Das Neugeborne Kindelein, BuxWV 13 (The Newborn Babe) Cover Image

Das Neugeborne Kindelein, BuxWV 13 (The Newborn Babe): Cantata/ Oratorio, Orchestra Accompaniment, Full Score / Organ Part

$15.00 USD
$15.00 USD
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Das Neugeborne Kindelein, BuxWV 13 (The Newborn Babe) Cover Image
Das Neugeborne Kindelein, BuxWV 13 (The Newborn Babe): Cantata/ Oratorio, Orchestra Accompaniment, Full Score / Organ Part

Das Neugeborne Kindelein, BuxWV 13 (The Newborn Babe): Cantata/ Oratorio, Orchestra Accompaniment, Full Score / Organ Part

By Dietrich Buxtehude / arr. Bruno Grusnick/ Text by Cyriakus Schneegass

Item: 36-A315101
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Description
Dietrich Buxtehude's (1637-1707) choral work Das neugeborne Kindelein, das herzeliebe Jesulein (The Newborn Babe, the Heavenly Child), BuxWV 13 is particularly well-suited for smaller ensembles and choirs looking for a beautiful addition to their Christmas service or mass. Instrumentation: Org (in sc): Str ([2-2-2]-0-1-1 in set): SATB Chorus.

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Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852859-8
ISBN13: 979-8-88-852859-4
UPC: 659359573682
SKU: 36-A315101
Instrumentation: Org (in sc): Str ([2-2-2]-0-1-1 in set): SATB Chorus

More about this title

About the Composer: Dietrich Buxtehude

Dietrich Buxtehude (1637-1707) was a German-Danish organist and composer whose sacred music defined the late Baroque cantata tradition. Working primarily in Lübeck, he developed a distinctive compositional voice that blended German, Italian, and Scandinavian musical idioms, creating works of remarkable depth and harmonic sophistication.

Buxtehude's cantatas and organ works profoundly influenced the next generation of composers, most notably J.S. Bach, who traveled over 250 miles on foot to study Buxtehude's methods. His sacred vocal works remain essential repertoire for choirs seeking authentic Baroque Christmas and liturgical music that challenges singers while remaining accessible to smaller ensembles.

Why we love this

Buxtehude's setting captures the tenderness and spiritual warmth of the Christmas season without demanding large forces. The string accompaniment sits naturally with organ, creating an intimate, glowing texture that serves the text beautifully while remaining within reach of community choirs and smaller church ensembles.

What to expect

Gentle and reverent, with an underlying joy that feels earned rather than exuberant. The harmonic language shimmers with the rich color of strings and organ, creating an atmosphere of quiet contemplation and wonder that honors both the text and the season.

Who it's for

Church musicians, choir directors, and smaller vocal ensembles seeking authentic Baroque sacred repertoire for Christmas worship. This work suits both concert performance and liturgical use, making it valuable for choirs with modest instrumental resources.

How to get the most out of it

  • Balance the chorus forward; the string parts provide harmonic support rather than independent melodic material. Avoid letting the orchestra overwhelm the text and its meaning.
  • Observe the organ part carefully for its role as both harmonic foundation and occasional obbligato voice. The organist should listen to the choir's phrasing and respond with flexibility.
  • Maintain a steady, unhurried tempo that allows the Baroque text-setting to breathe. Buxtehude's word-painting rewards singers who shape individual phrases with care.
  • Pay close attention to the string articulation markings and dynamics in the full score. They define the character and emotional arc of each section.

How to use it

Program this as a centerpiece in a Christmas concert or service, pairing it with smaller baroque works or carols. Its modest instrumentation allows flexibility; it works equally well in a liturgical setting (Advent or Christmas mass) or as part of a concert devoted to Baroque sacred music.

Skills your students will build

  • Baroque articulation and phrasing conventions
  • Collaborative listening between choir and instrumental ensemble
  • German text clarity and diction in historical context
  • Understanding harmonic language of late Baroque cantata form
  • Ensemble balance with mixed instrumental and vocal textures

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