J. S. Bach: Woferne du den edlen Frieden (BWV 41, #4)

4 parts9 pages06:53a year ago170 views
Cello, Voice, Other Woodwinds, Contrabass
An aria from “Jesu, nun sei gepreiset” (BWV 41) for tenor, continuo, and obbligato violoncello piccolo. The latter is a smaller, 5-stringed cello first used in Bach cantatas, with range from the cello’s to the viola’s. While violoncello piccolo obbligati such as this one are often rendered with th
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Handel's “The Trumpet shall sound” (Messiah), B section only, with new Violino Solo by BSG 2017

7 parts3 pages01:36a year ago519 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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J.S. Bach: Wenn aber jener, der Geist der Wahrheit (BWV 108, #4)

5 parts12 pages03:48a year ago156 views
Voice(4), Contrabass
A fugue on three subjects (not combined) on ideas from the Gospel of John. The extremely unusual third subject introduced at m. 30 features an upward major seventh, an extremely unusual gesture, let alone in a fugue subject. The first subject (m. 1) resembles it a bit, but does not -usually- contain
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Praise, my Soul, the King of Heaven (Lauda Anima) (with organ accomp. and newly-composed interlude (at Hauptwerk Doesburg ) and descant!)

8 parts8 pages03:512 years ago1,718 views
Voice(5), Organ(3)
PLEASE CLICK "Show more" directly below! From hymnary.org through IMSLP, marked as PD. My posting here is "basically" that setting verbatim (I chose sets of voices, though), but the Descant in verse 4 is mine (public domain) and I added the organ intro, and composed and added the
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Purcell: Miserere mei (short double canon)

4 parts1 page00:552 years ago661 views
Stunning short double canon by Henry Purcell, overflowing with the powerful harmonic oddities which earmark this supreme English master's polyphony. The fourth measure alone is worth the price of admission.

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: Unter deinen Schirmen (BWV 227, #3)

5 parts3 pages01:072 years ago424 views
“Under thy shield, before all storms I am free of all fiends. Let Satan and fiends rage, Jesus will stand by me." The third movement, second chorale setting, in five voices, from the great motet, BWV 227, “Jesu, meine Freude.”

Chorales really want to be in four voices. In this setting, you w
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