Vivaldi: Concerto RV 565 D minor for 2 violins, violoncello, and strings

9 parts43 pages09:05a month ago126 views
Violin(2), Cello(2), Strings(3), Harpsichord, Contrabass
Vivaldi's famous D Minor RV 565 (transcribed as BWV 596 by Bach (how ironic that BWV 565 is also in D minor!), but not here). Continuo realized by me. Developed from a score posted by Eric Holden.

No phrasing, but ritardandi added.

Handel's “The Trumpet shall sound” (Messiah), B section only, with new Violino Solo by BSG 2017

7 parts3 pages01:36a year ago507 views
Strings, Voice, Cello, Bassoon, Harpsichord(2), Contrabass
Another Bach-on-Pergolesi-like augmentation of a classic score, a violin solo added to the “B section” of this renowned aria from Händel’s “Messiah”.

That’s really all that needs be said. I was helping Gertim prepare this aria for MuseScore, and fell in love with the “B Section”, which has no ins
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Christ, unser Herr, zum Jordan kam (di BSG, 1990)

10 parts6 pages01:222 years ago226 views
Voice(5), Strings(3), Cello, Contrabass
In 1990, eager to explore my theory of Bach's treatment of modal chorales, i.e., to appoint daring, colorful, “modern” harmonies, even less rooted in major-minor than otherwise (even to the chromaticism of ”Es ist genug”) upon “pre-major-minor” modal tunes, I took one of the latter's classics, L
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J.S. Bach: Kyrie II from B Minor Mass (BWV 232, #3)

13 parts17 pages03:592 years ago632 views
Flute, English Horn, Bassoon, Strings(5), Voice(4), Organ
The grave second Kyrie from the B Minor Mass – a four-voice choral fugue doubled by instruments with intermittently independent continuo bass.

Noteworthy for its severity of aspect, this 59-measure plea for mercy is poised in BWV 232 between the upbeat “Christe, eleison” duetto and the exultant Glori
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J.S. Bach: Ich steh’ mit einem Fuß im Grabe (BWV 156, #2)

5 parts15 pages05:383 years ago854 views
Strings, Voice(2), Cello, Contrabass
“I stand with one foot in the grave; soon my sick body will fall in. Come, dear God, whenever you please: my house is already in order—just let my end be blessed.”

This dark thought is the basis of this aria, whose musical landscape is singularly suffused with light, grace, and life. As the t
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J.S. Bach: Erbarm’ dich mein in solcher Last (BWV 113, #2)

5 parts6 pages05:353 years ago632 views
Strings, Voice, Other Woodwinds, Cello, Contrabass
“Have mercy upon me in such a burden — take it from my heart, for with the Pains of Death hast Thou atoned it on the Wood, that I not suffer great woe for my sins, nor eternally despair.”

Bach’s appropriately grim and “burdened” setting of the second stanza of Bartholomäus Ringwald’s (1530-1598) hy
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Coro: Wer durch Liebe das Kreuz Christi (di BSG, 1989, 2001)

13 parts29 pages04:593 years ago1,272 views
Oboe(2), Strings(4), Contrabass, Voice(4), Other Woodwinds, Organ
An original accompanied motet/chorus, now orchestrated, on an original libretto. Performed in service at Boston's Emmanuel Church by Emmanuel Music under Craig Smith 1 May 1994. I and most others consider this my masterpiece to date.

I wrote this chorus while improvising at the organ in
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J. S. Bach: Wir setzen uns mit Thränen nieder (closing chorus Matthäuspassion BWV 244)

12 parts18 pages06:543 years ago1,801 views
Flute, Oboe, Violin(2), Viola, Cello, Strings, Voice(4), Organ
The monumental closing chorus of Bach's Passion according to St. Matthew, a grave-lullaby for the Saviour.

This huge and renowned chorus, for double chorus, is the last of the three great choruses of the Matthew Passion, after the opening chorus "Kommt, ihr Töchter" ( Read more