[Latin Name] Euterpe Oleracea

[Plant Source] Acai Berry from Brazil

[Specifications] 4:1, 5:1, 10:1

[Appearance] Violet Fine Powder

[Plant Part Used]:Fruit

[Particle size] 80 Mesh

[Loss on drying] ≤5.0%

[Heavy Metal] ≤10PPM

[Pesticide residue] EC396-2005, USP 34, EP 8.0, FDA

[Storage] Store in cool & dry area, keep away from the direct light and heat.

[Shelf life] 24 Months

[Package] Packed in paper-drums and two plastic-bags inside.

[Gerneral feature]

1. 100% extract from Acai berry fruit;
2. Pesticide residue: EC396-2005, USP 34, EP 8.0, FDA;
3. Directly import fresh frozen acai berry fruits from Brazil;
4. The standard of the heavy mental is strictly according to the

   foreign pharmacopoeia USP, EU.

5. High standard of the quality of imported raw materials.
6. Good water solubility, reasonable price.

[What is Acai berry]

The south American Acai palm(Euterpe oleracea)-known as the tree of life in Brazil-provides a small berry which is growing in fame, particularly following recent studies by well-known herbalists and naturopaths that have categorised it as a “superfood”. Acai berries are extremely rich in antioxidants, vitamins and minerals. The acai berry is also famous for its capacity to support dieting, protect the skin, reduce the risk of cardiovascular disease and prevent the development of certain types of cancer.

[Function]

While there are many different berry and fruit juices on the market, Acai contains the most complete array of vitamins, minerals, and essential fatty acids. Acai contains Vitamin B1 (Thiamin), Vitamin B2 (Riboflavin),

Vitamin B3 (Niacin), Vitamin C, Vitamin E (tocopherol), iron, potassium, phosphorus and calcium. It also contains the essential fatty acids Omega 6 and Omega 9, all the essential amino acids, and more protein than an average egg.

1)Greater Energy and Stamina

2)Improved Digestion

3)Better Quality Sleep

4)High Protein Value

5)High Level of Fiber

6)Rich Omega Content for Your Heart

7)Boosts Your Immune System

8)Essential Amino Acid Complex

9)Helps Normalize Cholesterol Levels

10)Acai Berries Have 33 Times the Antioxidant Power of Red Grapes and Red Wine

Johann Sebastian Bach (1685-1750)

Cantata BWV 12: Weinen, Klagen, Sorgen, Zagen (22 April 1714)

1. Sinfonia in F major
2. Weinen, Klagen, Sorgen, Zagen (Chorus) 02:18
3. Wir müssen durch viel Trübsal (Recitative: A) 08:40
4. Kreuz und Kronen sind verbunden (Aria: A) 09:24
5. Ich folge Christo nach (Aria: B) 15:57
6. Sei getreu, alle Pein (Aria: T) 18:05
7. Was Gott tut, das ist wohlgetan (Chorale) 22:19

Soloists:
Soprano: Susanne Rydén
Countertenor: Steven Rickards
Tenor: John Elwes
Bass: Michael Schapper

Performed by Joshua Rifkin and The Bach Ensemble. Recorded by Dorian in 1995-96.

“Weinen, Klagen, Sorgen, Zagen (Weeping, Lamenting, Worrying, Fearing) (BWV 12) was written for the Sunday Jubilate, the third Sunday after Easter, which was the 22nd April 1714. This was the second cantata Bach wrote after his appointment as music director to the Court of Weimar. The libretto is without freely written recitative and this fact, together with the three arias which follow closely on one another, shows it to be an unmistakable transitional form of the Weimar poet Salomon Franck. Despite missing proof of the fact we can regard him as the undoubted author of the libretto. For the content of his work Franck turned to the Sunday Gospel according to St. John (Chap. 16:16-23), and its basic thoughts ‘Sadness (about Jesus’ Farewell)–Joy (at seeing Jesus again)’ became the governing theme of the cantata.

In his composition Bach interprets these basic thoughts of the libretto with those means which the teaching of the ‘musica poetica’ of his time provided. ‘Sadness’ is portrayed by chromaticism, for example the falling bass line of the opening chorus, but ‘Joy’ on the other hand is illustrated by rising diatonic harmony like that which is to be found in the recitative, in the second aria and, too, in the final chorale. There are further musical techniques, such as canonic passages and chorale extracts in instrumental form, which serve to clarify and give point to the libretto.

The solemn and separate instrumental introduction–in later cantatas this sort of introduction becomes an integral part of the opening chorus–is followed by a sedately constructed choral section whose main part is a chaconne built up over a chromatically falling bass-continuo. We know this chaconne from its later re-shaping into the ‘Crucifixus’ of the B minor Mass. The middle section has a faster tempo and its construction and harmony are less complicated.

The biblical text in the third movement is presented as recitative accompanied by strings, the top instrumental voice of which (violin 1) plays a rising scale of held notes. The full meaning of this is made clear to us when the alto sings the words ‘in das Reich Gottes eingehen’ (‘to enter the kingdom of God’) also to a rising scale.

The change from sadness to joy is reflected in the fluctuating character of the three arias. In the fifth movement we meet again the rising scalic figure, this time with numerous canonic parts as symbol of the image of Christ, and in the sixth movement in place of an obligato instrument the trumpet plays the chorale melody (without text) ‘Jesu, meine Freude’ (‘Jesus, my Joy’) which is to say: Jesus turns sadness into joy.

The final chorale, which is as usual simply constructed, is extended into solemn, five-part harmony by an independent, high instrumental voice.” – Alfred Dürr

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