Sheet music

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

3 parts5 pages03:484 years ago502 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 (

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 ( as well as the "Dirty Brass Trumpet SoundFont" Soundfont at
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United Methodist Church

1 discussion • 378 scores • 46 members


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" comment, the user name printed at the beginning of the comment contains an invalid reference (e.g., instead of the actual )
This concerns one specific score by @Mike Magatagan namely the score 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 ). 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: "Komm, süßes Kreuz, so will ich sagen" (BWV 244 No. 57) for Cello & Harp

2 parts7 pages04:022 years ago501 views
Cello, Harp
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 (

I created this arrangement of the Aria: “Komm, süßes Kreuz, so will ich sagen” (Come, sweet Cross, this I want to say) for Cello & Concert (Pedal) Harp.

Aria: "Der Herr segne euch" (BWV 196 No 4) for French Horn, Tuba & Strings

7 parts5 pages03:434 years ago500 views
French Horn, Tuba, Violin(2), Viola, Cello, Contrabass
Der Herr denket an uns (The Lord is mindful of us), BWV 196, is a cantata by Johann Sebastian Bach. It is difficult to date, but is generally considered to be an early cantata on stylistic grounds. It has been suggested that it was composed at Mühlhausen where Bach lived in 1707/1708.

The text is taken from Psalms 115. Much of Bach's later cantata output was written for the requirements of the liturgical calendar, but this cantata appears to have been written for a special occasion. The psalm includes the line "The LORD shall increase you more and more, you and your children". Many commentators, from Philipp Spitta onwards, have concluded that the cantata was written for a wedding, and have gone so far as to suggest actual weddings where it might have been performed, including Bach's own in 1707. However, the wedding hypothesis is far from proven, and the text could fit other occasions.

Although this Cantata is scored for three vocal soloists (soprano, tenor, and bass), a four-part choir and an instrumental ensemble consisting of strings and continuo I created this arrangement for French Horn, Tuba & Strings (2 Violins, Viola, Cello & Bass).

Sonata X for Viola & Harp

2 parts8 pages08:064 years ago500 views
Viola, Harp
Johann Ernst Galliard (1687–1747) was a German composer. He was born in Celle, Germany to a French wig-maker. His first composition instruction began at age 15. Galliard studied composition under Jean-Baptiste Farinel, the director of music at the Court of Hanover, and Abbate Steffani. In addition to his composition ability, he was also a capable oboe and recorder player. Galliard made a step forward in his musical career when he performed one of his original compositions. This Sonata for oboe and two bassoons debuted at one of Farinel’s concerts. Galliard earned an esteemed seat in the chamber music of George, Prince of Denmark. Later, he moved to England where he became chapel-master of Somerset House. Galliard became a familiar face in high society due to his proximity to and frequenting of the royal residence. In response to war victories, Galliard composed a Te Deum, Jubilate, and three additional anthems.

Bigger and better things seemed promising following his participation in the founding of the Academy of Ancient Music. However, in the scrap for kingdom-wide directorial status, Galliard fell short to greats such as Handel and Bononcini. He wrote the music to Calypso and Telemachus (from Sibley Music Library Digital Scores Collection) upon the request of a friend, the poet John Hughes. Despite approval from his peers, the show was a failure. As a result, he refocused on his oboe performance. He joined Handel’s Italian Opera in 1713 as an oboe soloist. Galliard composed several more cantatas to texts by Hughes and Congreve. He published an opera, music to the Morning Hymn of Adam and Eve taken from John Milton’s Paradise Lost, and a large number of pantomimes which he turned out under contract to Rich, the enterprising manager of the Lincoln’s-Inn-Fields Theatre. His published instrumental music includes the following: Six Sonatas for a Flute and a Thorough Bass, Six Solos for the Violoncello, and Six Sonatas for the Bassoon or Violoncello with a Thorough Bass for the Harpsichord. (from Sibley Music Library Digital Scores Collection)

Although this piece was originally written for Flute and continuo, I created this arrangement for Viola and Concert (Pedal) Harp.

Fugue on a Theme by Giovanni Legrenzi (BWV 574) for Brass Quartet

4 parts12 pages06:472 years ago500 views
Trumpet(2), French Horn, Tuba
Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time.

As a young man, Bach developed a rather unique talent for writing long passages of pseudo recitative for the organ, trusting the acoustics of the building to 'fill out' the harmony the listener experiences, even though no more than a single note at any one time is being played. The organ wasn't the only instrument where he displayed this skill as with his Cello sonatas.

Giovanni Legrenzi was an Italian composer of opera, vocal and instrumental music, and organist, of the Baroque era. He was one of the most prominent composers in Venice in the late 17th century, and extremely influential on the development of late Baroque idioms across northern Italy.

This fugue was probably written during Bach's years in Arnstadt, where he served as organist at the Neue Kirche. He had always shown interest in the works of the Italian masters and wrote a number of compositions based on their themes, including Fugue for organ in B minor (on a Theme of Corelli) (BWV 579), Fugue for keyboard in B minor (on a theme of Albinoni) (BWV 951), and this C minor effort for organ based on a theme by Giovanni Legrenzi (1626 - 1690). The work opens with Legrenzi's theme, a stately creation that Bach brilliantly developed during the course of the fugue. It begins with a sort of five-note motto that rises high on the keyboard, almost serving as a repeating fanfare on each of its appearances. Not surprisingly, Bach's contrapuntal writing is brilliant throughout and at the core of the work's success, inner voices emerge with crucial detail or blend deftly with the main line to forge some new thematic aspect. Near the end is a cadenza-like episode of great drama that leads to a brilliant, powerful close. This work typically has a duration of six or seven minutes.

Source: Allmusic (

Although originally composed for Organ, I created this modern interpretation of the Fugue on a Theme by Giovanni Legrenzi in C Minor (BWV 574) for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & F Tuba).
"Follets" (Opus 48) for Harp

"Follets" (Opus 48) for Harp

1 part10 pages02:326 years ago500 views
A. Hasselmans was born in Liège on 5 March 1845 and died in Paris on 19 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.

The will o' the wisp (fool's fire) refers to ghostly lights seen at night or twilight that hover over swamps or bogs in still air. They look like a flickering lamp and seem to recede if approached. This "Caprice-Etude" by Alphonse Hasselmans captures the mysterious beautiful of this natural phenomenon using 32nd-note upward arpeggios in rapid succession.

Hasselmans wrote "Les Follets pour Harpe" (Opus 48) sometime after 1899 entirely for Concert (Pedal) Harp. This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

Trio in G Minor (BWV 584) for Flute, Oboe & Cello

3 parts2 pages02:242 years ago499 views
Flute, Oboe, Cello
The musical substance here is by Bach, but the organ arrangement almost certainly is not. The surviving manuscript is not in Bach's hand, and so the piece has sometimes been omitted from Bach editions. The source music, however, is certainly by Bach: the tenor aria "Ich will an den Himmel denken" from the cantata Wo gehest du hin? (BWV 166). In the original aria, the tenor is accompanied by oboe and continuo, and the two principal melodic lines find their way into this organ transcription with hardly any change. The arranger has added a middle voice, which, oddly enough, now shows up as a spurious violin part in the Alfred Dürr edition of the cantata's aria. The primary melody, measured but determined, progresses over Bach's equivalent to a "walking bass" and becomes increasingly intricately entwined with the countermelodies, finally reappearing in almost unadorned form at the end.

Source: Allmusic (

Although originally composed for Organ, I created this modern interpretation of the Trio in G Minor (BWV 584) for Flute, Oboe & Cello.

Chorus: "Lobe den Herrn, meine Seele" (BWV 69 No 1) for Small Orchestra

16 parts36 pages06:363 years ago499 views
Trumpet(3), French Horn(3), Flute, Oboe, Clarinet, Bassoon, Timpani, Violin(2), Viola, Cello, Contrabass
Lobe den Herrn, meine Seele (Praise the Lord, my soul), BWV 69a, is a church cantata by Johann Sebastian Bach. He composed it in 1723 in Leipzig for the twelfth Sunday after Trinity and first performed it on 15 August 1723. It is part of his first annual cycle of cantatas.

Bach wrote the cantata in his first year in Leipzig, which he had started after Trinity of 1723, for the Twelfth Sunday after Trinity. The prescribed readings for the Sunday were from the Second Epistle to the Corinthians, the ministry of the Spirit (2 Corinthians 3:4–11), and from the Gospel of Mark, the healing of a deaf mute man (Mark 7:31–37). The unknown poet referred to the gospel, but saw in the healing more generally God constantly doing good for man. The opening chorus is therefore taken from Psalms 103:2, "Praise the Lord, my soul, and do not forget the good He has done for you". The poetry refers to "telling" several times, related to the healed man's ability to speak: "Ah, that I had a thousand tongues!" (movement 2), "My soul, arise! tell" (movement 3) and "My mouth is weak, my tongue mute to speak Your praise and honor" (movement 4). Several movements rely on words of a cantata by Johann Oswald Knauer, published in 1720 in Gott-geheiligtes Singen und Spielen des Friedensteinischen Zions in Gotha. The closing chorale picks up the theme in the sixth verse of Samuel Rodigast's hymn "Was Gott tut, das ist wohlgetan" (What God does, is well done) (1675).

Bach first performed the cantata on 15 August 1723. He performed it again around 1727, revised the instrumentation of an aria, and used it in his last years for a cantata for a Ratswahl ceremony, the inauguration of the town council at church, Lobe den Herrn, meine Seele, BWV 69.

Bach reflected the duality within the words of the psalm in the opening chorus by creating a double fugue. Both themes of the movement in D Major are handled separately first and then combined. In the first aria, a pastoral movement, the tenor is accompanied by oboe da caccia, recorder and bassoon. In a later version around 1727 Bach changed the instrumentation to alto, oboe and violin, possibly because he did not have players at hand for the first woodwind setting. In the second aria the contrast of Leiden (suffering) and Freuden (joy) is expressed by chromatic, first down, then up, and vivid coloraturas. The closing chorale is the same as the one of Weinen, Klagen, Sorgen, Zagen, BWV 12, of 1714, but for no apparent reason without the obbligato violin.

To express the praise of the words, the cantata is festively scored for soprano, alto, tenor and bass soloists and a four-part choir, three trumpets, timpani, three oboes, oboe da caccia, oboe d'amore, recorder, bassoon, two violins, viola, and basso continuo.

Source: Wikipedia (,_meine_Seele,_BWV_69a).

I created this arrangement for Small Orchestra (3 Bb Trumpets, 3 French Horns, Flutes, Oboes, Bb Clarinets, Bassoons, Timpani, Violins, Violas, cellos and Basses).

Sonata in D Major (Opus 85 Mvt. 2) for Viola & Harp

2 parts6 pages03:163 years ago500 views
Viola, Harp
Mauro Giuseppe Sergio Pantaleo Giuliani (1781–1829) was an Italian guitarist, cellist and composer, and is considered by many to be one of the leading guitar virtuosi of the early 19th century.

This sonata was first written as work for flute and guitar in 1817. In keeping with the business practices of music of the day, Giuliani also had published a violin version. The music is very tuneful, using the kind of operatic Italian melody which Rossini was making popular. The entire sonata is nearly 20 minutes long and is a very pleasing, though hardly deep, work.

Although the guitar is more closely associated with Spain than with any other country, it was Italy which brought it into the concert hall. Paganini, the famous violin virtuoso, was an avid and very able guitarist who frequently wrote for the instrument. Mauro Giuliani was the most celebrated concert guitarist of the time. He became famous during the late days of the Classical era, and even Beethoven wrote guitar music for him. His rise to fame paralleled that of Rossini. His instrumental style occupies similar ground in the continuum between the Classical and the Romantic eras.

Although this piece was written for Guitar and Flute (or Violin), I created this arrangement for Viola & Concert (Pedal) Harp.

Trio Sonata II for Woodwind Quartet

4 parts11 pages12:345 years ago499 views
Anton Fils (or Johann Anton Filtz 1733 -- 1760) was a German classical composer. Hes was born in Eichstätt, Germany. Long thought to have been of Bohemian origin (e.g., Racek 1956), despite having been described as "from Bavaria" by Friedrich Wilhelm Marpurg in 1756, his true origins were discovered in the 1960s (Wolf 2001). Fils studied law and theology at the University of Ingolstadt, and in 1754 became part of the "Mannheimer Hofkapelle" as a cellist. The Mannheim orchestra at the time was led by Johann Stamitz (Würtz & Wolf 2001).

Even though he died at only age 26, he left an extensive body of work, including at least thirty-four symphonies and about thirty concertos, mainly for cello and for flute, though only about half have survived.

Fils died in Mannheim and his music was mostly forgotten before being rediscovered in the 21st century.

Although originally written for Flutes (2) and Cello, 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 (
"Prélude & Fugue" No. 1 in E Major (Opus 99) for String Quartet

"Prélude & Fugue" No. 1 in E Major (Opus 99) for String Quartet

4 parts15 pages06:502 years ago498 views
Violin(2), Viola, Cello
Paris-born Charles Camille Saint-Saëns was a child prodigy, composing his first piece for piano at the age of three. He was a private student of Gounod and entered the Paris Conservatory at age 13. Saint-Saëns had total recall; any book he read or tune he heard was forever committed to his memory.

The Trois Préludes et Fugues, Op 99 were written in 1894 and are Saint-Saëns' first significant organ pieces for nearly thirty years. Dedicated to Widor, Guilmant and Gigout respectively. They combine characterful preludes with well-worked fugues which Saint-Saëns expressed some hesitation in writing. He was clearly satisfied with the results however as he included them in his 1899 recital in front of the academics at Trinity College, Cambridge. Preludes Nos 1 and 2 are both gentle and graceful.

Although originally written for Organ, I created this interpretation for String Quartet (2 Violins, Viola & Cello).

"Gloria Patri" from the Magnificat in D Major (BWV 243 No. 12) for Small Orchestra

17 parts10 pages01:302 years ago499 views
Trumpet(3), Piccolo, Flute(2), Oboe(2), Clarinet, English Horn, French Horn, Bassoon, Timpani, Violin(2), Viola, Cello
Johann Sebastian Bach's Magnificat is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach.

In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (laudes) related to that feast. This version, including the Christmas interpolations, was given the number BWV 243a in the catalogue of Bach's works.

For the feast of Visitation of 1733, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243. After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

Bach's Magnificat consists of eleven movements for the text of Luke 1:46–55, concluded by a twelfth doxology movement. Each verse of the canticle is assigned to one movement, except verse 48 (the third verse of the Magnificat) which begins with a soprano solo in the third movement and is concluded by the chorus in the fourth movement. The traditional division of the Magnificat, as used by composers since the late Middle Ages, was in 12 verses: it differs from Bach's 12 movements in that Luke's verse 48 is one verse in the traditional division, while the doxology is divided in two verses.

Source: Wikipedia (

I created this arrangement of the "Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio" (Glory to the Father and to the Son and to the Holy Spirit) for Small Orchestra (Piccolo Trumpet, Bb Trumpet, FlugelHorn, Piccolo, 2 Flutes, 2 Oboes, Bb Clarinet, English Horn, French Horn, Timpani, 2 Violins, Viola & Cello).

Prelude: "Nun komm, der Heiden Heiland" (BWV 599) for Organ

2 parts1 page01:112 years ago498 views
Other Woodwinds, Recorder
The Orgelbüchlein ("Little Organ Book") BWV 599-644 is a collection of 46 chorale preludes for organ written by Johann Sebastian Bach. All but three of them were composed during the period 1708–1717, while Bach was court organist at the ducal court in Weimar. The remaining three, along with a short two-bar fragment, were added in 1726 or later, after Bach's appointment as cantor at the Thomasschule in Leipzig.

The collection was originally planned as a set of 164 chorale preludes spanning the whole liturgical year. The chorale preludes form the first of Bach's masterpieces for organ with a mature compositional style in marked contrast to his previous compositions for the instrument. Although each of them takes a known Lutheran chorale and adds a motivic accompaniment, Bach explored a wide diversity of forms in the Orgelbüchlein. Many of the chorale preludes are short and in four parts, requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal: these include several canons, four ornamental four-part preludes, with elaborately decorated chorale lines, and a single chorale prelude in trio sonata form. The Orgelbüchlein has a four-fold purpose: it is a collection of organ music for church services, a treatise on composition, a religious statement, and an organ-playing manual.

Source: Wikipedia (

I created this Transcription of the Choral Prelude (BWV 599): "Nun komm, der Heiden Heiland" (Now come, Savior of the heathens) for Pipe Organ.

"My Lodging Is on the Cold Ground" for Woodwind Trio

3 parts1 page01:306 years ago499 views
Matthew Locke (1621-1677) was born in Exeter England and later trained in the choir of Exeter Cathedral, under Edward Gibbons, the brother of Orlando Gibbons. At the age of eighteen Locke travelled to the Netherlands, possibly converting to Roman Catholicism at the time.

"My Lodging Is on the Cold Ground" was originally written by Locke in 1665. it appearedfor the first time in a book in 1775 when Thomas Moore wrote the lyrics "Believe Me,If All Those Endearing Youg Charmes" to Locke's piece.

It is occasionally wrongly credited to Sir William Davenant, whose older collection of tunes may have been the source for later publishers, including a collection titled General Collection of Ancient Irish Music, compiled by Edward Bunting in 1796. Sir John Andrew Stevenson has been credited as responsible for the music for Moore's setting.

Although this piece was originally created for folk instrument(s), I created this arrangement for Woodwind Trio (Flute, Oboe & Bassoon) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

"Will You Go Blackbird?" for Flute & Harp

2 parts2 pages026 years ago498 views
During the eighteenth century, the Methodist revival and puritanical reforms nearly obliterated Welsh folk song. Some secular songs were lost altogether, but enough survived to reflect the old traditions, and folksong periodically flourished during subsequent eras. Little is known about this early Welsh tune.

This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

Chorale: "Gelobet seist du, Jesu Christ" (BWV 91 No 1) for Winds & Strings

12 parts24 pages03:183 years ago498 views
Flute, Oboe, Clarinet, French Horn, Bassoon, Strings(7)
Gelobet seist du, Jesu Christ (Praise be to You, Jesus Christ), BWV 91, is a church cantata by Johann Sebastian Bach. He wrote the Christmas cantata in Leipzig in 1724 for Christmas Day and first performed it on 25 December 1724. The chorale cantata is based on the hymn "Gelobet seist du, Jesu Christ" (1524) by Martin Luther.

The chorale cantata from Bach's second annual cycle is based on the main chorale for Christmas Day, "Gelobet seist du, Jesu Christ" (1524) by Martin Luther. The beginning summarizes Christmas in two lines: "Gelobet seist du, Jesu Christ, daß du Mensch geboren bist" (Praise be to You, Jesus Christ, since You were born a man). All stanzas end with the acclamation Kyrieleis. The cantata was Bach's first composed for Christmas Day in Leipzig; in his first year in Leipzig 1723 he had chosen to perform again Christen, ätzet diesen Tag, BWV 63, written before in Weimar.

The prescribed readings for the feast day were from the Epistle of Titus, "God's mercy appeared" (Titus 2:11–14) or from Isaiah, "Unto us a child is born" (Isaiah 9:2–7), and from the Gospel of Luke, the Nativity, Annunciation to the shepherds and the angels' song (Luke 2:1–14). The unknown poet of the cantata text kept the first and the last stanza, expanded verse 2 by recitatives, transformed stanzas 3 and 4 to movement 3, an aria, stanza 5 to a recitative, and stanza 6 again to an aria.

Bach performed the cantata again four more times on 25 December, in 1731, in 1732 or 1733, and twice in the 1740s, even after his Christmas Oratorio had been first performed in 1734, which also uses two stanzas of Luther's chorale.

The opening chorus makes use of four choirs: the voices, the horns, the oboes and the strings. The material from the ritornellos is present also in interludes between the five lines and as accompaniment for the vocal parts. The choral melody is sung by the soprano. The lower voices are set in imitation for the first and the last line, in chords for the second and fourth line, and in a combination in the central line "Von einer Jungfrau, das ist wahr" (from a virgin, this is true).

In movement 2, the recitative is contrasted with chorale phrases, which are accompanied by a repetition of the first line of the chorale in double tempo. The tenor aria is accompanied by three oboes, whereas the strings illuminate the following recitative. The last aria is a duet, contrasting "Armut" (poverty) and "Überfluss" (abundance), "Menschlich Wesen" (human being), rendered in chromatic upward lines, and "Engelsherrlichkeiten" (angelic splendours), shown in coloraturas and triadic melodies.

At times the horns have independent parts in the closing chorale and embellish especially the final Kyrieleis.

Although originally scored for soprano, alto, tenor, and bass, a four-part choir, two horns, timpani, three oboes, two violins, viola and basso continuo, I created this arrangement for Winds (Flute, Oboe, Bb Clarinet, French Horn & Bassoon) & Strings (5 Violins, Violas, & Cellos) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

Aria: "Ich gehe hin und komme wieder zu euch" (BWV 74 No 4) for Viola & Cello

2 parts3 pages03:253 years ago497 views
Viola, Cello
Wer mich liebet, der wird mein Wort halten ("If a man love me, he will keep my words", more literally: "He who loves me will obey my commands"), BWV 74, is a church cantata by Johann Sebastian Bach. He composed this cantata in his second year in Leipzig for the first day of Pentecost (Whit Sunday). The prescribed readings for the feast day were from the Acts of the Apostles (Acts 2:1–13) and the Gospel of John, part of the Farewell discourse (John 14:23–31).

This, the bass aria "Ich gehe hin und komme wieder zu euch" (I go away and come again to you) uses "sequences of 'treading' quavers in the continuo line" to suggest a stepping motion. The movement concludes with a long vocal melisma. The movement is in E minor.

Source: Wikipedia (,_der_wird_mein_Wort_halten,_BWV_74).

Although originally scored for bass solo voice and basso continuo, I created this Arrangement for Viola & Cello.

Toccata from the Partita in E Minor (BWV 830 No. 1) for String Trio

3 parts8 pages06:47a year ago497 views
Violin, Viola, Cello
The six Partitas (BWV 825-830) are part of Bach's Clavier-Übung, but were published singly, beginning in 1726 with this B flat major effort. A new partita appeared each year thereafter until 1731, when the whole collection was issued. Each of the six is a suite containing allemandes, sarabandes, minuets, and various other dances and numbers. The B flat major Partita consists of seven short movements, the first being a praeludium, a moderately paced piece so typical of Bach's music in its stately confidence, serene joy, and deftly wrought contrapuntal writing. There follow an allemande, corrente (courante), sarabande, and gigue which comprise the standard sequence of dances that make up a partita. Actually, Bach inserted two brief minuets between the sarabande and gigue.

This is the last of the partitas in this set, which as a group were published in 1731, but appeared individually, one each year, beginning with the B flat major first in 1726. Preceded by the diminutive fifth partita in G major -- about half its size -- the sixth is probably the longest of the partitas, though different combinations of observing or ignoring repeats could make the fourth in D major longer. The sixth is not only grand in length, however, but in depth of expression as well, its opening toccata one of the more profound movements in any of the partitas.

Speaking of size, this toccata is also the longest movement found in any of the six. It opens with a somber introduction of dramatic character and moves onto a livelier section of serious demeanor, whose music both alternates, and is heard simultaneously, with the powerful theme from the opening. Bach's contrapuntal writing here imparts a sense of the profound, suggesting both serenity and a conflicting undercurrent. This movement bears more than a vague resemblance to Bach's famous Toccata and Fugue for organ, though the more contemplative ending here sets it apart from that great work.

The ensuing Allemande is elegant and lighter in its moderate pacing, but not without its subtleties and profundities. The music turns more animated and even somewhat dark in a variant that appears midway through. The Corrente (or Courante, in French) follows, a livelier piece, generally light and energetic. A brief Air comes next, bringing a celebratory bustle and colorful virtuosity.

The gentle Sarabande has a disrupted flow and sense of yearning throughout, but never allows these darker undercurrents to overtake the mostly serene manner. The Tempo di gavotta that follows is lively but subdued in its jaunty character. The concluding Gigue, written in 8/4 meter -- not a proper Gigue time -- is muscular and lively in its outer sections, but dark and ominous at the beginning of the brilliant fugal buildup that starts midway through. The music swells to triumphant heights at the end. This may well be the finest of the Six Partitas in the set.

Source: Allmusic (

Although originally written for Harpsichord. I created this Arrangement of the Toccata from the Partita in E Minor (BWV 830 No. 1) for String Trio (violin, Viola & Cello).

"Pastorella" for Woodwind Quintet

5 parts5 pages04:565 years ago497 views
Franz Xaver Schnizer (also Schnitzer) (1740 - 1785) was a German composer and organist. Early on, he was a chorister in the Benedictine Abbey in Ottobeuren where he learned musical composition and was trained as an organist. After quitting the religious profession and priestly ordination in 1766, he became organist at the local pen until his death. He became responsible for spiritual duties for the position of choir director and music instructor. He died in 1785 in Ottobeuren.

Schnizer created almost exclusively religious works. Mainly a Requiem, Magnificat, Vespers, and musical comedies. His compositional output is only fragmentarily preserved and today largely forgotten. His compositions have probably reached in his lifetime only to regional distribution. Some of his works are still unpublished.

Although originally written for Flutes & Strings, I created this arrangement forWoodwind Quintet (Flutes(2), Oboe, Bb Clarinet & Bassoon) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (