Sheet music

Aria "Ergieße dich reichlich, du göttliche Quelle" (BWV 5 No. 3) for Harp

1 part6 pages06:395 years ago464 views
Harp
Wo soll ich fliehen hin (Where shall I flee), BWV 5,[a] is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October 1724. It is based on a hymn of the same name by Johann Heermann.

Bach wrote the cantata in his second year in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October 1724. It is part of his second annual cycle of cantatas, a cycle of chorale cantatas. The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians – "put on the new man, which after God is created" (Ephesians 4:22–28) – and from the Gospel of Matthew, Healing the paralytic at Capernaum (Matthew 9:1–8).

The cantata text is based on the hymn in eleven stanzas "Wo soll ich fliehen hin" by Johann Heermann, published in 1630, which is recommended for the Sunday in the Dresdner Gesangbuch. An unknown poet kept the first and last stanzas as the respective cantata movements. He paraphrased the other stanzas rather freely: 2 and 3 as movement 2, 4 as movement 3, 5 to 7 as movement 4, 8 as movement 5, and 9 and 10 as movement 6. A year before, Bach had composed for the occasion Ich elender Mensch, wer wird mich erlösen, BWV 48, concentrating on the promise of Jesus to the sick man: "Your sins are forgiven". Similarly, the awareness of being a sinner who needs healing is the theme of Heermann's chorale and this cantata. The poetry adds to the chorale images which the composer could use, for example in movement 3, the divine source of blood to cleanse the stains of sins, a Baroque phrase relying on Psalms 51:4, Revelation 1:5 and Revelation 7:14. In movement 5 the poet invented a ferocious, hellish army, which is silenced by the believer who shows the blood of Jesus.

Bach first performed the cantata on 15 October 1724. The autograph score to the cantata, now in the British Library, was once owned by Joseph Joachim.

Bach arranged the movements in symmetry around movement 4 as the turning point in the cantata between desolation and hope, a recitative, which receives added weight by the cantus firmus of the chorale played by the oboe. One line of the chorale stanza is sung unchanged: was ich gesündigt habe (the sins I committed).

In the opening chorus Bach gave the tune in unadorned long notes to the soprano, reinforced by the trumpet. The vocal parts are embedded in an independent instrumental concerto. The motifs of the instruments, which also appear in the lower voices, are derived from the tune, following the upward movement of its first line and the downward movement of its second line. Both other recitatives are secco. The first aria is accompanied only by an obbligato viola illustrating the flow of blood, termed by John Eliot Gardiner the "gushing, curative effect of the divine spring" in "tumbling liquid gestures", summarized as "the cleansing motions of some prototype baroque washing machine". The tenor sings the same figuration on the word wäschet (washing). Bach used the solo viola only rarely in his cantatas (twice, according to Boyd); he may have played these solos himself. The second aria is accompanied by the full orchestra with the trumpet as a "ferociously demanding obbligato". In sudden breaks it conveys the silencing of Verstumme, Höllenheer (Be silent, host of hell). Different as the two arias are, the figuration in the second one is similar to the one in the first, interpreting that it is the very flow of blood which silences the "army of hell". The closing chorale is set for four parts.

The cantata in seven movements is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, tromba da tirarsi (slide trumpet), two oboes, two violins, viola and basso continuo.

Source: Wikipedia (https://en.wikipedia.org/wiki/Wo_soll_ich_fliehen_hin,_BWV_5).

I created this arrangement of the first Aria: "Ergieße dich reichlich, du göttliche Quelle" (Pour yourself richly, you divine fountain) for Concert (Pedal) Harp.

Aria: "Mein alles in allem, mein ewiges Gut" (BWV 22 No 4) for Guitar & Strings

5 parts5 pages05:253 years ago463 views
Guitar, Violin(2), Viola, Cello
Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself), BWV 22,[a] is a church cantata by Johann Sebastian Bach composed for Quinquagesima, the last Sunday before Lent. Bach composed it as an audition piece for the position of Thomaskantor in Leipzig and first performed it there on 7 February 1723.

The work, which is in five movements, begins with a scene from the Gospel reading in which Jesus predicts his suffering in Jerusalem. The unknown poet of the cantata text took the scene as a starting point for a sequence of aria, recitative, and aria, in which the contemporary Christian takes the place of the disciples, who do not understand what Jesus is telling them about the events soon to unfold, but follow him nevertheless. The closing chorale is a stanza from Elisabeth Cruciger's hymn "Herr Christ, der einig Gotts Sohn". The music is scored for three vocal soloists, a four-part choir, oboe, strings and continuo. The work shows that Bach had mastered the composition of a dramatic scene, an expressive aria with obbligato oboe, a recitative with strings, an exuberant dance, and a chorale in the style of his predecessor in the position as Thomaskantor, Johann Kuhnau. Bach directed the first performance of the cantata during a church service, together with another audition piece, Du wahrer Gott und Davids Sohn, BWV 23. He performed the cantata again on the last Sunday before Lent a year later, after he had taken up office.

The cantata shows elements which became standards for Bach's Leipzig cantatas and even the Passions, including a "frame of biblical text and chorale around the operatic forms of aria and recitative", "the fugal setting of biblical words" and "the biblical narrative ... as a dramatic scena".

The cantata has five movements and is scored for three vocal soloists (an alto (A), tenor (T) and bass (B)), a four-part choir (SATB), and for a Baroque orchestra of an oboe (Ob), two violins (Vl), viola (Va) and basso continuo. The duration is given as c.?20 minutes.

Source: Wikipedia (https://en.wikipedia.org/wiki/Jesus_nahm_zu_sich_die_Zw%C3%B6lfe,_BWV_22).

In this, the second aria, again with strings, is a dance-like movement in free da capo form, A B A'. The unusually long text, of four lines for the A section and two for the B section, results in Bach's solution to repeat the end of the first line (my eternal good) after all text of A, and then after the middle section B repeat only the first line as A', thus ending A and A' the same way. In this modified repeat, the voice holds a long note on the word Friede ("peace"), after which the same theme appears in the orchestra and again in the continuo. The musicologist Tadashi Isoyama notes the passepied character of the music, reminiscent of secular Köthen cantatas. Mincham describes: "Bach's expression of the joy of union with Christ can often seem quite worldly and uninhibited", and summarises: "The 3/8 time signature, symmetrical phrasing and rapid string skirls combine to create a sense of a dance of abandonment.".

I created this arrangement of the second Aria, "Mein alles in allem, mein ewiges Gut" (My all in all, my eternal good) for Classical (Acoustic) Guitar & Strings (2 Violins, Viola & Cello).
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This concerns one specific score by @Mike Magatagan namely the score https://musescore.com/mike_magatagan/scores/3004231If you click "Download" and choose "PDF including Parts"  the returned document is not a PDF but a "Not Found" error in XML format such as:  <Error><Code>NoSuchKey</Code><Message>The specified key does not exist.</Message><Key>3004231/8628087/18f138fc27/general-parts/score-parts.pdf</Key><RequestId>7C02B5365F83A247</RequestId><HostId>++UrE4WzPLQL6n4nqY64Q5aoi88wzvJjJqfSUqDiw2DSzJYIpfHzp0IE6RMQiDFkoGyv5AujhOA=</HostId></Error> All other export formats work fine.As a test I've downloaded that score in mscz format, opened it up with musescore 2.3.2 and used "Save online" to save it privately into my account (private url https://musescore.com/jeetee/scores/5304581 ). From there I can download the PDF with parts without issues.Mike already tried to "update" his score by resaving the score to his account; we were hoping this would force the musescore server to regenerate this PDF. Alas this seems to not work.Can someone on your end ( @Ximich or @abruhanov probably) debug this and/or force the server to generate that file?Thanks!

Scotland The Brave - ANZAC SONG - For Pipes and Drums

12 parts20 pages01:504 months ago154 views
Bagpipe(5), Flute, Other Woodwinds(2), Percussion(2), Tuba, French Horn
So the reason i chose to do this piece of music is because of it's legacy. It was played by the Scots throughout history and especially during WW1. As an Australian who's grandfather fought in combat and therefor marches in the ANZAC parade, i am deeply connected to hearing this song played during the march. It is very powerful and is known to increase the moral of men during WW1. I'd also like to thank Mike Magadan for the original arrangement of this score. Now, enjoy.

Aria: "Widerstehe doch der Sünde" (BWV 54 No 1) for Horn & Strings

5 parts5 pages06:304 years ago461 views
Widerstehe doch der Sünde (Just resist sin), BWV 54, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for alto in Weimar, probably for the seventh Sunday after Trinity and first performed it on 15 July 1714. It is his first extant church cantata for a solo voice.

The prescribed readings for the Sunday are from the Epistle to the Romans, "the wages of sin is death; but the gift of God is eternal life" (Romans 6:19--23), and from the Gospel of Mark, the feeding of the 4000 (Mark 8:1--9).

The text was written by Georg Christian Lehms for Oculi, the third Sunday in Lent, and published in 1711 in Gottgefälliges Kirchen-Opffer. It concentrates on avoiding sin. The first line of movement 3 quotes 1 John 3:8.

Alfred Dürr suggested that Bach composed the cantata in Weimar for the Seventh Sunday after Trinity of 1714. On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the Schlosskirche (palace church), on a monthly schedule. The cantata text relates to the epistle of both Sundays, but shows no connection to either Gospel.

According to Dürr, Bach probably first performed the cantata on 15 July 1714. Other scholars arrive at different dates. It is his first extant church cantata for a solo voice, followed a few weeks later by Mein Herze schwimmt im Blut, BWV 199, for soprano.

The cantata is the first of four written for a single alto soloist, the others, all written in 1726, being Geist und Seele wird verwirret, BWV 35, Vergnügte Ruh, beliebte Seelenlust, BWV 170 and Gott soll allein mein Herze haben, BWV 169, two of which also have texts by Lehms. In Leipzig at Bach's time, a boy soloist performed the difficult part which is now sung by contraltos and countertenors.

The first aria, Widerstehe doch der Sünde, is a da capo aria, which opens with a surprising dissonance and leaves its key of E-flat major open until a cadence in measure 8. Dürr describes it as a call to resistance and compares it to the beginning of the recitative "Siehe, ich stehe vor der Tür", a call to be ready, in the cantata for Advent Nun komm, der Heiden Heiland, BWV 61, also composed in 1714.

The recitative Die Art verruchter Sünden (The way of vile sins) is secco, accompanied by the continuo. The words "So zeigt sich nur ein leerer Schatten und übertünchtes Grab" (It shows itself as only an empty shadow and a whitewashed grave) are expressed in "pale" harmonies. The final lines are arioso and illustrate in "Sie ist als wie ein scharfes Schwert, das uns durch Leib und Seele fährt" (It is like a sharp sword, that pierces through body and soul) the movement of the sword by fast runs in the continuo.

The final aria Wer Sünde tut, der ist vom Teufel (He who sins is of the devil) is again a da capo aria, but shows elements of a four-part fugue for the voice, the violins in unison, the violas in unison and the continuo.

Bach used the first aria again in his St Mark Passion.

Although the cantata was originally scored as chamber music for alto, two oboes, two violins, two violas, and basso continuo, I created this arramgement for French Horn & Strings (2 Violins, 2 Violas & Cello) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Bon Jour Mon Coeur" for Woodwind Quartet

4 parts1 page01:055 years ago461 views
Renaissance composer Orlande de Lassus was born in Mons and got his start as a choirboy. An often disputed story has the child Lassus kidnapped three times on account of his beautiful singing voice; the only certainty is that by 1544 he had joined the service of Ferrante Gonzaga, Viceroy of Sicily. A stopover in Mantua allowed Lassus to absorb prevailing Italian influences. Lassus spent less than a year in Sicily and transferred to Milan for the remainder of the 1540s. He often used an Italian form of his name, Orlando di Lasso. In 1551, Lassus was made choirmaster at St. John of Lateran in Rome, but remained only until 1553, being succeeded by Palestrina. Lassus returned to Mons in 1554, receiving word that his parents were ill, but upon his arrival found them already dead and buried. In 1555, Lassus' first book of madrigals and a collection of various secular works appeared simultaneously in Antwerp and Venice, thus beginning his status as a one-man industry of musical publications. Lassus' work accounts for three-fifths of all music printed in Europe between 1555 and 1600.

In 1557, the German Duke Albrecht V engaged Lassus' services as a singer at the court in Munich. Lassus' status was upgraded to Kapellmeister in 1561. His position enabled considerable travel, and Lassus made frequent trips to Venice, where he met and made friends with the Gabrielis. Judging from the range of settings, both sacred and secular, coming from Lassus in these years, it is apparent he was asked to supply music for a wide variety of events at the court of Duke Albrecht. The flood of published editions, both authorized and not, of Lassus' music during this time established him as the most popular composer in Europe, and in 1574 he was made a Knight of the Golden Spur by Pope Gregory XIII.

In 1579, Duke Albrecht V died, and the longstanding extravagance of his court left his successor, Duke Wilhelm, with little choice but to make deep cuts in the entertainment budget. This had a direct and negative effect on Lassus' fortunes, but nonetheless he declined an offer in 1580 to relocate to the Court at Dresden. By the late 1580s, the number of new pieces Lassus undertook began to slow down. In the months before his death, Lassus succeeded in bringing to life his last great masterwork, the Lagrime di San Pietro, in itself a summation of the highest forms of Renaissance musical art. He died at about the age of 62, and in 1604 his sons published an edition of his collected works entitled Magnus opus musicum. This was used as the basis for the first modern edition of Lassus' music, published in Leipzig between 1894 and 1926.

Lassus remained Catholic during this age of religious discord, although not dogmatically so, as may be seen from his more worldly secular songs as well as his parody Masses and Magnificats based on secular compositions. Nevertheless the Catholic Counter-Reformation, which under Jesuit influence was reaching a peak in Bavaria in the late sixteenth century, had a demonstrable impact on Lassus' late work, including the liturgical music for the Roman Rite, the burgeoning number of Magnificats, the settings of the Catholic Ulenberg Psalter (1588), and especially the great penitential cycle of spiritual madrigals, the 'Lagrime di San Pietro' (1594). Among his other liturgical compositions are hymns, canticles (including over 100 Magnificats), responsories for Holy Week, Passions, Lamentations, and some independent pieces for major feasts.

Although this piece was originally written for voices, I arranged it for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Chorus: "Herr, wenn die stolzen Feinde schnauben" (BWV 248 No 54) for Small Orchestra

14 parts28 pages04:523 years ago461 views
Trumpet(3), Flute, Oboe, Clarinet, English Horn, French Horn, Bassoon, Timpani, Violin(2), Viola, Cello
The Christmas Oratorio BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander).

It was conceived as a set of six cantatas. Unlike the Passion settings and the oratorios of Bach's exact contemporary Handel, the six parts of his Christmas Oratorio were performed on separate days. Bach wrote the six cantatas to celebrate the whole period of the Christmas festivities of 1734-35, starting with Part I on Christmas Day, and ending with Part VI on Epiphany (January 6th). The performances were divided between his two churches: Parts I, II, IV and VI were given at the Thomaskirche, and Parts III and V at the Nicolaikirche.

Bach wrote the Christmas Oratorio over a short period. Unusually for him, but perhaps by necessity, he recycled music from earlier compositions. At least eleven sections have been identified as coming from three earlier secular cantatas, with Bach working with his frequent collaborator Picander to alter the texts for their new use. It is thought that several more sections may be based on lost sacred works, including the documented but now lost St Mark Passion. Bach also composed new music for much of the piece, including all of the recitatives and chorales.

Source: Wikipedia (https://en.wikipedia.org/wiki/Christmas_Oratorio).

I created this arrangement of the Chorus: "Herr, wenn die stolzen Feinde schnauben” (Lord, when our proud enemies snarl) for Small Orchestra (Piccolo Trumpet, Bb Trumpet, Flugelhorn, Flute, Oboe, Bb Clarinet, English Horn, French Horn, Bassoon, Timpani, 2 Violins, Viola & Cello).

Aria: "Erschüttre dich nur nicht, verzagte Seele" (BWV 99 No 3) for String Trio

3 parts9 pages04:333 years ago460 views
Violin, Guitar, Cello
Was Gott tut, das ist wohlgetan (What God does is well done), BWV 99, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the 15th Sunday after Trinity and first performed it on 17 September 1724. It is based on the hymn by Samuel Rodigast (1674).

Bach wrote the cantata in his second year Bach in Leipzig as part of his second annual cycle of chorale cantata for the 15th Sunday after Trinity and first performed it on 17 September 1724. The prescribed readings for the Sunday were from the Epistle to the Galatians, Paul's admonition to "walk in the Spirit" (Galatians 5:25–6:10), and from the Gospel of Matthew, from the Sermon on the Mount the demand not to worry about material needs, but to seek God's kingdom first (Matthew 6:23–34). The cantata text is based on the chorale "Was Gott tut, das ist wohlgetan" (1674) by Samuel Rodigast, which is generally related to the Gospel. Bach used the chorale in several other cantatas, especially later in another chorale cantata, Was Gott tut, das ist wohlgetan, BWV 100. All six stanzas begin with the same line. An unknown author kept the text of the first and last stanza, and paraphrased the inner four stanzas to as many movements, even keeping some of the rhymes in movement 2. In movement 4 he refers to the Gospel, paraphrasing the last verse to "Even if every day has its particular trouble". He introduced references to the cross twice in movement 5, stressing the suffering of Jesus and his followers.

The opening chorus is a distinct concerto movement. The strings open with a theme derived from the chorale melody. After 16 measures, a concertino of flute, oboe d'amore and violin I begins, the oboe playing the theme introduced by the strings, the flute playing a virtuoso counterpoint. Three measures later the voices enter, with the cantus firmus in the soprano, doubled by the horn. In the interlude following the Stollen of the bar form, finally all instruments participate in the concerto. The complete sequence is repeated for the second Stollen. For the Abgesang Bach combines differently, now strings and woods play tutti, the flute appears as a solo, alternating with the oboe. Therefore the instrumental postlude is not a repeat of the introduction, but a more complex combination. According to Julian Mincham, "this movement would still work perfectly well if the vocal parts were entirely removed."

The first secco recitative ends on a long coloratura on the last word "wenden", "turn" in "can turn aside my misfortune". The first aria is accompanied by the flute, another work for an able flute player, following Was frag ich nach der Welt, BWV 94 and Nimm von uns, Herr, du treuer Gott, BWV 101, composed only a few weeks earlier. The text mentions "erschüttern" (shudder); shaking and torment of the soul are pictured in virtuoso figuration, although the soul is asked, not to shudder. The second recitative is similar to the first, ending on the last word "erscheinet", "appeareth" in "when God's true loyal will appeareth". In the last aria, a duet, the strings are still silent, flute and oboe accompany the voices. The instruments begin with a ritornello, a trio with the continuo. After a first vocal section, a second section presents new material, but refers to the first section by a repeat of instrumental motifs from the first section and a complete repeat of the ritornello as a conclusion. The closing chorale is set for four parts.

Although originally scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, horn, flauto traverso, oboe d'amore, two violins, viola and basso continuo, I created this arrangement for String Trio (Violin, Viola & Cello) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Thomas Leixlip the Proud" for Flute & Harp

2 parts3 pages02:185 years ago461 views
This traditional Irish Jig was originally attributed to Turlough O'Carolan. Scholars beieve that as it’s not in the ‘Book’ by O’Sullivan. In searching further, it was determined that it is actually from a song "Tho’ Leixlip is Proud", about Leixlip near Dublin having lovely woods etc . It seems that O’Neill may have seen Tho’ (Though) as Thos. short for Thomas and attributed it as another Carolan tune. Although a great tune, there were then many Baroque influenced tunes and songs from operas etc at the time from all over Britain and Ireland. Carolan was certainly open to all influences.

There is a song from the opera Poor Soldier that starts ‘Tho’ Leixlip is proud of it’s close shady bowers.’ It’s likely that this was read as "Thos." i.e. Thomas and as it sounded like a Baroque tune , attributed to Carolan. It’s not in O’Sullivan’s book of Carolan tunes and Bonnie Shaljean the harpist doesn’t know it as one of his. Leixlip is now a suburb of Dublin and the song sung by Pat, the Poor Soldier praises Norah his beloved.
The tune is similar to The Humours of Glynn or The Sligo Rambler and was widely played as a jig so may have been lifted from the tradition. Burns also used it for a song.

Although this work was originally written for Folk Instruments, I created this arrangement for Flute & Concert (Pedal) Harp and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Aria: "Herr, was du willt, soll mir gefallen" (BWV 156 No 4) for Woodwind Quartet

4 parts6 pages03:444 years ago460 views
Flute, Oboe, Clarinet, Bassoon
Ich steh mit einem Fuß im Grabe (I am standing with one foot in the grave), BWV 156, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the third Sunday after Epiphany and first performed it on 23 January 1729.

BWV 156 was Bach's fourth and last cantata for the third Sunday after Epiphany. The prescribed readings for the Sunday were taken from the Epistle to the Romans, rules for life (Romans 12:17–21), and from the Gospel of Matthew, the healing of a leper (Matthew 8:1–13). The librettist was Picander. He incorporated two chorale tunes: "Machs mit mir, Gott, nach deiner Güt" by Johann Herman Schein (1628) and "Herr, wie du willt, so schicks mit mir" by Kaspar Bienemann (1582).

The sinfonia was likely derived from an earlier oboe concerto and was later adapted as part of Bach's F-minor harpsichord concerto.

The opening sinfonia is scored for oboe, strings, and continuo. It is in F major and common time. Compared to the later version for harpsichord, the melody is straightforward and unembellished, and is harmonically conceived to prepare the second movement.

The second movement is a combined tenor aria and soprano chorale with obbligato strings. Unusually, it begins with a syncopated continuo line under unison strings. The movement also features sequences and harmonic contrasts.

Both bass recitatives are secco and in minor mode.[1] The first, the third movement of the cantata, is characterized by a disjunct melodic line and a concluding arioso line. The second, the fifth movement, is comparatively "lighter in mood and spirit". It anticipates the melody of the final chorale setting.

The alto aria is accompanied by oboe and violin in parallel thirds and sixths. The movement includes several instances of word painting. Formally, the movement is an altered da capo aria. It has a "generally sunny affect ... only momentarily disturbed by more charged harmonies".

The final movement is a four-part setting of the chorale in C major. The phrase lengths are varied to provide a "hint of timelessness".

Although the work was scored for three vocal soloists (alto, tenor, and bass), four-part choir, oboe, two violins, viola, and basso continuo, I created this arrangement for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Christo Resurgenti" for Piano & Clarinet Trio

4 parts3 pages025 years ago460 views
François Couperin (1668-1733) was certainly the greatest of the French claveinists and surely one of the greatest of French composers. Musically, Francois Couperin bridged two eras, the Baroque and the Classical, to which many of his ideas look forward. He was born in Paris into a family with a musical tradition stretching back 200 years. Their church, St Gervais, employed a member of the Couperin family as organist for an unbroken period of 173 years.

Little is know about this Easter Motet "Christo Resurgenti" (Christ Rising), although originally written for voices (2 Sopranos) and Basso Continuo. I created this arrangement for Clarinet Trio (2 Bb Clarinets and Bass Clarinet) and Acoustic Piano and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php) and using the Clarinet soundfont from SoundFont Downloads at (http://www.soundfontdownloads.com).

Concerto in B Minor (BWV 979) for Piano

1 part17 pages12:53a year ago462 views
Piano
The concerto transcriptions of Johann Sebastian Bach date from his second period at the court in Weimar (1708–1717). Bach transcribed for organ and harpsichord a number of Italian and Italianate concertos, mainly by Antonio Vivaldi, but with others by Alessandro Marcello, Benedetto Marcello, Georg Philipp Telemann and the musically talented Prince Johann Ernst of Saxe-Weimar. It is thought that most of the transcriptions were probably made in 1713–1714. Their publication by C.F. Peters in the 1850s and by Breitkopf & Härtel in the 1890s played a decisive role in the Vivaldi revival of the twentieth century.

Bach's transcription BWV 979 was long considered as being after a Violin Concerto in D minor Giuseppe Torelli, but a more trustworthy source ascribes the original to Antonio Vivaldi (RV Anh. 10). Indeed, this exciting piece is much more typical of Vivaldi, and is clearly an early work, written in the freely-flowing, 'fantastic' concerto manner closely related to the style of Vivaldi's L'Estro Armonico from 1711, with which Bach was also familiar. The transcription for the harpsichord has been carried out with great flair.

Source: Wikipedia (https://en.wikipedia.org/wiki/Concerto_transcriptions_for_organ_and_harpsichord_(Bach)).

Although originally written for Harpsichord. I created this Transcription of the Concerto in B Minor (BWV 979) for Piano.

Chorale: "Dein Blut, der edle Saft" (BWV 136 No 6) for Wind Ensemble

6 parts1 page01:114 years ago462 views
Flute, Oboe, Trumpet, French Horn, Trombone, Tuba
Erforsche mich, Gott, und erfahre mein Herz (Examine me, God, and discover my heart), BWV 136, is a church cantata by Johann Sebastian Bach. He composed it in 1723 in Leipzig for the eighth Sunday after Trinity and first performed it on 18 July 1723.

Bach composed the cantata in his first year in Leipzig for the eighth Sunday after Trinity, in his position as Thomaskantor. The prescribed readings for the Sunday are from the Epistle to the Romans, "For as many as are led by the Spirit of God, they are the sons of God" (Romans 8:12–17), and from the Gospel of Matthew, the warning of false prophets from the Sermon on the Mount (Matthew 7:15–23). The sources show, however, that only the middle section of movement 3 and the chorale were composed then with certainty. The other parts may rely on a former unknown secular or church cantata. The opening chorus is based on Psalms 139:29. The poet of the recitatives and arias, which are closely connected to the Sunday's gospel, is unknown. The chorale is verse 9 of Johann Heermann's "Wo soll ich fliehen hin" (1630) on the melody of "Auf meinen lieben Gott", which Bach used again in 1724 as the base for his chorale cantata Wo soll ich fliehen hin, BWV 5.

The opening chorus is mainly in two parts (A and A'), with choral fugues on the same themes, both presenting the complete text. An extended instrumental ritornello, dominated by the horn, is heard before, between and after the choral sections. The first fugue is preceded by a choral Devise (statement). Throughout the movement the two oboes never play independently but double the violins in the ritornelli and the soprano in the vocal sections. Bach used this movement later as the base for the "Cum Sancto Spiritu" of his Missa in A major.

The two recitatives are mostly secco, only the last measures of movement 4 tend to an arioso. The aria is accompanied by the oboe d'amore, the middle section (certainly composed in 1723) is marked presto. The two violins in unison accompany the duet, while the voices sing sometimes in imitation, sometimes in homophony, in the style of duets Bach wrote in Köthen.

The chorale is expanded to five parts by an independent violin, similar to the chorale of Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172.


Although the cantata was scored for three soloists (alto, tenor and bass), a four-part choir, corno da caccia, oboe, oboe d'amore, two violins, viola and basso continuo, I created this arrangement for Wind Ensemble (Bb Trumpet, Flute, Oboe, French Horn,Trombone & F Tuba) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Aria: "Erleucht' auch meine finstre Sinnen" (BWV 248 No 47) for Oboe, Horn & Cello

3 parts6 pages04:104 years ago459 views
Oboe, French Horn, Cello
The Christmas Oratorio BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander).

It was conceived as a set of six cantatas. Unlike the Passion settings and the oratorios of Bach's exact contemporary Handel, the six parts of his Christmas Oratorio were performed on separate days. Bach wrote the six cantatas to celebrate the whole period of the Christmas festivities of 1734-35, starting with Part I on Christmas Day, and ending with Part VI on Epiphany (January 6th). The performances were divided between his two churches: Parts I, II, IV and VI were given at the Thomaskirche, and Parts III and V at the Nicolaikirche.

Bach wrote the Christmas Oratorio over a short period. Unusually for him, but perhaps by necessity, he recycled music from earlier compositions. At least eleven sections have been identified as coming from three earlier secular cantatas, with Bach working with his frequent collaborator Picander to alter the texts for their new use. It is thought that several more sections may be based on lost sacred works, including the documented but now lost St Mark Passion. Bach also composed new music for much of the piece, including all of the recitatives and chorales.

This is my arrangement of the Bass Aria 'Erleucht auch meine finstre Sinnen' ('Illumine my dark thoughts as well') and is arranged here for Oboe, French Horn & Cello.

"Behold the Lamb of God" (HWV 56 No. 22) for Oboe & Strings

5 parts3 pages04:163 years ago460 views
Oboe, Strings(4)
Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the version of the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven.

Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times.

From the gentle falling melody assigned to the opening words ("Comfort ye") to the sheer ebullience of the "Hallelujah" chorus and the ornate celebratory counterpoint that supports the closing "Amen", hardly a line of text goes by that Handel does not amplify".

The opening chorus "Behold the Lamb of God" begins like a French overture in G minor, a key of "tragic presentiment", according to Christopher Hogwood. The continuo drops an octave, then the violins rise an octave, to express "Behold". After only three instrumental measures the voices proclaim the Testimony of John the Baptist, John 1:29, which recalls Isaiah 53. The alto begins, followed after half a measure each by the soprano, the bass, and finally the tenor. After the initial rise, the melody falls in dotted rhythms, but rises on "that taketh away the sin of the world". The melody shows similarity to the beginning of "He shall feed his flock", but "sharpened" from major to minor, from triplets to dotted rhythm, and by the octave leap in the beginning.

Although originally written for Vocal soloists (2 sopranos, alto, tenor, bass), Chorus, Orchestra and Harpsichord, I created this arrangement for Oboe & Strings (2 Violins, Viola & Cello) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Chorale: "Wenn soll es doch geschehen" (BWV 11 No 11) For Small Orchestra

17 parts27 pages04:242 years ago459 views
Trumpet(3), Flute(2), Oboe(2), Clarinet(2), French Horn, Bassoon, Timpani, Violin(2), Viola, Cello, Contrabass
Lobet Gott in seinen Reichen (Laud to God in all his kingdoms), BWV 11,[a] known as the Ascension Oratorio (Himmelfahrtsoratorium), is an oratorio by Johann Sebastian Bach, marked by him as Oratorium In Festo Ascensionis Xsti (Oratorio for the feast of the Ascension of Christ), probably composed in 1735 for the service for Ascension and first performed on 19 May 1735.

Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734, a work in six parts to be performed on six occasions during Christmas tide. He had composed an Easter Oratorio already in 1725. The Ascension Oratorio appeared thus in the same liturgical year as the Christmas Oratorio. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had written the libretti for the St Matthew Passion and the Christmas Oratorio, among others. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles.

The bible narration is compiled from multiple sources: the first recitative of the Evangelist (movement 2) is from Luke 24:50–51, the second (5) from Acts 1:9 and Mark 16:19, the third (7) from Acts 1:10–11, the last (9) from Luke 24:52a, Acts 1:12 and Luke 24:52b. The biblical words are narrated by the tenor as the Evangelist. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso.

Part I, which tells of the Ascension, is concluded by the fourth stanza of Johann Rist's hymn "Du Lebensfürst, Herr Jesu Christ" in a four part setting. Part II reflects the reaction of the disciples. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. While the music for the narration and the first chorale were new compositions in 1735, Bach based the framing choral movements and the two arias on earlier compositions. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor.

In the first complete edition of Bach's works, the Bach-Ausgabe of the Bach Gesellschaft, the work was included under the cantatas (hence its low BWV number), and in the Bach Compendium it is numbered BC D 9 and included under oratorios.

Source: Wikipedia (https://en.wikipedia.org/wiki/Lobet_Gott_in_seinen_Reichen,_BWV_11).

The closing chorale, "Wenn soll es doch geschehen" (When shall it happen"), is the seventh stanza of "Gott fähret auf gen Himmel", written in 1697 by Gottfried Wilhelm Sacer. Set in the first person, it expresses the desire of the speaker for the "liebe Zeit" (dear time) when he sees the Saviour in his glory. Continuing saying "wir" (we), he imagines to greet him and kiss him. It is set as a chorale fantasia. The soprano sings the cantus firmus in long notes, on the melody of "Von Gott will ich nicht lassen". Similar to the final chorale Nun seid ihr wohl gerochen of the Christmas Oratorio, the chorale tune in a church mode appears in the triumphant context of a different major key. The text expresses longing for the day of being united with Jesus in Heaven. The musicologist Julian Mincham interprets the mode of the tune as "the human state of waiting and hoping", while the concerto represents the fulfillment. Mincham compares the writing to the opening chorale fantasias of the second cantata cycle of chorale cantatas, finding the composition for the lower voices "endlessly inventive, frequently related to the textual images" pointing out "the passionate and clinging representation of kissing the Saviour beneath the caressing flutes, in the penultimate phrase"

I created this arrangement of the closing Chorale: "Wenn soll es doch geschehen" (When shall it happen) for Small Orchestra (Piccolo Trumpet, Bb Trumpet, Flugelhorn, 2 Flutes, 2 Oboes, 2 Bb Clarinets, French Horn, Bassoon, Timpani, 2 Violins, Viola, cello & Bass).

Fugue in G Major (BWV 577) for Guitar Quartet

4 parts9 pages03:122 years ago460 views
Guitar(4)
Unique among Bach's works -- assuming it is by Bach -- this is a fugue in jig-time, the sort of thing one finds in Buxtehude and Pachelbel, but at a lower skill level. It begins, innocently enough, with a cheerful tune in dotted Gigue rhythm, but quickly proves to be a treacherous test of virtuosity with its rapid, four-voice writing and its especially difficult pedal part. The fugue works well if played in a low-key manner, but some performers feel that if they're going to take the trouble to master this three-minute piece, they should impress the audience with its difficulty, so with a combination of showy registration choices and fast tempo, this can also be used as a barn-burner.

Source: Allmusic (http://www.allmusic.com/composition/fugue-for-organ-in-g-major-bwv-577-bc-j61-mc0002369101).

Although originally composed for Organ, I created this modern interpretation of the Fugue in G Major (BWV 577) for Guitar Quartet.

Prelude: "Christ unser Herr zum Jordan kam" (BWV 684) for Pipe Organ

2 parts7 pages04:182 years ago460 views
Percussion, Piano
The Clavier-Übung III, sometimes referred to as the German Organ Mass, is a collection of compositions for organ by Johann Sebastian Bach, started in 1735–36 and published in 1739. It is considered Bach's most significant and extensive work for organ, containing some of his musically most complex and technically most demanding compositions for that instrument.

In its use of modal forms, motet-style and canons, it looks back to the religious music of masters of the stile antico, such as Frescobaldi, Palestrina, Lotti and Caldara. At the same time, Bach was forward-looking, incorporating and distilling modern baroque musical forms, such as the French-style chorale.

The work has the form of an Organ Mass: between its opening and closing movements—the prelude and "St Anne" fugue in E-flat, BWV 552—are 21 chorale preludes, BWV 669–689, setting parts of the Lutheran mass and catechisms, followed by four duets, BWV 802–805. The chorale preludes range from compositions for single keyboard to a six-part fugal prelude with two parts in the pedal.

The purpose of the collection was fourfold: an idealized organ programme, taking as its starting point the organ recitals given by Bach himself in Leipzig; a practical translation of Lutheran doctrine into musical terms for devotional use in the church or the home; a compendium of organ music in all possible styles and idioms, both ancient and modern, and properly internationalised; and as a didactic work presenting examples of all possible forms of contrapuntal composition, going far beyond previous treatises on musical theory.

The chorale prelude Christ unser Herr zum Jordan kam BWV 684 has a trio sonata like ritornello in C minor in the three parts of the manuals. (Note that I have replaced the the cantus firmus in the tenor register of the pedal). Bach specifically stipulates two keyboards to give different sonorities to the imitative upper parts and the bass part. The undulating semiquavers in the bass, usually interpreted as representing the flowing waters of the Jordan, imitate a violine continuo, according to the model of Kauffmann's Harmonische Seelenlust. The musical content of the ritornello contains explicit allusions to the melody of the chorale, sometimes hidden in the semiquaver passage work and motifs.

Source: Wikipedia (https://en.wikipedia.org/wiki/Clavier-%C3%9Cbung_III).

I created this Transcription of the Chorale Prelude (BWV 684) "Christ unser Herr zum Jordan kam" (Christ our Lord to the Jordan came) for Pipe Organ.

Coro: "Christ unser Herr zum Jordan kam" (BWV 7 No. 1) for Woodwind Ensemble

6 parts20 pages06:025 years ago459 views
Flute(2), Oboe(2), Clarinet, Bassoon
Christ unser Herr zum Jordan kam (Christ our Lord came to the Jordan), BWV 7,[a] is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the Feast of St. John the Baptist and led the first performance on 24 June 1724. It is the third chorale cantata from his second annual cycle of chorale cantatas, based on Martin Luther's "Christ unser Herr zum Jordan kam", a hymn about baptism. Luther's first and last stanza are used unchanged (the former treated as a chorale fantasia, the latter as a four-part closing chorale) and an unknown librettist paraphrased the five inner stanzas into a corresponding number of recitatives and arias. The cantata is scored for three vocal soloists (alto, tenor and bass), a four-part choir, two oboes d'amore, two solo violins, strings and basso continuo.

Bach composed the cantata for St John's Day in Leipzig as the third cantata of his second annual cycle, which began about two weeks before with O Ewigkeit, du Donnerwort, BWV 20, for the first Sunday after Trinity. The cycle was devoted to Lutheran hymns, typically rendered by keeping their text of the first and last stanza, while a contemporary poet reworded the inner stanzas.

The structure of seven movements begins with a chorale fantasia and ends, after a sequence of alternating arias and recitatives, with a closing chorale as a four-part setting. Bach increased the number of accompanying instruments for the arias, from only continuo to two solo violins, finally to two oboes d'amore and the strings.

The cantata in seven movements is scored for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir (SATB), two oboes d'amore (Oa), two solo violins (Vs, the second one only introduced in a later performance), two violins (Vl), viola (Va) and basso continuo (Bc).

Source: Wikipedia (https://en.wikipedia.org/wiki/Christ_unser_Herr_zum_Jordan_kam,_BWV_7).

In the opening chorus, "Christ unser Herr zum Jordan kam" (Christ our Lord came to the Jordan), the tenor has the melody as a cantus firmus, while the other voices sing free counterpoint. In the first cantata of the cycle, O Ewigkeit, du Donnerwort, BWV 20, Bach gave the cantus firmus of the chorale tune to the soprano, in the second, Ach Gott, vom Himmel sieh darein, BWV 2, to the alto. The opening chorus resembles an Italian violin concerto. The musicologist Julian Mincham likens the "solo violin's persistent, rocking, wave-like idea" to the waves of the Jordan River. Alfred Dürr compares the vocal sections, all with the solo violin, to the solo sections of a violin concerto, as opposed to the tutti sections with the orchestra. John Eliot Gardiner interprets the movement as a French overture, "replete with grandiloquent baroque gestures to suggest both the processional entrance of Jesus and the powerful flooding of the River Jordan". Klaus Hofmann notes that the movement combines the old style of motet writing with the new type of solo concerto, and observes that "the main violin solo episodes ... are at first linked to the choral entries, but gradually assume larger proportions and greater independence as the movement progresses".

I created this arrangement of the opening Chorus: "Christ unser Herr zum Jordan kam" (Christ our Lord came to the Jordan) for Woodwind Ensemble (2 Flutes, 2 Oboes, Bb Clarinet & Bassoon).

Aria: "Ich will bei meinem Jesu wachen" (BWV 244 No. 20) for Winds & Strings

8 parts9 pages04:532 years ago460 views
Flute, Oboe, French Horn, Bassoon, Violin(2), Viola, Cello
The St. Matthew Passion (also frequently but incorrectly referred to as St. Matthew's Passion; German: Matthäus-Passion), BWV 244 is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew"

Bach did not number the sections of the St Matthew Passion, all of them vocal movements, but twentieth-century scholars have done so. The two main schemes in use today are the scheme from the Neue Bach-Ausgabe (NBA, New Bach Edition) which uses a 1 through 68 numbering system, and the older Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) scheme which divides the work into 78 numbers. Both use lettered subsections in some cases.

Many composers wrote musical settings of the Passion in the late 17th century. Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Matthew 26–27 in a relatively simple way, primarily using recitative, while aria and arioso movements set newly written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner.

The St Matthew Passion is set for two choirs and two orchestras. Both include two transverse flutes (Choir 1 also includes 2 recorders for No. 19), two oboes, in certain movements instead oboe d'amore or oboe da caccia, two violins, viola, viola da gamba, and basso continuo. For practical reasons the continuo organ is often shared and played with both orchestras. In many arias a solo instrument or more create a specific mood, such as the central soprano aria No. 49, "Aus Liebe will mein Heiland sterben", where the absence of strings and basso continuo mark a desperate loss of security.

The Passion was written for two choruses and orchestras. Choir I consists of a soprano in ripieno voice, a soprano solo, an alto solo, a tenor solo, SATB chorus, two traversos, two oboes, two oboes d'amore, two oboes da caccia, lute, strings (two violin sections, violas and cellos), and continuo (at least organ). Choir II consists of SATB voices, violin I, violin II, viola, viola da gamba, cello, two traversos, two oboes (d'amore) and possibly continuo.

Source: Wikipedia (https://en.wikipedia.org/wiki/St_Matthew_Passion).

I created this arrangement of the Aria: "Ich will bei meinem Jesu wachen" (I will watch with my Jesus) for Winds (Flute, Oboe, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello).

Recitativo: "Ja, ja! mein Herz soll es bewahren" (BWV 248 No 32) for Flute & Cello

2 parts1 page00:523 years ago459 views
Flute, Cello
The Christmas Oratorio BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander).

It was conceived as a set of six cantatas. Unlike the Passion settings and the oratorios of Bach's exact contemporary Handel, the six parts of his Christmas Oratorio were performed on separate days. Bach wrote the six cantatas to celebrate the whole period of the Christmas festivities of 1734-35, starting with Part I on Christmas Day, and ending with Part VI on Epiphany (January 6th). The performances were divided between his two churches: Parts I, II, IV and VI were given at the Thomaskirche, and Parts III and V at the Nicolaikirche.

Bach wrote the Christmas Oratorio over a short period. Unusually for him, but perhaps by necessity, he recycled music from earlier compositions. At least eleven sections have been identified as coming from three earlier secular cantatas, with Bach working with his frequent collaborator Picander to alter the texts for their new use. It is thought that several more sections may be based on lost sacred works, including the documented but now lost St Mark Passion. Bach also composed new music for much of the piece, including all of the recitatives and chorales.

Source: Wikipedia (https://en.wikipedia.org/wiki/Christmas_Oratorio).

I created this arrangement of the Recitativo: "Ja, ja! mein Herz soll es bewahren” (Yes, yes, my heart shall cherish this) for Flute & Cello.