Sheet music

Invention No. 11 in G Minor (BWV 782) for Viola Duet

2 parts1 page01:352 years ago510 views
Viola(2)
"A proper guide, by which lovers of the harpsichord, and especially those who crave instruction, are shown a clear way of learning not only to play cleanly in two voices but also, after further progress, to deal correctly with three obbligato voices, and also to create and properly develop good musical ideas; but, above all else, to acquire a true cantabile style of playing, and, with it, to get a good foretaste of the art of composition."

Thus reads J.S. Bach's own description, provided in a paragraph-long preface to the volume that contains the final 1723 versions of the pieces, of his Two- and Three-Part Inventions for keyboard. His purpose in writing them could not be made more plain -- and, indeed, it was not as instructional material in some general sense that he first conceived the pieces, but rather as exercises specifically designed for his 12-year-old son Wilhelm Friedemann (the first versions of the pieces are to be found in the 1722 Clavier-Büchlein for Wilhelm Friedemann). There are 30 pieces altogether, 15 Inventions in two voices and 15 Sinfonias in three.

The 15 Two-Part Inventions are written in the 15 keys that were at the time considered to be standard for keyboard use (remember that the Well-Tempered Clavier, which explores all 24 keys, was a novelty made possible only by the advent of more sophisticated tuning systems). The original order of the pieces was rather different than is the order in which one today finds them -- it was Bach himself, however, and not modern editors, who rearranged the pieces. The final key scheme is as follows: 1. C major, 2. C minor, 3. D major, 4. D minor, 5. E flat major, 6. E major, 7. E minor, 8. F major, 9. F minor, 10. G major, 11. G minor, 12. A major, 13. A minor, 14. B flat major, 15. B minor.

Although originally composed for Harpsichord, I created this arrangement of the Invention No. 11 in G Minor (BWV 782) for Viola Duet.
"Evening Song" for Clarinet Quintet
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"Evening Song" for Clarinet Quintet

5 parts3 pages01:385 years ago509 views
Johannes Barend (also Jean Baptiste) Litzau (1822-1893) was a Dutch organist and composer. Almost nothing is know about the llife of Litzau except as what has survived in hs choral and organ compositions.

Although this piece was originally written for Organ, I created this arrangement for Clarinet Quintet (3 Bb Clarinets & 2 Bass Clarinets) 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).
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The underlying hyperlinks for the automatically-generated names (e.g., @Mike Magatagan") in posted comments/replies, contain invalid hyperlinks.For example: on a reply to an "Improving MuseScore.com" comment, the user name printed at the beginning of the comment contains an invalid reference (e.g., https://musescore.com/user/Mike%20Magatagan instead of the actual https://musescore.com/mike_magatagan )
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!

Aria: "Erbarme dich! Laß die Tränen dich erweichen" (BWV 55 No 3) for Flute, Horn & Cello

3 parts5 pages05:072 years ago514 views
Flute, French Horn, Cello
Ich armer Mensch, ich Sündenknecht (I, wretched man, a servant to sin), BWV 55, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the 22nd Sunday after Trinity and first performed it on 17 November 1726. Bach wrote the cantata, a solo cantata for a tenor, in 1726 in Leipzig for the 22nd Sunday after Trinity and performed it first on 17 November 1726. It is Bach's only extant cantata for tenor.

The prescribed readings for the Sunday were from the Epistle to the Philippians, thanks and prayer for the congregation in Philippi (Philippians 1:3–11), and from the Gospel of Matthew, the parable of the unforgiving servant (Matthew 18:23–35). The unknown poet of the cantata text stressed the opposites of the gospel, God's justice versus unjust men, in the words of the first aria "Er ist gerecht, ich ungerecht" ("He is just, unjust am I"). In the first two movements the singer reflects his sinful condition, in the following two he asks God for mercy, beginning both with Erbarme dich ("Have mercy"). The following closing chorale is verse 6 of Werde munter mein Gemüte of Johann Rist (1642). Bach used the same verse later in his St Matthew Passion, again following Erbarme dich, the aria of Peter, regretting his denial of Jesus.

A rich polyphonic setting for flute, oboe d'amore and two violins, without viola, accompanies the opening aria. The motifs seem to illustrate the faltering steps and a despairing heart of the steward summoned before his master. The second aria is as expressive, accompanied by a virtuoso flute. The first recitative is secco, but the second one accompanied by string chords.

The closing chorale is the same text and melody as in the St Matthew Passion, here in a simpler four-part setting. Those two occurrences are the only ones of the text, whereas the melody was used frequently in other contexts, best known in Wohl mir, dass ich Jesum habe closing in two verses both parts of Herz und Mund und Tat und Leben, BWV 147.

Commentators have concluded from the autograph that the last three movements were originally part of an earlier untraced composition for Passiontide, possibly the lost 1717 Weimar Passion.

The cantata in five movements is scored for a tenor soloist, a four-part choir (only for the final chorale), flauto traverso, oboe d'amore, two violins, viola, and basso continuo.

Source: Wikipedia (https://en.wikipedia.org/wiki/Ich_armer_Mensch,_ich_S%C3%BCndenknecht,_BWV_55).

I created this arrangement of the Aria: "Erbarme dich! Laß die Tränen dich erweichen" (Have mercy! Let my tears move Thee) for Flute, French Horn & Cello.

Prelude & Fugue in F Major (BWV 556) for Harp

1 part4 pages03:032 years ago507 views
Harp
The Eight Short Preludes and Fugues (also Eight Little Preludes and Fugues), BWV 553–560, are a collection of works for keyboard and pedal formerly attributed to Johann Sebastian Bach. While originally attributed to Bach, scholars suggest that the eight preludes and fugues might have been composed by one of his pupils, Johann Ludwig Krebs, based on certain unusual characteristics and simplicity unusual to most of Bach's music when played on the organ. However, Philipp Spitta noted that they bore the "stamp of commanding mastery." Additionally, Sir George Grove wrote that "on stylistic grounds neither Johann Tobias or Johann Ludwig seems likely..

These pieces came to be played often on the organ in the 19th and 20th centuries, and were especially useful as teaching pieces for beginners. Subsequent scholarship has suggested that this collection was conceived specifically for the pedal clavichord, thereby making the stylistic claim of inauthenticity far less tenable. Several elements of the pieces, including the rolling of large chords, octave doublings and repeated notes, and the patterns of movement of the fingers and feet, the rhythm, and overall texture are idiomatic on the clavichord but make little sense on the organ.

These works continue to be performed frequently in Christian churches because of their short length (about 3 minutes each) and ease of performance compared to preludes and fugues attributed with greater certainty to J.S. Bach.

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

Although originally composed for Organ, I created this modern interpretation of the Prelude and Fugue in F Major (BWV 556) for Concert (Pedal) Harp.

Duetto No 4. in A Minor (BWV 805) for Viola & Cello

2 parts3 pages02:562 years ago509 views
Viola, Cello
Johann Sebastian Bach (1685-1750) published his Duetto (4) in 1739 at the end of his third book of Clavier-Übung (Keyboard Practice), his monumental compilation of works for the harpsichord. In essence, the Duetto are two part inventions but with more elaborate forms than most of the other works Bach called Two Part Inventions. The Duetto No. 4 in A minor, BWV 805, is the most complex of the four with the most convoluted theme and the most elaborate developments. The theme itself is long and highly chromatic, presenting plenty of opportunities for modulation. The theme is stated first by the left hand alone and then in the right hand with detailed counterpoints in the left hand. The first episode starts in the minor with the opening of the theme, then it moves to the major with the close of the theme. The third statement of the theme is once again in the left hand, but this time with counterpoints in the right hand and the fourth statement is once again in the right hand, but with new counterpoints in the left hand. The second episode starts with fragments of the theme in both hands and builds to a shattering climax followed by a transition based on the opening of the theme. The fifth statement of the theme is in the right hand with counterpoints in the left and the sixth statement is in the left hand with new counterpoints in the right hand. The third and final episode fragments both halves of the theme in both hands and builds to the seventh and final return of the theme in both hands, leading to a big final cadence.

Source: Allmusic (http://www.allmusic.com/composition/duetto-for-keyboard-no-4-in-a-minor-clavier-%C3bung-iii-no-26-bwv-805-bc-j77-mc0002358403).

Although originally composed for Harpsichord, I created this arrangement of the Duetto No. 4 in A Minor (BWV 805) for Viola & Cello.

"Confitebor Tibi" for Flute, Horn & Piano

3 parts4 pages03:065 years ago507 views
Alois Bauer (1794-1872) was a concertmaster and composer from Tyrol. He was born the son of the baker Franz Bauer and his wife Elisabeth (née Pfaundler) in Reutte. For many years he was active as choral director at the church of St. Egid in Klagenfurt, Austria. He ended his days there at the age of 78. Bauer wrote numerous accessible compositions, mostly for liturgical use. His Christmas Pastoral Mass remains well-known and beloved.

"Confitebor tibi, Domine" ("I will give thanks unto thee") is a liturgical work created by Bauer for Solo Flute, Voice (Bass) and Organ. I created this arrangement for Flute, French Horn & Acoustic Piano and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"The Ladies Dressed in Garments so Green" for Flute, Oboe & Harp

3 parts6 pages03:565 years ago506 views
"The Ladies Dressed in Garments so Green" is an anonymous Irish Folk Song Air in 3/4 time and popular in Ballycastle (in Antrim) about 1840. Long before that it was heard played on the harp'" (Joyce, 1909). Bayard (1981) believes the tune resembles "Whistling Mike" (O'Neill), "Tinware Lass (The)" (Ryan's Mammoth/Cole's 1000), "Pewter Mug" (Ford), and his own Pennsylvania-collected "Governor Taylor's March."

Although this work was originally written for Folk Instruments, I created this arrangement for Flute, Oboe & 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: "Ermuntre dich, dein Heiland klopft" (BWV 180 No 2) for Flute, French Horn & Cello

3 parts6 pages05:344 years ago506 views
Schmücke dich, o liebe Seele (Adorn yourself, o dear soul), BWV 180, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the 20th Sunday after Trinity and first performed it on 22 October 1724. The cantata text is based on the chorale "Schmücke dich, o liebe Seele" by Johann Franck.

Bach wrote the cantata in his second year in Leipzig as part of his second annual cycle of chorale cantatas for the 20th Sunday after Trinity and first performed it on 22 October 1724. The prescribed readings for the Sunday were from the Epistle to the Ephesians, "walk circumspectly, ... filled with the Spirit" (Ephesians 5:15--21), and from the Gospel of Matthew, the parable of the great banquet (Matthew 22:1--14). The German term used in Luther's Bible translation is Hochzeitsmahl, literally "wedding meal". The cantata text is based on the Eucharistic chorale in nine stanzas Schmücke dich, o liebe Seele, BWV 180 (1649) by Johann Franck,[3] thus connecting the "great banquet" from the gospel to the Abendmahl (Eucharist). The hymn is sung during a service in preparation for the holy communion, and imagines a bride getting ready for her wedding. An unknown author kept the text of the first, central and last stanza (1, 4, 9), and paraphrased the other stanzas to arias and recitatives, stanzas 2 and 7 to arias, stanzas 3, 5--6 and 8 to recitatives. He stayed close to the original and did not seek closer relation to the readings than given by the general context.

Compared to the early cantata for the same occasion, Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162, Bach stresses the invitation of God and the joy of the banquet, rather than the possibility of man's failing to respond to the invitation. Alfred Dürr compares the opening chorus and both arias to dances, movement 1 to a gigue, movement 2 to a bourrée, movement 5 to a polonaise. The opening chorus is an orchestral concerto with the vocal parts embedded, the soprano singing the cantus firmus of the tune by Johann Crüger. John Eliot Gardiner sees the "relaxed 12/8 processional movement" as "perfectly tailored to the idea of the soul dressing itself up in all its wedding finery".

The following three movements are distinguished by their obbligato instruments. A flute accompanies the tenor voice in movement 2, "Ermuntre dich: dein Heiland klopft" (Be lively now, your Savior knocks). The knocking is expressed in repeated notes. The demanding flute part was probably composed for the excellent flute player for whom Bach first wrote a few weeks earlier in Was frag ich nach der Welt, BWV 94, and then in other cantatas during the fall of 1724. A violoncello piccolo complements the soprano in movement 3, which begins as a secco recitative "Wie teuer sind des heilgen Mahles Gaben" (How dear are the gifts of the holy meal) and leads to the fourth stanza of the chorale, "Ach, wie hungert mein Gemüte" (Ah, how my spirit hungers), sung in a moderately adorned version of the tune. In movement 4, two recorders reflect the text of the alto recitative which develops to an arioso, with the recorders first playing just long chords, then gradually adding movement. The full orchestra supports the soprano in the second aria "Lebens Sonne, Licht der Sinnen" (Sun of life, light of the senses). The last recitative, "Mein Herz fühlt in sich Furcht und Freude" (My heart feels its own fear and joy) is secco, but closes as an arioso on the words "und deiner Liebe stets gedenken" (and considers your love constantly). The closing chorale, "Jesu, wahres Brot des Lebens" (Jesus, true bread of life), is set for four parts.

Although originally scored for four soloists, soprano, alto, tenor and bass, four-part choir, and an orchestra of two recorders, flauto traverso, two oboes, oboe da caccia, two violins, viola, violoncello piccolo and basso continuo, I created this arrangement for Flute, French Horn & Cello and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Prelude & Fughetta in G Major (BWV 902) for String Trio

3 parts5 pages05:04a year ago506 views
Violin, Viola, Cello
Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery.

Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St.Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750.

Keyboard Works (Klavierwerke) by Johann Sebastian Bach traditionally refers to the Nos. 772 to 994, Chapter 8 in the BWV catalogue, listing compositions for a solo keyboard instrument like the harpsichord or the clavichord. Despite the fact that organ is also a keyboard instrument, and that in Bach's time the distinction wasn't always made whether a keyboard composition was for organ or another keyboard instrument, Wolfgang Schmieder ranged organ compositions in a separate section of the Bach-Werke-Verzeichnis (Nos. 525-771). Also other compositions for keyboard, like compositions for lute-harpsichord and fortepiano were listed outside the "Klavierwerke" range by Schmieder. Lute works are in the range 995–1000, Chapter 9 in the BWV catalogue.

Bach was a prodigious talent at the keyboard, well known during his lifetime for both his technical and improvisational abilities. Many of Bach's keyboard works started out as improvisations. Bach wrote widely for the harpsichord, producing numerous inventions, suites, fugues, partitas, overtures, as well as keyboard arrangements of concerto music by his contemporaries. The fortepiano is an instrument Bach would have encountered once, by the end of his life when it was recently invented, while visiting his son in Potsdam. The visit resulted in Das Musikalische Opfer, parts of which may have been intended for the new instrument.

Several of Bach's works for keyboard were published in print in his own lifetime. Four such publications were given the name Clavier-Übung (Keyboard Practice) by the composer. Bach was not the first to use that name, for example Bach's Leipzig predecessor Johann Kuhnau had used it for two volumes published in the late 17th century. The first volume, Bach's Opus 1, was published in 1731, while the last was published a decade later. The first, second and last volume contain music written for harpsichord, while the third was mainly intended for performance on the organ, only four duets contained in that volume ending up in the BWV 772–994 range.

Source: Wikipedia (https://en.wikipedia.org/wiki/List_of_keyboard_and_lute_compositions_by_Johann_Sebastian_Bach#Works_for_solo_lute_.28BWV_995.E2.80.931000.29).

Although originally written for Keyboard, I created this Interpretation of the Plelude & Fughetta in G Major (BWV 902) for String Trio (Violin, Viola & Cello).

"Greencastle Hornpipe" for Harp

1 part3 pages02:066 years ago504 views
"Greencastle" is a very well known hornpipe from Ireland from the 19th century. This tune is also known as "McPartland's Style", which is often paired with the "Buck from the Mountain".

Although originally written for traditional folk instruments (possible Bagpipe or Mandolin), I created this arrangement for 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).

"Thou art Gone up on High" (HWV 56 No. 36) for Flute & Strings

5 parts5 pages05:554 years ago504 views
Flute, 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".

Pentecost is referred to rather indirectly, without naming the Holy Spirit. "Thou art gone up on high" from Psalm 68 (Psalms 68:18) reflects "gifts for men" and "that God might dwell among them", expressed in swinging 3/4 time. Some claim that Handel wrote the Air in London in 1750 for the castrato Gaetano Guadagni. However, the earlier editions (Novello, Best and Prout) all give this air to the Bass, in F major; only the current Watkins-Shaw edition gives the air to Alto (in D minor), and it provides a transposition for Soprano as well.

Although originally written for Vocal soloists (2 sopranos, alto, tenor, bass), Chorus, Orchestra and Harpsichord, I created this arrangement for Flute & 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: "Nun lob, mein Seel, den Herren" (BWV 28 No 2) for Wind Quintet

5 parts5 pages05:113 years ago506 views
Flute, Oboe, English Horn, French Horn, Bassoon
Gottlob! nun geht das Jahr zu Ende (Praise God! The year now draws to a close), BWV 28,[a] is a church cantata by Johann Sebastian Bach for the Sunday after Christmas. He first performed it on 30 December 1725.

The cantata opens with an oboe trio playing an Italianate ritornello of four phrases, accompanied by the strings; the roles of the two choirs are later reversed. The soprano sings a virtuosic and melismatic aria commanding the listener to praise God.

The following chorale expands the command from the individual to the collective, adopting an "archaic" motet form. It is reminiscent of the movements which opened most of Bach's chorale cantatas, composed as a cycle the previous year. The cantus firmus is sung in long notes by the soprano while the lower voices add "skilful imitatory texture, partly from new themes and partly from ideas derived from the chorale line in question", as Klaus Hofmann notes. The instruments play colla parte in motet style with the voices, doubled by a quartet of cornetto and trombones. The music in stile antico was performed at the end of John Eliot Gardiner's Bach Cantata Pilgrimage in 2000, who described its "sobriety and complexity, its buried treasures and subtleties, especially those that occur in its last fifty bars, in which you sense some immense cosmic struggle being played out".

The third movement, a bass arioso, repeats the ascending scalar motif of the chorus. The tenor recitative is accompanied by sustained chordal strings and concludes on a major harmony. The continuo opens the duet aria with a two-part ritornello – dancing eighth notes followed by fast arpeggiated figures – that is repeated three more times during this movement. The vocal lines sing three blocks of imitative motivic entries. In the style of Italian chamber duets, the voices first render a thought in imitation, "coming together each time for a concluding cadence".

The cantata concludes with a four-part chorale in A minor. Gardiner, who had conducted several versions during the Pilgrimage, notes the moving power of this harmonisation of the "prayer for protection and sustenance in the year to come".

The cantata is scored for four vocal soloists (soprano, alto, tenor, bass) and four-part choir, cornetto, three trombones, two oboes, taille, two violins, viola and continuo.

Source: Wikipedia (https://en.wikipedia.org/wiki/Gottlob!_nun_geht_das_Jahr_zu_Ende,_BWV_28).

I created this arrangement of the first Chorale: "Nun lob, mein Seel, den Herren" (Now praise, my soul, the Lord) for Wind Quintet (Flute, Oboe, English Horn. French Horn & Bassoon).

Aria: "Ich lebe, mein Herze, zu deinem Ergötzen" (BWV 145 No 3) for Brass Quartet

4 parts8 pages03:414 years ago502 views
Ich lebe, mein Herze, zu deinem Ergötzen (I live, my heart, for your delight), BWV 145, is a church cantata for Easter by Johann Sebastian Bach. He composed it in Leipzig and likely first performed it in 1729.

The cantata is extant only in a later copy. The text of five movements for the Third Day of Easter ("den dritten Osterfesttag") was published in Picander's annual volume of cantatas of 1728, therefore a first performance on 19 April 1729 seems likely.

The prescribed readings for the feast day were from the Acts of the Apostles, the sermon of Paul in Antiochia (Acts 13:26–33), and from the Gospel of Luke, the appearance of Jesus to the Apostles in Jerusalem (Luke 24:36–47). The five movements on Picander's text seem rather short for the purpose, therefore Alfred Dürr suggests that Bach might have added a sinfonia, as in two cantatas of the period, BWV 174 and BWV 188, admitting that there is no source to substantiate it. Instead, in the copy the five Picander movement are preceded by two movements, a four-part of the first stanza of Caspar Neumann's chorale "Auf, mein Herz, des Herren Tag" (ca. 1700), and then the first movement from a cantata by Georg Philipp Telemann, "So du mit deinem Munde bekennest Jesum", a paraphrase of Romans 10:9. The beginning of the latter is the title of the copy. The two movements may have been added after Bach's death to make the cantata fit to be performed on Easter Sunday. Picander did not refer to the specific readings for the Third Day of Easter in his text. According to Klaus Hofmann, Carl Philipp Emanuel Bach expanded the cantata by the two additional movements in Hamburg (after 1768) and set the first movement himself. According to Christoph Wolff, the cantata may have been compiled by Carl Friedrich Zelter for the Sing-Akademie zu Berlin. The closing chorale is the fourteenth and final stanza of Nikolaus Herman's Easter hymn "Erschienen ist der herrlich Tag".


The first added movement is a four-part setting of the chorale stanza. The Telemann movement is in two parts, a duet and a choral fugue, with strings and instruments colla parte and a partly independent trumpet. In Telemann's cantata, it was preceded by an instrumental introduction on the same theme.

The music on Picander's text begins in movement 3, a duet with obbligato violin. The tenor expresses the position of Jesus "Ich lebe, mein Herze, zu deinem Ergötzen" (I live, my heart, for your pleasure), whereas the soprano answers as the believer: "Du lebest, mein Jesu, zu meinem Ergötzen" (You live, my Jesus, for my pleasure). The movement resembles duets of Bach's secular cantatas and is possibly the parody of an unknown work. It is unusual that Bach has the tenor represent the voice of Jesus. The following secco recitative ends as an arioso to stress the words "Mein Herz, das merke dir!" (My heart, take note!), a thought picked up in the following bass aria, the movement with the richest instrumentation, all instruments but the viola. It has the character of a dance in even periods and may also be a parody of a secular work. The cantata is closed by a four-part setting of the last stanza of the Easter chorale "Erschienen ist der herrlich Tag".

Although this cantata was scored for three vocal soloists (soprano, tenor and bass), a four-part choir, trumpet, flauto traverso, two oboe d'amore, two violins, viola and basso continuo, I created this arrangement for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & F Tuba) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php) as well as the "Dirty Brass Trumpet SoundFont" Soundfont at http://hotfile.com/dl/107684584/730b25e/Dirty_Brass_Trumpet_SoundFont_20.

"Recercada Ottava" for Viola & Harp

2 parts3 pages03:124 years ago504 views
Viola, Harp
Diego Ortiz (c. 1510 -- c. 1570) was a Spanish composer and musicologist, in service to the Spanish viceroy in Naples (Pedro de Urries) and later to Philip II of Spain. Ortiz published influential treatises on both instrumental and vocal performance.

Very little is known about his life. He is believed to have been born in Toledo and died in Naples.

In 1553 Ortiz was living in the viceroyalty of Naples. Five years later, the third duke of Alba, Fernando Álvarez de Toledo, appointed him maestro di capella of the Chapel Royal of Naples. In 1565 Ortiz still held the post under the Viceroy Pedro Afán de Ribera, duke of Alcalá.

The Trattado de Glosas (modern Spanish spelling Tratado de Glosas) is considered a masterpiece of literature for the viola da gamba. The work was published on 10 December 1553, in Rome under the Spanish title Trattado de glossas sobre clausulas y otros generos de punctos en la musica de violones nuevamente puestos en luz. Its Italian title is Glose sopra le cadenze et altre sorte de punti in la musica del violone.

It was published in Rome on December 10 of 1553 in two versions, one Spanish, the name already mentioned and one in Italian, entitled sopra Glose Cadenze you punti et altre spring of the double bass in the music. The printers were the brothers Valerio and Luis Dorico.

Although originally written for Lute, I created this arrangement for Viola & Concert (Pedal) Harp.

Aria: "Gelobet sei der Herr, mein Gott, der ewig lebet" (BWV 129 No 4) for Oboe, Violin & Cello

3 parts5 pages03:484 years ago501 views
Oboe, Violin, Cello
Gelobet sei der Herr, mein Gott (Praised be the Lord, my God), BWV 129, is a church cantata by Johann Sebastian Bach. Bach composed the chorale cantata in Leipzig for Trinity Sunday and possibly first performed it on 16 June 1726. It is a general praise of the Trinity, without a reference to a specific gospel reading. Addressing God the Creator, the Saviour and the Comforter, it could be used for other occasions such as Reformation Day. The cantata is festively scored and ends in a chorale fantasia, like the Christmas Oratorio. It is the conclusion of Bach's second annual cycle of cantatas, containing chorale cantatas.

Bach composed the cantata in Leipzig for Trinity Sunday, the earliest in 1726. In his second year Bach had composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday, but for Easter had returned to cantatas on more varied texts, possibly because he lost his librettist. Later Bach composed again chorale cantatas to complete his second annual cycle. This cantata is one of the completing works. It is based entirely on the unchanged words on the chorale Gelobet sei der Herr, mein Gott (1665) by Johann Olearius and celebrates the Trinity in five stanzas.

The prescribed readings for the Sunday were from the Epistle to the Romans, reflecting "depth of wisdom" (Romans 11:33–36), and from the Gospel of John, the meeting of Jesus and Nicodemus (John 3:1–15). Unlike most chorale cantatas of 1724/25, but similar to the early Christ lag in Todes Banden, BWV 4 and Lobe den Herren, den mächtigen König der Ehren, BWV 137, also composed after the second cantata cycle, Bach left the chorale text unchanged, thus without a reference to the readings.

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

Sonata in G Major (BWV 1019) for String Trio

3 parts19 pages13:58a year ago505 views
Violin, Viola, Cello
Johann Sebastian Bach (1685 – 1750) was a German composer and musician of the Baroque period. He enriched established German styles through his mastery of counterpoint, harmonic and motivic organization, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which approximately two hundred survive.His music is revered for its technical command, artistic beauty, and intellectual depth. While Bach's abilities as an organist were highly respected during his lifetime, he was not widely recognised as an important composer until a revival of interest in his music during the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.

The Sonata for Violin and Keyboard in G major, BWV 1019, is the last of six violin sonatas Bach wrote before 1725, most likely while he was Kapellmeister at Cöthen, and revised several years later. Bach may have written them for Prince Leopold to perform, later revising them for his own performance at his Leipzig concerts. The sonatas as a whole are technically accessible to amateurs, while containing musical subtleties to be explored by fine musicians. Typical Baroque sonatas for two instruments indicated that there were two contrapuntal solo lines plus a basso continuo. Bach combined the second solo voice and continuo into the keyboard part, making the keyboard more of a partner to the violin and utilizing the strengths of both instruments.

This sonata differs from the other five in that it is comprised of five movements instead of four. In its final version, an extra Allegro precedes the slow-fast-slow-fast structure of the rest of the sonata. As with other late Baroque sonatas, each movement conveys a particular emotion, or Affekt. The opening Allegro should portray brilliancy. Smooth, flashy running lines in the violin and keyboard right hand fit together closely. The Largo, in E minor, is sorrowful with its singing violin melody supported by a more embellished keyboard countermelody. The third movement, a second Allegro and also in E minor, is for keyboard alone. It displays a pensive and somewhat sad mood, with writing similar to that of his Two-Part Inventions. The fourth movement, Adagio, should be affected with melancholy, "the singular spun out rhythms and the rich harmony of the movement border on the bizarre." It begins with the keyboard stating the slow, B minor melody followed by the violin, passing it back and forth throughout. Syncopations make the listener wait breathlessly for resolution of the harmonies. The last movement is a lively Allegro, based on a theme from the cantata Weichet nur, betrübte Schatten, BWV 202. Back in G major, it is at turns bouncy and fluid, with quick trills attached to sixty-fourth notes and emphasis on the off-beats enlivening the movement.

In the first version of the sonata, the fourth movement had been another Adagio, a variation on the Courante and Gavotte of Partita No. 6 for keyboard, BWV 830. In the second version of the sonata, the keyboard Allegro was replaced by a Cantabile ma un poco Adagio for both instruments that had the Affekt of "wheedling (coaxing) and expressive." This was based on an aria from the cantata Gott, man lobet dich in der stille, BWV 120.

Source: AllMusic (http://www.allmusic.com/composition/sonata-for-violin-keyboard-no-5-in-f-minor-bwv-1018-mc0002365774).

Although originally written for Violin & Harpsichord, I created this Arrangement of the Sonata No. 6 in G Major (BWV 1019) for String Trio (Violin, Viola & Cello).

"Berceuse de Jocelyn" (Opus 100) for Harp

1 part1 page03:215 years ago503 views
Benjamin Louis Paul Godard (1849 – 1895) was a French violinist and Romantic composer.

Jocelyn (Op. 100) is a four-act opera by Benjamin Godard, set to a French libretto by Paul Armand Silvestre and the tenor Victor Capoul. Based on the poem by Alphonse de Lamartine, the action takes place in Grenoble and the surrounding mountains during Corpus Christi at the close of the 18th century. The score bears a dedication "A mon ami Daniel Barton".

This opera is remembered for Godard's most enduring composition, the tender berceuse (lullaby) for tenor, "Oh! ne t'éveille pas encore" commonly known in English as Angels Guard Thee.

It received its première on February 25, 1888 at Le Théâtre Royal de la Monnaie in Brussels, Belgium with Pierre-Émile Engel creating the title role. A production with a new cast, including Capoul in the title role, opened in Paris at the Théâtre-Lyrique-National on October 13 of the same year.

Although originally written for Opera, I created this arrangement for Solo 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).
"Sérénade Mélancolique" (Opus 45) for Harp
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"Sérénade Mélancolique" (Opus 45) for Harp

1 part4 pages02:296 years ago502 views
A. Hasselmans was born in Liège on 5 March 1845 and died in Paris on19 May 1912. he was a French harpist and composer of Belgian birth. As solo harpist with the orchestras of the Paris Conservatoire, Opéra and Opéra-Comique, and as professor at the Conservatoire, he played a significant part in the harp revival at the turn of the century; he wrote about 50 pieces.

"Sérénade mélancolique" (Opus 45) was the first part of the 3 Improvisations faciles "Feuilles d'automne" (Autumn Leaves) written by Hasselmans in 1899 and, entirely for Harp. It is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Venite Adoremus" (No. 5) for Woodwind, Brass & Strings

8 parts12 pages085 years ago501 views
Johann Caspar Aiblinger (1779 - 1867) was a German composer. He was born in Wasserburg am Inn, Bavaria. In his eleventh year he commenced his studies at Tegernsee Abbey, where he was instructed in piano and organ-playing. Four years later he entered the gymnasium at Munich, where he studied under Professor Schlett, his countryman.

In 1800 he began his studies at the University of Landshut. Inwardly drawn to the Catholic Church, he completed his philosophy and began theology, but the secularization of many religious orders in Bavaria prevented his entrance into a cloister. He now devoted himself solely to music. Led by the then prevailing idea that without a visit to Italy no musical education is complete, he turned his footsteps southward.

After a stay of eight years at Vicenza, where he fell under the influence of his countryman Johann Simon Mayr, Aiblinger (1811) went to Venice and there met Meyerbeer, who procured for him an appointment at the Conservatory. His failure to establish a school for classical music led him to Milan to assume the direction of the local ballet. On his return to Bavaria, King Maximilian I Joseph of Bavaria invited him to Munich to direct the Italian opera. King Ludwig I of Bavaria appointed him director of the royal orchestra, and sent him to Italy to collect old Italian masterpieces. On his return be became the organist of the church of All Saints for which he wrote many valuable compositions.

Between 1820 and 1830 he tried operatic composition, but was unsuccessful. A crusade against Italian music, which led to the revival of Christoph Willibald Gluck's Iphigenia in Tauris, followed. Then he took up church music, studying the old masters and procuring performances of their works. He also wrote much church music. His numerous compositions comprise masses and requiems, offertories and graduals, psalms, litanies, and German hymns, many of which have been published at Augsburg, Munich, Regensburg, and Mainz.

The offertory (offering), in the Roman Catholic Mass and in derived liturgical forms, is the preparation of bread and wine on the altar and their formal offering to God. It takes place after the gospel and the creed and before the preface. A short psalm verse from Scriptures is appointed to be said or sung at the beginning; it varies from day to day. This is called the offertory verse. From ancient times it has been customary to collect the alms of the worshipers about the time of the offertory, hence the term has been transferred to the collection taken up in services in Protestant churches and to the music played or sung during the collection. The choice of this selection is usually left to the musicians of the church, and in many Protestant churches the offertory is the choir's principal musical selection in the service.

Although originally written for Voice (SATT), Strings and Organ, I created this arrangement for Flute, Oboe, Bb Trumpet, French Horn and 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).