two sets of dances. We are delighted that for this Complete Edition, we are joined by Dr Gottfried Gille and Juliane Peetz, both of whom are experts on the composer and his music. We hope to produce two new editions per month.
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Series 1: Vocal music
POH001 Herr, wenn ich nur dich habe II
Edited by Brian Clark.
This setting of verses from Psalm 73 and a free poetic text is scored for alto voice, four viole, violone and continuo. The centrepiece of the motet (as is common in Pohle's solo music) is a strophic aria, and the piece concludes with a lively Amen.
Performing set: Two scores, plus single instrumental parts
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POH002 Tulerunt Dominum
Edited by Brian Clark.
This dialogo a 6 voci et 6 stromenti for Easter Sunday starts with three female voices (the three Marys), answered by two Tenors (the young men at the tomb) and joined by a Bass (the risen Christ sings "behold I was dead and now I live"), and all join for an affirmative chorus before a final Alleluia.
Performing set: Seven scores, and single instrumental parts.
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POH004 Nascitur Immanuel
Edited by Brian Clark.
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. For a more festive sound, four treble recorders can replace the violins.
Performing set: Score, five vocal scores, single instrumental parts.
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POH008 Benedicam Dominum
Edited by Juliane Peetz.
The Pohle Edition. Series 1. Volume 6.
Scored for Soprano, Alto, two violins, bassoon and continuo, 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".
Performing set: Three scores and single instrumental parts.
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POH010 Es wird ein Stern aus Jakob aufgehen
Edited by Gottfried Gille.
The Pohle Edition. Series 1. Volume 5.
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.
Performing set: Six scores and single instrumental parts.
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POH011 Ihr Völker bringet her
Edited by Gottfried Gille.
The Pohle Edition. Series 1. Volume 11.
This setting of verses from Psalm 96 is scored for Soprano, Alto, Bass, two violins, bassoon and continuo. 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.
Performing set: Four scores and single instrumental parts.
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POH012 Vox Domini
Edited by Juliane Peetz.
The Pohle Edition. Series 1. Volume 7.
"The Lord's voice on the waters is: the God of majesty doth thunder." These are the opening words of this motet for solo Bass with two violins and continuo - and there is some wonderful word-painting. The soloist needs an agile two octave range from D below the bass clef.
Performing set: Two scores and single instrumental parts.
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POH013 Wie der Hirsch schreiet
Edited by Juliane Peetz.
The Pohle Edition. Series 1. Volume 8.
The text of this motet for solo Tenor, two violins, bassoon and continuo is well known in English as "As pants the hart". For much of the time, the voice is accompanied only by continuo, with the instruments in dialogue. The exception is the delightful passage "Was betrübst du dich?"
Performing set: Two scores and single instrumental parts.
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POH017 Jesu meine Freude
Edited by Gottfried Gille.
The Pohle Edition. Series 1. Volume 12.
This motet is scored for SATB, three "viole" (possibly gambas?) and continuo. 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.
Performing set: Six scores and a set single instrumental parts.
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POH019 Siehe, es hat überwunden
Edited by Gottfried Gille.
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.
Performing set: Score, and a set of single parts. A choral score is available for the Concerto section. Extra string parts are available.
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POH020 Bonum est confiteri Dominum
Edited by Juliane Peetz.
The Pohle Edition. Series 1. Volume 15.
One of the few surviving works by Pohle for voices and continuo without obbligato instruments, this is a setting of verses from Psalm 92. The Alto, Tenor and Bass all have solos in the central section of the work, which concludes by repeating the opening, "It is a good thing to give thanks unto the Lord".
Performing set: Four scores and continuo bass part (unrealized).
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POH021 Diligam te Dominum
Edited by Gottfried Gille.
The Pohle Edition. Series 1. Volume 16.
This motet for soprano, two violins and continuo was written about 1660. It is a setting of verses from Psalm 17 [18] and consists of passages for voice with and without violins. After an extended triple time section, the work ends with the proclamation "so shall I be saved from mine enemies."
Performing set: Two scores and single instrumental parts.
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*POH025 Jesus auctor clementiae*
Edited by Juliane Peetz.
The Pohle Edition. Series 1. Volume 20.
This motet for alto, tenor, bass, two violins and continuo. It is a setting of words from the Jubilus Bernardi, but also has a contemporary German translation.
Performing set: Four scores and single instrumental parts.
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POH026 Jesu chare te amare
Edited by Juliane Peetz.
The Pohle Edition. Series 1. Volume 21.
At the heart of this fine work is a three verse aria. Scored for Alto solo, two violin and continuo, it is cast in a minor key, a slightly strange choice, given the positive nature of the poetic text.
Performing set: Two scores and single instrumental parts.
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POH027 Miserere mei Deus
Edited by Gottfried Gille.
The Pohle Edition. Series 1. Volume 22.
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.
Performing set: Six scores and single instrumental parts.
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POH028 Oculi mei semper ad Dominum
Edited by Juliane Peetz.
The Pohle Edition. Series 1. Volume 23.
Following the 8-bar introduction, this setting of verses from Psalm 25 for Soprano, Alto, Bass, two violins and continuo has three sections; there are solos for the three voices at the work's heart, framed by tuttis in which the violins fully participate in a wonderfully rich harmonic texture.
Performing set: Four scores and single instrumental parts.
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*POH032 Marindchen du siehst hold*
Edited by Brian Clark. Text translated by David Bellinger. 12pp.
The Pohle Edition. Series 1. Volume 27.
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.
Performing set: Three scores and single instrumental parts.
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*POH053 Kein Augenblick vergeht*
Edited by Brian Clark. Text translated by David Bellinger. 8pp.
The Pohle Edition. Series 1. Volume 26.
This short piece for two sopranos, bass and continuo consists of three contrasted sections/
Performing set: Four scores.
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Series 2: Instrumental music
POH005 Sonata a5 (Gille4)
Edited by Brian Clark.
This sonata is scored for two violins, two violas, bassoon and continuo. The violins dominate the texture and the main focus is on Pohle's melodic writing and his quirky harmony. Although there is some imitation between the violins (and between the violas' accompanying figures), this has the feel of a dance suite, with each of the short, basically homophonic sections being repeated.
Performing set: Score and parts.
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POH006 Sonata a5 (Gille22)
Edited by Brian Clark.
What the originaly performers made of this sonata is difficult to imagine - I have never encountered source material that is so faulty as the opening section of this excellent sonata. The set of parts actually includes two later violin parts for that section alone, correcting the many copying errors. This piece is far more imitative that the previous work and the violas are much more equal partners of the violins.
Performing set: Score and parts.
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POH007 Sonata a6 (Gille25)
Edited by Gottfried Gille.
The Pohle Edition. Series 2. Volume 3.
This fine six-part sonata consists of two extended sections, one in 3/2 time and the other in 6/4, followed by a 15-bar Adagio.
Performing set: Score and parts.
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POH009 Sonata a6 (Gille23)
Edited by Gottfried Gille.
The Pohle Edition. Series 2. Volume 4.
This fine sonata is featured on l'arpa festante's CD of music by Pohle, and rightly so - it's among its very best works. Unusually it features the two violins in very much soloistic roles - there are two sections where they play alone with the continuo.
Performing set: Score and parts.
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POH030 Sonata a6 in D minor (Gille 24)
Edited by Gottfried Gille
2 violins, 3 violas, basso di viola, Basso continuo. 16pp.
Performing set: Score and a set of single parts.
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POH034 Sonata a5 in E minor (Gille1)
Edited by Gottfried Gille.
The Pohle Edition. Series 2. Volume 5.
Scored for two violins, two violas, basso da viola and continuo, this sonatas consists of a dance-like tripla, framed by two more sedate pavan-like common time sections.
Performing set: Score and parts.
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POH035 Sonata a5 in G (Gille3)
Edited by Gottfried Gille
2 violins, 2 violas, Basso continuo. 12pp.
Performing set: Score and a set of single parts.
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POH038 Sonata a6 in F (Gille 15)
Edited by Gottfried Gille
2 violins, 3 violas, basso di viola, Basso continuo. 16pp.
Performing set: Score and a set of single parts.
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POH039 Sonata a6 in G (Gille 16)
Edited by Gottfried Gille
2 violins, 3 violas, basso di viola, Basso continuo. 16pp.
Performing set: Score and a set of single parts.
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POH042 Sonata a7 in G (Gille 19)
Edited by Gottfried Gille
2 violins, 4 violas, basso di viola, Basso continuo. 16pp.
Performing set: Score and a set of single parts.
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POH044 Sonata a6 in G minor (Gille 6)
Edited by Gottfried Gille
2 violins, 2 violas, basso di viola, Basso continuo. 16pp.
Performing set: Score and a set of single parts.
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POH045 Sonata a5 in D minor (Gille 7)
Edited by Gottfried Gille
2 violins, 2 violas, basso di viola, Basso continuo. 12pp.
Performing set: Score and a set of single parts.
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POH048 Sonata a6 in G minor (Gille10)
Edited by Gottfried Gille.
The Pohle Edition. Series 2. Volume 19.
This sonata has four repeated sections, each of which features a change of tempo. The work is scored for two violins, three violas (or 3 and 2), basso da viola and continuo.
Performing set: Score and parts. The third part contains both Violin 3 and Viola 2 in the relevant clef.
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POH049 Sonata a6 in C minor (Gille12)
Edited by Gottfried Gille.
Performing set: Score and parts.
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POH050 Sonata a6 in A minor (Gille13)
Edited by Gottfried Gille.
The Pohle Edition. Series 2. Volume 21.
More substantial perhaps than some Pohle sonatas, this five-section work is scored for two violins, three violas (or 3 and 2), basso da viola and continuo.
Performing set: Score and parts. The third part contains both Violin 3 and Viola 2 in the relevant clef.
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POH051 Sonata a6 in A minor (Gille14)
Edited by Gottfried Gille.
Performing set: Score and parts.
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POH052 Sonata a8 in A minor (Gille20)
Edited by Gottfried Gille.
Performing set: Score and parts. The third part contains both Violin 3 and Viola 2 in the relevant clef.
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POH058 Sonata a3 in G ( [Gille29] )
Edited by Gottfried Gille.
The Pohle Edition. Series 2. Volume 29.
This is a through-composed sonata in common time, showing Pohle's contrapuntal skill and showcasing a virtuoso viola player! The scoring is two violins, viola and continuo.
Performing set: Score and parts.
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POH059 Sonata a4 in C ( [Gille30] )
Edited by Gottfried Gille.
The Pohle Edition. Series 2. Volume 30.
This quartet sonata is scored for two fairly equal violins, viola da gamba (in tenor and alto clefs), violone (mostly a decorated bass line, but sometimes independent with some agile writing), and continuo, and has five sections alternating common time and triple.
Performing set: Score and parts.
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POH060 Sonata a4 in D minor (Gille31)
Edited by Gottfried Gille.
The Pohle Edition. Series 2. Volume 31.
Scored for two violins, viola da braccio, violone and continuo, this sonata from the Wolfenbüttel Partiturbuch has three sections: two common time passages frame a slightly chromatic 3/2.
Performing set: Score and parts.
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