Georg Philipp Telemann: O Lord, punish me not - Sheet music | Carus-Verlag

Georg Philipp Telemann O Lord, punish me not

TVWV 7:2

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Telemann’s psalm setting is impressive, with its formal diversity, illustrative power and wealth of expression, ranging from the penitential beginning to the dramatically abrupt conclusion.
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  • Ach Herr, strafe mich nicht
  • Herr, sei mir gnädig
  • Wende dich, Herr
  • Denn im Tode gedenkt man
  • Ich bin so müde vom Seufzen
  • Weichet von mir, ihr Übeltäter
  • Es müssen alle meine Feinde
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Score, First edition Carus 39.110/00, ISMN 979-0-007-05546-2 32 pages, DIN A4, paperback
available
17,00 € / copy
Individual part, violin Carus 39.110/11, ISMN 979-0-007-05547-9 4 pages, DIN A4, without cover
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4,00 € / copy
Individual part, basso continuo Carus 39.110/12, ISMN 979-0-007-05548-6 6 pages, DIN A4, without cover
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4,00 € / copy
Individual part, oboe Carus 39.110/21, ISMN 979-0-007-05549-3 8 pages, DIN A4, without cover
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5,80 € / copy
Score digital (download), pdf file Carus 39.110/00-010-000, ISMN 979-0-007-25935-8 32 pages, DIN A4
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15,30 € / copy
  • Telemann's extremely rich compositional output, the fruits of three quarters of a century's work, encompasses almost all genres of music; in his vocal works it ranges from songs with basso continuo accompaniment to chamber and church cantatas, and to opera. In his own assessment, church music played a central role in his output; he alone probably composed over 1,600 church cantatas, as well as cantata-style funeral music settings (such as Du aber, Daniel, gehe hin), psalm settings (for example, Deus judicium tuum) and oratorios. Throughout his works Telemann showed himself to be a progressive composer, open to new trends and keen to experiment whilst exploring new directions; not without reason was he called a forerunner of classicism. However, his compositions constitute only a part of his importance to music history: as a music publisher, the author of publications for teaching, the director of middle-class music societies and initiator of public concerts, he made a considerable contribution to creating the preconditions for the support of the musically-educated middle classes in the ensuing era of music. Personal details

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