Ноты

Арыгінал

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.

Пераклад

Membra Jesu Nostri. Дзітрых Букстэхудэ. 2 violins, 2 violas. ды гамба. , Бас континуо. II. Ad genua. knees. Complete cantata. CPDL # 18641. Рэдактар. Shigekazu Nimura. submitted 2008-12-23. Ацэнка інфармацыі. A4, 26 pages, 344 kB Copyright. Асабісты. Адзначае выданне. Concerto Ad ubera portabimini. CPDL # 05543. Капэла. Рэдактар. Michael Dreschel. submitted 2003-08-25. Ацэнка інфармацыі. A4, 4 pages, 44 kB Copyright. Асабісты. Адзначае выданне. Choral parts only. Cappella file is zipped. Voicing. SSATB chorus, SSATB soli. Святы, Кантата. Мова. Latin. SSATB chorus, SSB soli.

Арыгінал

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.

Пераклад

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. Саната. Канцэрт. chorus. Паветра. Паветра. Паветра. Канцэрт. 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.