J.S. Bach: Komm, du süße Todesstunde (aria con corale) (BWV 161, #1) (10/2018: new version with phrasing)

7 parts16 pages05:383 years ago1,288 views
Recorder(2), Organ, Voice, Other Woodwinds(2), Cello
"Come, thou sweet Death-Hour, that my Spirit might feed on honey from the lion's mouth." A rhetorically exotic Bach aria-con-corale of great beauty and renown.

The cat in question hails from Judges 14:8, and is dead; Samson finds a swarm of bees and honey in his mouth, Salomo Franck's
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J. S. Bach: Meine Seufzer, meine Thränen (BWV 13, #1)

7 parts12 pages07:443 years ago590 views
Recorder(2), English Horn, Voice, Other Woodwinds, Cello, Contrabass
A dark, complex, texturally rich tenor aria of tremendous depth and beauty, which lends its title to the Cantata BWV 13.

"My sighs, my tears, can't even count, when I daily find woe, and the misery doesn't go away ("nicht verschwindet"), ahh, so must this pain already
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J.S. Bach: Nimm mich mir und gib mich dir (BWV 163, #5)

6 parts6 pages03:584 years ago511 views
Strings, Voice(2), Other Woodwinds, Cello, Contrabass
A graceful, stately soprano-alto duet punctuated by the hymn "Meinen Jesum laß ich nicht".

This superbly elegant duet is the penultimate movement of the Cantata "Nur jedem das Seine" (BWV 163) ("to each his due", a German proverb now with a "checkered legacy"),
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J. S. Bach: Ich folge dir nach (aria con corale) (BWV 159, #2)

6 parts9 pages04:524 years ago2,230 views
Oboe, Voice(2), Other Woodwinds, Bassoon, Contrabass
One of the most moving, affecting exquisitely-wrought jewels in all the cantatas, from the Passion cantata (BWV 159, 1729), “Sehet, wir geh’n hinauf gen Jerusalem”. Please read on!

The present movement is an “aria con corale”, a three-part texture of continuo, alto soloist, and chorale, the latte
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So ist mein Jesus nun gebunden (Aria di BSG, 1981)

7 parts8 pages03:104 years ago596 views
Oboe(2), Voice, Harpsichord, Contrabass
Aria di Passione per soprano, 2 oboi, e continuo, per B. Greenberg, 1981, rev. 1999.

I wrote this aria in a frenzy in November, 1981, my first attempt at a cantata aria. In April 1999, I revised and enhanced details I then found inadequate. The German text, apropos of Jesus' apprehension
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J. S. Bach: Ich lasse dich nicht, du segnest mich denn (BWV 157, #1)

9 parts7 pages04:334 years ago1,256 views
Flute(2), Oboe(2), Violin, Voice(2), Strings, Contrabass
A tour-de-force of canonic counterpoint, lush orchestral-vocal texture, and six-voiced complexity pouring out kaleidoscopic harmony at once driving and bittersweet, the opening of the eponymous cantata BWV 157.

“I will not leave thee, lest thou bless me”, Jacob’s words to the angel (Gen. 32:26
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J. S. Bach: Ihr Kleingläubigen (BWV 81, #4), analyzed

4 parts3 pages01:264 years ago504 views
Voice, Other Woodwinds, Cello, Contrabass
I have added lyrics to the continuo part here to call out every thematic reference to the whole or snippets of the subject/theme of the movement, in order to highlight the devastating motivic economy which Bach has brought to bear here (as in all his mature work).

The "theme" of this
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J. S. Bach: Sinfonia and Chorus, Ich hatte viel Bekümmerniß (BWV 21.1-2)

14 parts38 pages06:294 years ago181 views
Oboe, Bassoon, Strings(4), Voice(4), Organ, Contrabass
WIP Work in Progress - - amazing bluesy opening Sinfonia and Choral Fugue from my favorite cantata, BWV 21, Ich hatte viel Bekümmerniss. The choral fugue starts at m. 22 on page 16. The fugue subject is often compared to that of the fugue from the G major organ prelude and fugue BWV 541.

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J. S. Bach: Du wahrer Gott und Davids Sohn (BWV 23, #1)

7 parts29 pages07:414 years ago1,251 views
Oboe(2), Voice(2), Other Woodwinds, Organ, Cello
The dazzlingly intricate opening 5-part vocal duet of the cantata BWV 23, Bach's job application to Leipzig in 1723, as Bach wrote it, with continuo realized.

The stories of this movement are two, being that of Jesus and two blind men roadside, and Bach's successful application to the
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J. S. Bach: Jesu, der du meine Seele (BWV 78 #1)

13 parts39 pages07:144 years ago5,513 views
Flute, Oboe(2), Violin(2), Viola, Cello, Voice(4), Contrabass
Complete scoring/performance (no modifications or arrangement) of the stupendous opening chorus of Bach's 1724 cantata BWV 78, "Jesu, der du meine Seele", a gripping magisterial amalgam of rondeau, passacaglia, sarabande, and chorale setting of a level of conceptual and execution complexity
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J. S. Bach: Study material for BWV 78.1 (edited by BSG)

2 parts2 pages01:484 years ago263 views
The chorale sections from the opening movement of BWV 78.1, "Jesu, der du meine Seele", arranged in short score so that Bach's technique of adapting the ostinato and the chorale to this kind of close cooperation can be more closely observed. Read the header comment, where I give examples,
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Pergolesi/BSG: Stabat Mater Dolorosa (voices and strings, not quartet)

6 parts4 pages04:464 years ago2,940 views
Violin(2), Viola, Voice(2), Cello
My new (May 2015) rewrite of the iconic first movement of G.B. da Pergolesi's renowned Stabat Mater (1736), as Bach rewrote some of its other movements, with an active, contrapuntal motivic viola and fortified contrapuntal energy.

This offering grew out of my attempt to enhance Mike Magatagan's
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J. S. Bach: Sei nun wieder zufrieden, meine Seele (BWV 21, #9)

14 parts33 pages06:534 years ago626 views
Oboe, Bassoon, Trombone(2), Strings(5), Voice(4), Organ
One of the most wonderful of all of Bach's choruses, this is the ninth movement of the early cantata BWV 21, "Ich hatte viel Bekümmerniß", a masterpiece from start to finish (full text and translation by Pam Dellal here: http://www.emmanuelmusic.org/notes_translations/translations_cantata/t_bwv021.htm).

This m
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