Dmitry Sinkovsky: Russian Baroque
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Andreas Scholl: «La Música De Bach Va Dirigida Al Alma Del Oyente
ENTREVISTAS EN LÍNEA “Bach es, sin duda, el compositor más difícil para la voz” Fotos: James McMillan/Decca Andreas Scholl: “La música de Bach va dirigida al alma del oyente” por Lorena Jiménez Alonso l oeste del casco antiguo de Leipzig y rodeada del paraje natural del Johannapark, se encuentra la Lutherkirche; la iglesia que lleva el nombre del teólogo alemán Martín Lutero, artífice de la Reforma Protestante, y quien a principios del siglo AXVI acabó con la hegemonía católica en Europa. Esta entrevista tiene lugar en un banco de la nave lateral de la Iglesia Luterana, minutos después de que Andreas Scholl, acompañado al clavecín por George Christoph Biller (decimosexto Thomaskantor después de J. S. Bach), cantase con el público la música que Johann Sebastian Bach escribió en esta ciudad para el culto dominical luterano. julio-agosto 202 pro ópera La participación vocal activa de los asistentes, dispuestos en Thomaskirche (Iglesia de Santo Tomás). Fue algo increíble, muy diferentes bancos de la iglesia según sus voces: sopranos, emotivo; en esta iglesia te sientes muy cerca de Bach. Es el lugar mezzosopranos, contraltos, tenores, barítonos y bajos, como para el que Bach creó su obra; estás en el mismo lugar para el coristas del que para muchos es hoy el contratenor actual más que Bach compuso la música que estás cantando y eso es algo importante del mundo, es uno de los muchos eventos musicales extraordinario. que se organizan durante el Bachfest Leipzig; festival de referencia en toda Alemania que durante diez días reúne a los Además, en este festival tienes la oportunidad de trabajar mejores artistas internacionales de música barroca. -
Septem Verba a Christo
GIOVANNI BATTISTA PERGOLESI Septem verba a Christo SOPHIE KARTHÄUSER CHRISTOPHE DUMAUX JULIEN BEHR KONSTANTIN WOLFF RENÉ JACOBS FRANZ LISZT Verbum I: Pater, dimitte illis: non enim sciunt qui faciunt (Luke 23:34) 1 | Christus (bass) Recitativo Huc, o dilecti filii 1’57 2 | Aria En doceo diligere 4’38 3 | Anima (alto) Aria Quod iubes, magne Domine 4’02 Verbum II: Amen dico tibi: hodie mecum eris in Paradiso (Luke 25:43) 4 | Christus (tenor) Recitativo Venite, currite 0’55 5 | Aria Latronem hunc aspicite 4’23 6 | Anima (soprano) Aria Ah! peccatoris supplicis 5’04 Verbum III: Mulier ecce filius tuus (John 19:26) 7 | Christus (bass) Recitativo Quo me, amor? 2’01 8 | Aria Dilecta Genitrix 3’35 9 | Anima (soprano) Recitativo Servator optime 1’18 10 | Aria Quod iubes, magne Domine 5’59 Verbum IV: Deus meus, deus meus, ut quid dereliquisti me? (Mark 15:34) 11 | Christus (bass) Aria Huc oculos 5’57 12 | Anima (alto) Aria Afflicte, derelicte 5’40 Verbum V: Sitio (John 19:28) 13 | Christus (bass) Aria O vos omnes, qui transitis 5’19 14 | Anima (tenor) Aria Non nectar, non vinum, non undas 4’13 Verbum VI: Consummatum est (John 19:29) 15 | Christus (bass) Aria Huc advolate mortales 6’09 16 | Anima (soprano) Aria Sic consummasti omnia 5’35 Verbum VII: Pater, in manus tuas commendo spiritum meum (Luke 23:44-46) 17 | Christus (bass) Recitativo Quotquot coram cruce statis 1’36 18 | Aria In tuum, Pater, gremium 5’33 19 | Anima (tenor) Aria Quid ultra peto vivere 6’25 Soprano Sophie Karthäuser Countertenor Christophe Dumaux Tenor Julien Behr Bass Konstantin -
ANDREAS SCHOLL Sydney Recital Hall and the Gran Teatre Del Liceu, Barcelona
TAMAR HALPERIN Tamar Halperin was born in Israel and studied at Tel Aviv University, the Schola Cantorum Basiliensis, Basel, and the Juilliard School, New York, where she obtained a doctorate in 2009. Her repertory focuses on Baroque music, but she is also an enthusiastic performer of classical and contemporary THOMAS W. BUSSE music: she composes, arranges and performs popular, jazz and FUND PRESENTS electronic music, some of which has been recorded on the Act and Garage labels. Her collaboration with the jazz pianist Michael Wollny led to the album Wunderkammer, which won the 2010 ECHO Klassik Award for best piano album. As a soloist and chamber musician she has performed in Israel, Europe, United States, Mexico, Japan, Korea and Australia, appearing in many prestigious venues, including Carnegie Hall and Alice Tully Hall, New York, the Wigmore Hall, the Musashino Hall in Tokyo, the ANDREAS SCHOLL Sydney Recital Hall and the Gran Teatre del Liceu, Barcelona. She has collaborated with Laurence Cummings, the New countertenor York Philharmonic Orchestra, and the London-based Serafin Camerata Orchestra. Her numerous prizes and awards include an honorary prize at the 2004 Van Vlaanderen Musica Antiqua Brugge Competition, the Presser Award in 2005, the REC Music Award in 2006 and the Eisen-Picard Performing Arts Award in 2006 and 2007. Tamar Halperin, piano Wednesday, October 1, 2014 Corbett Auditorium 8:00 p.m. This performance is supported by the Thomas W. Busse Trust. CCM has become an All-Steinway School through the kindness of its donors. A generous gift by Patricia A. Corbett in her estate plan has played a key role in making this a reality. -
Johann Sebastian Bach Du Treuer Gott Leipzig Cantatas BWV 101 - 115 - 103
Johann Sebastian Bach Du treuer Gott Leipzig Cantatas BWV 101 - 115 - 103 Collegium Vocale Gent Philippe Herreweghe Johann Sebastian Bach (1685–1750) Nimm von uns, Herr, du treuer Gott, BWV 101 Mache dich, mein Geist, bereit, BWV 115 Ihr werdet weinen und heulen, BWV 103 Dorothee Mields Soprano Damien Guillon Alto Thomas Hobbs Tenor Peter Kooij Bass Collegium Vocale Gent Philippe Herreweghe Menu Tracklist ------------------------------ English Biographies Français Biographies Deutsch Biografien Nederlands Biografieën ------------------------------ Sung texts Johann Sebastian Bach (1685-1750) Nimm von uns, Herr, du treuer Gott, BWV 101 [1] 1. Coro: Nimm von uns, Herr, du treuer Gott ______________________________________________________________7’44 [2] 2. Aria (tenor): Handle nicht nach deinen Rechten ________________________________________________________3’30 [3] 3. Recitativo e choral (soprano): Ach! Herr Gott, durch die Treue dein__________________________________2’13 [4] 4. Aria (bass): Warum willst du so zornig sein? ___________________________________________________________ 4’14 [5] 5. Recitativo e choral (tenor): Die Sünd hat uns verderbet sehr _________________________________________ 2’11 [6] 6. Aria (soprano, alto): Gedenk an Jesu bittern Tod _______________________________________________________5’59 [7] 7. Choral: Leit uns mit deiner rechten Hand _______________________________________________________________0’55 Mache dich, mein Geist, bereit, BWV 115 [8] 1. Coro: Mache dich, mein Geist, bereit ____________________________________________________________________4’00 -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte
Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi. -
Sinkovsky Vivaldi
SEasONS saISONS PLAYS SINKOVSKY & SINGS VIVALDI VIOLIN & COUNTERTENOR 2 antonio vivaldi 1678-1741 le quattro stagioni cessate omai cessate gelido in ogni vena dmitry sinkovsky VIOLIN, COUNTERTENOR & CONDUCTOR la voce strumentale 3 antonio vivaldi 1678-1741 le quattro stagioni | les quatre saisons | the four seasons concerto ‘la primavera | le printemps | spring’ RV 269 in mi maggiore | en mi majeur | in e major 1 Allegro 3’21 2 Largo 2’23 3 Allegro 3’53 le quattro stagioni | les quatre saisons | the four seasons concerto ‘l’estate | l’été | summer’ RV 315 in sol minore | en sol mineur | in g minor 4 Allegro non molto. Allegro 5’32 5 Adagio – Presto – Adagio 2’24 6 Presto 2’33 cessate omai cessate cantate per contralto, archi e continuo RV 684 in mi bemolle maggiore | en mi bémol majeur | in e flat major 7 Recitativo: “Cessate, Omai Cessate” 1’50 8 Aria: “Ah, Ch’infelice Sempre” 5’17 9 Recitativo: “A Voi Dunque Ricorro” 1’17 10 Aria: “Nell’orrido Albergo” 3’36 4 le quattro stagioni | les quatre saisons | the four seasons concerto ‘l’autunno | l’automne | autumn’ RV 293 in fa maggiore | en fa majeur | in f major 11 Allegro 4’58 12 Adagio molto 3’05 13 Allegro 3’18 14 gelido in ogni vena 8’22 Farnace, Farnace, atto II, scena 5 le quattro stagioni | les quatre saisons | the four seasons concerto ‘l’inverno | l’hiver | winter’ RV 297 in fa minore | en fa mineur | in f minor 15 Allegro non molto 3’48 16 Largo 1’57 17 Allegro 3’18 5 la voce strumentale | dmitry sinkovsky VIOLIN & VIOLA | VIOLON & ALTO maria krestinskaya Giovanni Paolo Maggini, Brescia 1627 elena davidova Alessandro Gagliano, Napoli 1725 evgeny sviridov Anonym Italy, first half of the 18th century tatiana fedyakova Ferdinando Gagliano, Napoli 1770, viola- anonym, Venetian school ca. -
Maximilian Schmitt Entdeckte Seine Liebe Zur Musik Bereits in Jungen Jahren Bei Den Regensburger Domspatzen
Maximilian Schmitt entdeckte seine Liebe zur Musik bereits in jungen Jahren bei den Regensburger Domspatzen. Er studierte Gesang bei Roland Hermann und Prof. Anke Eggers in Berlin. 2005 und 2006 war er Mitglied im Jungen Ensemble der Bayerischen Staatsoper München. Während seiner Münchner Zeit debütierte Maximilian Schmitt am Salzburger Landestheater als Tamino in der Zauberflöte, bevor er sich für vier Jahre beim Ensemble des Mannheimer Nationaltheaters verpflichtete. Dort sang er David/Meistersinger, Lenski/Eugen Onegin und den lyrischen Mozart-Partien wie Tamino, Don Ottavio, Belmonte oder Ferrando. Im Sommer 2012 beschloss Maximilian Schmitt seine erfolgreiche Mannheimer Zeit mit der Titelpartie in Mozarts La Clemenza di Tito. In konzertanten Opernabenden war Maximilian Schmitt mit dem Scottish Chamber Orchestra unter Robin Ticciati (Don Ottavio/Don Giovanni, Ferrando/Così fan tutte) und mit dem WDR Sinfonieorchester mit deutschen romantischen Arien zu erleben. Ende 2012 debütierte er an der Oper Amsterdam als Tamino in der gefeierten Neuproduktion von Simon McBurney unter Marc Albrecht. In René Jacobs‘ Produktion von Mozarts Entführung aus dem Serail mit der Akademie für Alte Musik Berlin übernahm er die Partie des Belmonte. Konzertante Vorstellungen führten nach Perugia, in den Amsterdamer Concertgebouw sowie in den BOZAR nach Brüssel. Die CD liegt inzwischen bei harmonia mundi France vor. Neben seiner Leidenschaft für die Oper hat der Konzertgesang großes Gewicht. Sein weit gefächertes Repertoire reicht von Monteverdi über Mozart bis Mendelssohn, eingeladen von Dirigenten wie Franz Welser-Möst, Andrew Manze, Daniel Harding, Thomas Hengelbrock, Fabio Luisi, Andres Orozco Estrada, Marcus Creed, Trevor Pinnock, René Jacobs, Robin Ticciati und Orchestern wie der Akademie für Alte Musik Berlin, dem Tonhalle-Orchester Zürich, den Symphonieorchestern des Bayerischen und des Mitteldeutschen Rundfunks, dem WDR Sinfonieorchester, den Wiener Symphonikern, dem Cleveland Orchestra, dem Swedish Radio Symphony Orchestra und dem Gewandhausorchester Leipzig. -
Laurence Equilbey L a U R E N C E E Q U I L B E Y
laurence equilbey LAURENCE EQUILBEY 2 nuit sacrée | holy night johann sebastian bach, georges bizet, dietrich buxtehude, césar franck, charles gounod, george frideric handel, wolfgang amadeus mozart, johann pachelbel, camille saint-saëns sandrine piau SOPRANO nathalie stutzmann CONTRALTO pavol breslik TENOR johannes weisser BASSE | BASS sonia wieder-atherton VIOLONCELLE | CELLO aurélie saraf HARPE | HARP daniel maurer ORGUE | ORGAN accentus concerto köln laurence equilbey DIRECTION | CONDUCTOR 3 nuit sacrée | holy night johann pachelbel 1652-1706 1 Canon en ré majeur | in D major johann sebastian bach 1685-1750 2 Choral | Jésus que ma joie demeure (Cantate BWV 147) 3 Jauchzet, frohlocket! (Oratorio de Noël | Weihnachts-Oratorium | Christmas Oratorio BWV 248) charles gounod 1818-1893 | johann sebastian bach 4 Ave Maria | Nathalie Stutzmann CONTRALTO , Aurélie Saraf HARPE dietrich buxtehude 1637-1707 5 Alleluia (Cantate BuxWV 15) george frideric handel 1685-1759 Le Messie | Messiah 6 For unto us a Child is born 7 Alleluia 4 camille saint-saëns 1835-1921 8 Benedictus (Oratorio de Noël | Christmas Oratorio) | Sandrine Piau SOPRANO , Johannes Weisser BASSE , Aurélie Saraf HARPE , Daniel Maurer ORGUE césar franck 1822-1890 9 Panis angelicus | Pavol Breslik TÉNOR , Sonia Wieder-Atherton VIOLONCELLE , Daniel Maurer ORGUE wolfgang amadeus mozart 1756-1791 10 Alleluia (Exsultate, jubilate K165) | Sandrine Piau SOPRANO 11 Farandole de L’Arlésienne d'après Georges Bizet | thibault perrine ORCHESTRATION 12 adolphe adam 1803-1856 Minuit, chrétiens | Pavol Breslik TÉNOR , Daniel Maurer ORGUE 13 augusta holmès 1847-1903 | thibault perrine ARRANGEMENT Trois anges sont venus ce soir | Sandrine Piau SOPRANO , Sonia Wieder-Atherton VIOLONCELLE , Aurélie Saraf HARPE 14 franz xaver gruber 1787-1863 Stille Nacht! Heilige Nacht! 5 Mozart, Haendel ou Bach, certes, mais aussi Richard Strauss, Liszt et Schoenberg. -
DMITRY SINKOVSKY Violinski Virtuoz Dmitry Sinkovsky Je Osnove Za
DMITRY SINKOVSKY Violinski virtuoz Dmitry Sinkovsky je osnove za međunarodnu karijeru stekao na Moskovskom konzervatoriju (s Alexanderom Kirovim), na kojem je diplomirao 2005. godine. Susret s baroknom violinistkinjom Marijom Leonhardt uvjerio ga je da promijeni odabrani glazbeni smjer iz rane glazbe u baroknu. Od tada je osvojio nebrojene nagrade na velikim natjecanjima kao na Premio Bonporti u Italiji (2005.), na Bach natjecanju u Leipzigu (2006.), natjecanju Musica Antiqua u Brugesu u Belgiji (prva nagrada, nagrada publike i nagrada kritičara, 2008.) do Romanus Weichlein nagrade na natjecanju Biber u Austriji 2009. godine za svoje izvanredne interpretacije Biberovih „Tajanstvenih sonata“ i prvu nagradu na Telemann natjecanju u Magdeburgu u Njemačkoj (2011.). 2007. godine, nakon što je već započeo zapaženu karijeru kao violinist, Dmitry Sinkovsky odlučio je ozbiljno razvijati svoj talent kao kontratenor. U tu svrhu je radio s vokalnim učiteljima kao što su Michael Chance, Marie Daveluy i Jana Ivanilova s kojim je studirao sedam godina u Moskvi. Njegov vokalni repertoar uključuje uloge iz Handelovih opera (Rinaldo, Giulio Cesare, Arsace, Disinganno, Bertarido, Polinesso), kao i njegove solo kantate i oratorije, do Gluckovog Orfeja, Bachovih kantata te serenada i kantata od Vivaldija, Lea i Scarlattija. Njegov kontratenorski glas odlikuje se širokim rasponom boja i lakoćom te bogatim prizvukom i okretnošću. Godine 2014. bio je pozvan od strane Brandenburškog orkestra u Australiju, gdje je izveo osam vrlo zapaženih recitala u Sydneyu i Melbourneu. Time je postao treći europski kontratenor odmah poslije Andreasa Scholla i Philippea Jarousskog, koji nastupaju u ovom ciklusu koncerata. Od 2014. godine pozivan je kao solist Boljšoj teatra u Moskvi. U sezoni 2017/2018. -
Jan Börner, Countertenor Jan Börner Began His Musical Education Already at the Age of Nine When He Joined the Boys' Choir in His Home Town Solothurn
Jan Börner, Countertenor Jan Börner began his musical education already at the age of nine when he joined the Boys' Choir in his home town Solothurn. When he was eleven, he performed for the first time as boy soprano. Jan Börner was a private student of Richard Levitt before completing his musical degree under Professor Ulrich Messthaler at the Schola Cantorum Basiliensis and graduating with the diploma in Early Music. He was also taught by Andreas Scholl and Margreet Honig. As a soloist, Jan Börner focuses on music from the Renaissance and the Baroque period. He has performed with various vocal ensembles such as the Balthasar Neumann Chor, Vox Luminis and Le Concert Étranger. At the J.S. Bach foundation (Rudolf Lutz) he is a regular soloist. He also performs regularly at the Abendmusiken in the Predigerkirche Basel (Jörg-Andreas Bötticher) with music from the 17th century. He has been working closely with the ensemble Il Profondo for a few years. Together with this ensemble, several concerts have been realized, and a first record with early German cantatas and spiritual concerts of the 17th century was released in May 2015 at the label resonando under the name «absorta est...». It has received positive critics throughout the media and has been nominated for the Preis der Deutschen Schallplattenkritik. Another CD called «Freundliches Glück, süsseste Liebe» – with Nuria Rial and Il Profondo – will be released in 2020. Up to now, his more extraordinary performances include the recording of Bach's St John Passion with the Ricercar Consort (Philippe Pierlot) and solo performances at the Festival d'Ambronay in 2015 and 2016 (Bach's St Matthew Passion, among others) with Le Concert Étranger (Itay Jedlin, Paris). -
T. Koopman & Amsterdam Baroque Orchestra & Choir
_crar ~cr- :xxh :2- -5: =-:.-:: 7' .ocr _o(ob -e __- ::Si2"a::-:cc--~ ,,::" JC' fC :::e;:: .--,: 2 Johann Sebastian BACH(1685-1750) COMPLETE CANTATAS/L'INTEGRALE DES CANTATES DAS KANTATENWERK . VOLUME 3 BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHYON MAGNUS, soprano If, alto ANDREASSCHOU,alto(BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN 3 2 JohannSebastianBACH(1685-1750) COMPLETECANTATAS/L'INTEGRALEDESCANTATES DASKANTATENWERK VOLUME3 BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHVON MAGNUS,sopranoII, alto ANDREASSCHOU,alto (BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss THEAMSTERDAMBAROQUEORCHESTRA& CHOIR TON KOOPMAN 3 COMPACTDISC1 70'13 P~/ 5eite "Christen, iitzet diesen Tag" BWV 63 28'20 Feria 1 Nativitatis Christi For the 1st day. of Christmas/Pour Ie I~ jour de Noel/Erster Weihnachtstag Text: Anon., Johann Michael Heineccios (?). 171.8 Ruth Holton, soprano [I] Chorale (Chorus): "Christen, otzel diesen Ta~" £148 [43] Violins, Violas, Cel/o, Double bass, Oboes, Trumpets, Timpani, Bassoon, Organ W Recitative(Altol:"a seiger Tag! 0 ungemeines Heute" -< " [43J Violins, Violas, Cel/o, Double -bass, Organ OJ Duel (Soprano, Bassi: "Gott. du hast es wohl gefuget" v [45] Oboe, Cel/o, Organ ""':::,' m Recitative (Tenor): "So kehret sich nun heut das bange leid" [45] Cel/a, Organ []] Duet (Alto, Tenorl: "Run und flehl den Himmel an" [45] Violins, Violas, Cel/i, Double bass, Organ W Recitative(Bass): "Verdoppelt euch demnach" [45] Violins, Violas, Cel/i, Double bass, Oboes, Bassoon, Organ [[] Chorale (Chorus): "HOchsler,schau in Gnaden an" [47] Violins, Violas, Cel/i, Double bass, Oboes, Trumpets,Timpani Bossoor C>-F "Ach, ich sehe, ilzt, do ich zur Hachzeit gehe" BWV 162 16"22 Dominica 20 post Trinitatis For the 20th Sunday aner Trinity/Pour Ie 20' Dimanche ap<es Ie ~""" e.