Sheet music

"Les Gouts-Réunis" ou Nouveau Concerts (No 13) for Viola Duet

2 parts5 pages09:323 years ago497 views
Viola(2)
François Couperin (1668--1733) was a French Baroque composer, organist and harpsichordist. He was known as Couperin le Grand ("Couperin the Great") to distinguish him from other members of the musically talented Couperin family.

Couperin was in the employ of King Louis XIV, who had his musicians perform weekly chamber music concerts in the last years of his life. After the king died in 1715 Couperin had an opportunity to bring these works together, and in 1722 he published the "Concerts royaux" and in 1724, "Les Goûts réunis ou Nouveaux Concerts". These performances were all very stylish and elegant, and one can imagine the king being royally entertained.

I created this arrangement of the Nouveau Concert No.13 "à deux instruments à l'Unisson" (Les Gouts Réunis) for Viola Duet.

Chorus: "Meine Seel erhebt den Herren" (BWV 10 No. 1) for Woodwind Quartet

4 parts9 pages04:095 years ago496 views
Flute, Oboe, Clarinet, Bassoon
Meine Seel erhebt den Herren (My soul magnifies the Lord), BWV 10,[a] is a cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the feast of the Visitation and first performed it on 2 July 1724. It is the fifth chorale cantata from his second annual cycle, of chorale cantatas, based on the German "Magnificat" by Martin Luther.

Bach composed the cantata for the Marian feast "Mariae Heimsuchung" (Visitation) in Leipzig as the fifth cantata of his second annual cycle of chorale cantatas. Bach had composed his Latin Magnificat the year before for Visitation.

Bach begins the opening chorus with an instrumental introduction that is unrelated to the psalm tone, a trio of the violins and the continuo, the violins doubled by the oboes, the viola filling the harmony. The main motif of the chorale fantasia, marked vivace, stands for joy and is set in upward "rhythmical propulsion". The chorus enters after 12 measures with the cantus firmus in the soprano, doubled by a trumpet, whereas the lower voices add free polyphony on motifs from the introduction. Bach treats the second verse similarly, but with the cantus firmus in the alto, because the text "Denn er hat seine elende Magd angesehen" speaks of the "lowly handmaid". The movement is concluded by a vocal setting without cantus firmus embedded in the music of the introduction, framing the movement.

The soprano aria "Herr, der du stark und mächtig bist" (Lord, you who are strong and mighty) is a concerto of the voice and the oboes, accompanied by the strings. The recitative "Des Höchsten Güt und Treu" (The goodness and love of the Highest) ends on an arioso, leading to the following aria "Gewaltige stößt Gott vom Stuhl" (The mighty God casts from their thrones) for bass and continuo. In movement 5 "Er denket der Barmherzigkeit" (He remembers his mercy) the text returns to the original German "Magnificat", and the music to the psalm tone, played by oboes and trumpets as the cantus firmus, while alto and tenor sing in imitation. Bach later transcribed this movement for organ as one of the Schübler Chorales, BWV 648. The recitative "Was Gott den Vätern alter Zeiten" (What God, in times past, to our forefathers), referring to God's promise, begins secco. Starting with the added words "Sein Same mußte sich so sehr wie Sand am Meer und Stern am Firmament ausbreiten, der Heiland ward geboren" (His seed must be scattered as plentifully as sand on the shore and as stars in the firmament, the Savior was born), the strings stress the importance of the promise kept. In the final movement, the two verses of the doxology are set on the psalm tone for four parts, with all instruments playing colla parte.

The cantata in seven movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, trumpet, two oboes, two violins, viola, and basso continuo. The trumpet is only used to highlight the cantus firmus and may have been a tromba da tirarsi, a slide trumpet.

Source: Wikipedia (https://en.wikipedia.org/wiki/Meine_Seel_erhebt_den_Herren,_BWV_10).

I created this arrangement of the opening Chorus: "Meine Seel erhebt den Herren" (My soul magnifies the Lord) for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon).
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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!

Chorale: "Sing, bet und geh auf Gottes Wegen" (BWV 88 No 7) for Pipe Organ

1 part1 page01:533 years ago496 views
Organ
Siehe, ich will viel Fischer aussenden (Behold, I will send out many fishers), BWV 88, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the fifth Sunday after Trinity and first performed it on 21 July 1726.

Bach composed the cantata in Leipzig for the fifth Sunday after Trinity. The prescribed readings for the Sunday were from the First Epistle of Peter, 1 Peter 3:8–15 "Sanctify the Lord God in your hearts", and from the Gospel of Luke, Luke 5:1–11, Peter's great catch of fish. The text of this cantata and six others is similar in structure and content to cantatas of Johann Ludwig Bach. The theme is derived from the gospel. A related verse of Jeremiah (Jeremiah 16:16) opens the cantata. The prophecy referred originally to the return from the captivity in Babylon. The central movement, opening the second part to be performed after the sermon, is the quotation of verse 10 from the gospel. The cantata is closed by the final stanza of Georg Neumark's hymn "Wer nur den lieben Gott läßt walten" (1641). This chorale had served as the base for Bach's chorale cantata for the same occasion in 1724, Wer nur den lieben Gott läßt walten, BWV 93, part of his second annual cycle.

The opening movement is given to the bass solo, likely because Jeremiah has God speak in the first person. The music follows the text in two sections, as in a motet. Probably therefore Bach avoided the title aria and wrote basso solo instead. The two sections reflect the words "Fischer" (fishermen) and "Jäger" (hunters). The first section paints a seascape in undulating figuration of the strings with the oboes in 6/8 time on a pedal point. Bach "represents the movement of waves and water", termed barcarolle by John Eliot Gardiner. The voice presents the text several times in varied declamation. Suddenly the scene changes to a hunting scene, horns join the orchestra, the tempo in common time is marked "allegro quasi presto". The voice is again set in expressive declamation, saying "And afterwards I will send out many hunters ...".

The recitative ends on a question, "Does He ... abandon us to the deceit and trickery of the enemy?" The answer is given in the aria immediately, without the usual ritornello, a passionate: "Nein, nein" (No, no). The middle section begins with a contrasting, but also passionate "Ja, ja" (Yes, yes). In the very end, the strings join the obbligato oboe d'amore and play a ritornello, reminiscent of a minuet. According to Alfred Dürr, the clear, even structure may symbolize the "rechte Bahn" (right path) mentioned in the text.

Movement 4 is the centre of the composition. The tenor as the Evangelist announces "Jesus sprach zu Simon" (Jesus said to Simon). The direct speech of Jesus, calling Peter as his disciple, is sung by the bass as the vox Christi (voice of Christ): "Fürchte dich nicht; den von nun an wirst du Menschen fahen" (Fear not, from henceforth thou shalt catch men.). The careful phasing is set on a continuo quasi ostinato.

The closing chorale is a four-part setting.

Although originally scored for four vocal soloists (soprano, alto, tenor, and bass), two horns, two oboe d'amore, taille (tenor oboe), two violins, viola and continuo. A four-part choir is only needed for the chorale, if at all, I created this arrangement for Pipe Organ.

Largo from the Concerto in G Major (BWV 973 Mvt. 2) for Viola & Guitar

2 parts1 page02:30a year ago497 views
Viola, Guitar
In late spring 1713, the young prince Johann Ernst returned from his studies at the University of Utrecht to his home at the court at Weimar, where Johann Sebastian Bach was employed as organist. At this time, the prince is believed to have commissioned a series of keyboard works from Bach based on preexisting concertos by other composers. He had heard, during a recent visit to Amsterdam, organist Jan Jacob de Graaf realize solo works and several Italian concertos. Bach subsequently transcribed 16 concertos for various instruments as solo keyboard pieces, using as his source material compositions by Torelli, Marcello, and even Prince Johann Ernst himself -- and of course, the acknowledged master of the genre, Antonio Vivaldi. The latter composer's work provided the basis for the lion's share of the concerto transcriptions from this period, including the work under consideration here, Bach's Concerto No. 2 in G major (BWV 973). Bach based the BWV 973 solo concerto on Vivaldi's Concerto for violin and strings, Op. 7/2, from the second volume of the Concerti a 5 stromenti. (Johann Ernst appears to have gone to the trouble of acquiring a manuscript copy of the work, since the Op. 7 did not appear in print until 1720.) Bach retained the key of the original and left Vivaldi's structure more or less intact.

The piece is cast in the three characteristic movements of modest length, two outer fast movements framing the central Largo. The non-sustained tone of the harpsichord compels Bach, in the slow E minor Largo movement that follows, to substitute for the leads inherent fluidity and lyricism the languorous ornamental effects afforded by the keyboard's action.

Source: AllMusic (http://www.allmusic.com/composition/concerto-for-solo-keyboard-no-2-in-g-major-after-vivaldi-op-7-2-rv-299-bwv-973-bc-l191-mc0002380038).

Although originally written for Harpsichord. I created this Arrangement of the Largo movement from the Concerto in G Major (BWV 973 Mvt. 2) for Viola & Acoustic (steel-string) Guitar.
Aria: "Gottes Engel weichen nie" (BWV 149 No 4) for Trumpet & Strings
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Aria: "Gottes Engel weichen nie" (BWV 149 No 4) for Trumpet & Strings

5 parts9 pages04:024 years ago496 views
Trumpet, Strings(4)
Man singet mit Freuden vom Sieg (There are joyful songs of victory), BWV 149, is a church cantata by Johann Sebastian Bach.

Bach composed the cantata in Leipzig for the feast of St. Michael and first performed on 29 September 1728 or 1729. The prescribed readings for the day were Revelation 12, verses 7–12, and Matthew 18, verses 1–11. The work draws on text from Psalm 118, verses 15–16, and the third stanza of Martin Schalling's chorale "Herzlich lieb hab ich dich, o Herr". The librettist was Picander, who published the text in his collection Ernstschertzhaffte und satyrische Gedichte.

The opening chorus was adapted from the secular cantata Was mir behagt, ist nur die muntre Jagd, BWV 208. Bach exchanged the horns of the original piece for trumpets and transposed the music from F major to D major, creating "a perfect stage for either a rallying cry for battle or an anticipation of the triumph of good over evil". It is a combined da capo and ritornello form, with a repeated instrumental section.

The bass aria is in B minor, with two accompanying low instrumental melodies.

The secco alto recitative lacks harmonic stability.

The soprano aria is dancing with a string accompaniment with parallel thirds and sixths. It is stylistically similar to a minuet, and is formally an adapted ternary structure.

The tenor recitative is secco and in common time. It ends with an ascending phrase meant to represent an appeal to heaven.

The duet aria includes a prominent bassoon part. It employs canon technique and a repeated interrupted cadence.

The work ends with a harmonically complex four-part setting of the chorale. The same stanza of Schalling's chorale is also placed at the end of Bach's St John Passion, in the works first and fourths version.

Although the cantata is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, three trumpets, timpani, three oboes, bassoon, two violins, violone, and basso continuo, I created this arrangement for Trumpet & Strings (2 Violins, Viola & Cello).

Aria: "Ich will den Kreuzstab gerne tragen" (BWV 56 No 1) for Horn & Strings

5 parts10 pages06:433 years ago495 views
French Horn, Violin(2), Viola, Cello
Ich will den Kreuzstab gerne tragen ("I will the cross-staff gladly carry" or "I will gladly carry the Cross"), BWV 56, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig for the 19th Sunday after Trinity. It is regarded as part of his third annual cycle of cantatas. The original score has Bach's handwritten comment "Cantata à Voce Sola e Stromenti" (Cantata for solo voice and instruments). This is one of the few examples in which Bach uses the generic musical term cantata in his own writing. Bach first performed the cantata on 27 October 1726. One week before, he had also concluded a solo cantata by a chorale, the cantata for alto Gott soll allein mein Herze haben, BWV 169.

The opening aria is in bar form AAB, with two stollen (A) followed by an abgesang (B). The first stollen starts off with a ritornello for full orchestra, anticipating in counterpoint the rising and then falling motif of the bass soloist, mounting to an anguished augmented second marking the word Kreuzstab (Cross), followed by descending sighing figures signalling the bearing of the cross. After the entry of the soloist, with its long and highly expressive melismatic lines, the three groups of strings and oboes accompany in counterpoint and echoing responses drawn from motifs of the opening ritornello. The ritornello is then taken up in the second stollen, but with significant variations because of the differing text: "It leads me after my torments to God in the Promised Land". After a repeat of the opening ritornello, the final abgesang illustrates the words, "There at last I will lay my sorrow in the grave, there my Savior himself will wipe away my tears." Highly charged declamatory triplets, dramatically spanning the whole bass register, are responded to by sighing motifs in the accompaniment. A reprise of the orchestral ritornello brings the aria to a close.

In the second movement, the undulation of the sea is depicted in the accompaniment by flowing semiquavers in the violoncello over repeated quavers in the basso continuo. The joyous third movement is a da capo aria, illustrating the passage from Isaiah. It is a lively concertante duet for solo oboe, bass soloist and basso continuo, full of elaborate coloraturas in the solo parts. The fourth movement starts as a declamatory recitative for bass with sustained string accompaniment which after seven bars changes time signature from 4/4 to 3/4, resuming a simplified and becalmed version of the second half of the abgesang from the first movement.

The third movement expresses the joy at being united with the Saviour; the text comes from Isaiah 40:31: "Those that wait upon the Lord shall gain new strength so that they mount up with wings like an eagle, so that they run and do not grow weary."

This joy is coupled with a yearning for death, a theme that is present until the very end of the work. The concluding chorale is the sixth verse of Johann Franck's hymn "Du, o schönes Weltgebäude" (1653). Before the chorale, the final lines of the opening aria taken from Revelation 7:17 are heard once more; this unusual device appears several times in the third cycle of cantatas.

The final four part chorale, with the orchestra doubling the vocal parts, is an inspired masterpiece. Based on a melody by Crüger from 1646, it takes as metaphor a ship being brought safely to port, marking the end of the metaphorical journey in the cantata. Bach introduces dramatic syncopation for each declamation in "Come, O Death, you brother of sleep"; and it is only at the end of the penultimate line that torment and dissonance are transformed into glory and harmony, echoing the words "Denn durch dich komm ich herein / zu dem schönsten Jesulein" (for through you I will come to my loveliest little Jesus. ).

The cantata is scored for bass, a four-part choir only in the closing chorale, two oboes, taille or oboe da caccia, two violins, viola, cello, and basso continuo. Except for the obbligato oboe in movement 3, the three oboes double the violins and viola colla parte.

Source: Wikipedia (https://en.wikipedia.org/wiki/Ich_will_den_Kreuzstab_gerne_tragen,_BWV_56).

I created this arrangement of the Opening Aria "Ich will den Kreuzstab gerne tragen" (I will gladly carry the Cross) for French horn & Strings (2 Violins, Viola & Cello).

Ballet Suite from "Zémire et Azor" for String Quintet

5 parts18 pages13:212 years ago497 views
Violin(2), Viola, Cello, Contrabass
André Ernest Modeste Grétry (1741 – 1813) was a composer from the Prince-Bishopric of Liège (present-day Belgium), who worked from 1767 onwards in France and took French nationality. He is most famous for his opéras comiques.

"Zémire et Azor" (Zémire and Azor) is an opéra comique, described as a comédie-ballet mêlée de chants et de danses, in four acts by the Belgian composer André Grétry, The French text was by Jean François Marmontel based on La Belle et la bête (Beauty and the Beast) by Jeanne-Marie Le Prince de Beaumont, and Amour pour amour by P. C. Nivelle de La Chaussé. The opera includes the famous coloratura display piece La Fauvette in which the soprano imitates birdsong.

The Suite opens with the "Entrée des Genies" (meaning 'genius' in a protecting the spirit way -- Dutch:beschermgeest). The passepied (French [pasˈpje] 'passing feet') is a 17th- and 18th-century dance that originated in Brittany. The term can also be used to describe the music to which a passepied is set. The music is an example of a dance movement in Baroque music and is almost always a movement in binary form with a fast tempo and a time signature of three quavers (eighth notes) per bar, each section beginning with an upbeat of a single quaver. The Pantomime (portraying a dramatic act, through gestures, facial expressions, music and, dance) is from Act III Scene IV of "Zémire et Azor". The Finale (Finale: Ali's Ariette, ''Je Suis Encore Tremblant'') is from Act IV Scene I.

Although originally composed for Opera, I created this Arrangement for String Quintet (2 Violins, Viola, Cello & Bass).

Prelude & Fugue in D Major (BWV 532) for Pipe Organ

3 parts17 pages09:412 years ago496 views
Organ, Recorder, Flute
Like most of Bach's organ compositions, this piece was written during his tenure in Weimar between 1709 and 1717. Many of his greatest and most well known organ works were written during this period, including, for example, the Prelude and Fugue in E major, BWV 566. The composer was residing in Weimar after being hired by the ruling duke of Weimar, Wilhelm Ernst, in 1709 as an organist and member of the court orchestra; he was particularly encouraged to make use of his unique talents with the organ by the duke. Indeed, his fame on the instrument grew and he was visited by many students of the organ to hear him play and to try to learn from his technique. The Prelude and Fugue in D major was probably composed in 1710, although this is not certain. However, it was definitely written before Bach codified the clear two-section prelude and fugue in the form of what is used in the The Well-Tempered Clavier, BWV 846–893, which was composed in 1722. This is because BWV 532 features a lengthy, complex, self-contained fugue preceded by a multisectional prelude.

The piece is in two sections: a prelude and a fugue. Both the sections are in D major but, to begin with, there is no tempo marking given on either section. Both pieces are in 4/4.

The prelude commences with a semi-quaver scale from the pedals, and then the manuals begin with an intricate quaver pattern between the hands. Another run from the pedals is then followed by a continuation of the quaver pattern from the right-hand. The quaver pattern then repeats one octave lower. The pedals then play arpeggiated patterns which begin a repeated theme and slow down throughout. This lasts for four bars. A sustained pedal then accompanies the manuals, which have a dotted quaver, semi-quaver rhythm. This then turns into a repeated G♯, B demi-semi-quaver rhythm. This then slows to a series of repeated cadences.

A new phrase then begins with an ascending scale in the manuals leading up to a large D major chord. A new tempo is then introduced: Alla breve, and then a large phrase is introduced with a very polyphonic texture and a prominent tune. A section then starts with chords played in the manuals and the quavers played in the pedals. This continues for another long period of time until the left hand takes the tune and the right hand plays the quavers.

When this section finishes, a new tempo of Adagio begins. A new theme then arrives with slow quavers on the lower manual and pedal and ascending scales in the upper manual. The prelude then concludes with a slow theme, on broken arpeggios and some slow, elongated final chords.

The subject of the fugue is eight measures long and consist of tight figurations encompassing an entire octave. Bach takes this subject firstly through the relative minor and then the mediant minor, and then to the minor harmony of the leading tone and the major harmony on the supertonic. After this progression we enter an episode with a flurry of figures on the dominant and then a full entry of the subject on the tonic that works to resolve the preceding tension so well that the eventual coda almost has the nature of an afterthought.

Source: Wikipedia (https://en.wikipedia.org/wiki/Prelude_and_Fugue_in_D_major,_BWV_532).

I created this transcription of the Prelude and Fugue in D Major (BWV 532) for Pipe Organ

"Weg mit allen Schätzen" (BWV 227 No. 7) for Oboe & Piano

2 parts1 page01:495 years ago494 views
Oboe, Piano
"Jesu, meine Freude" ("Jesus, My Joy") is a motet composed by Johann Sebastian Bach. The work, which takes its title from the chorale by Johann Franck on which it is based, is also known as Motet No. 3 in E minor, BWV 227. The stanzas of the chorale are interspersed with passages from the Epistle to the Romans.

Bach's organ piece, chorale prelude BWV 610, bears the same title. This work, which is earlier and shorter than the motet, is based on the same chorale melody by Johann Crüger. There are six authenticated funeral motets (BWV 225--230) written for St Thomas's Church, Leipzig, between 1723 and 1727.

To Bach's contemporaries "motet" meant a simple vocal work without independent instrumental parts (though instruments sometimes doubled the voices). Motets often began the Sunday service, and were typically sung by inexperienced singers. In a 1730 memo to the Leipzig town council, Bach mentioned boys in his school who were "motet singers, who need further training in order to be used eventually for figured music," by which he meant the more elaborate and demanding music of the cantatas. But Bach's own motets, like all his music, are quite demanding, and he likely did not use them in church services. It is not clear exactly what their purpose was. One of them is known to have been sung at a prominent person's funeral, but theories about specific occasions for his other motets, including Jesu, meine Freude, have not held up over the years.

Most 18th-century Lutheran church music is based on hymns, called "chorales," that dated from the previous two centuries and were familiar to everyone. In Jesu, meine Freude, the odd-numbered movements are settings of verses of Johann Franck's 1653 chorale of the same name, while the even-numbered movements set excerpts of Paul's Epistle to the Romans. The eleven movements have an overarching symmetry, much of it not apparent, or important, to the listener, though it's worth noting that the first and last movements are identical harmonizations of the chorale, the second and tenth movements work with the same musical material, the central sixth movement is an elaborate fugue, and Bach reduces the texture to three voices in the fourth and eighth movements.

Although "Weg mit allen Schätzen" ("Away with all treasures") was originally written for Chorus (SATB), I created this arrangement for Oboe & Acoustic Piano.

Concerto in E Major (BWV 1053) for Piano & Strings

5 parts45 pages19:50a year ago495 views
Violin(2), Viola, Cello, Piano
While Johann Sebastian Bach is credited with many harpsichord concertos, it should be noted that most of these works are arrangements of works for other instruments, often by other composers. When, during the late 1730s, the Leipzig Collegium Musicum, of which he was director, put together some ad-hoc performances of music for harpsichord and orchestra, Bach's contribution was an arrangement of an old work. The Harpsichord Concerto No. 2, arranged in 1738 or 1739 and scored for the usual ensemble of soloist, strings, and basso continuo, is almost certainly derived from a concerto -- now lost -- for oboe or oboe d'amore and orchestra in F major, possibly composed by Bach during his tenure in Cöthen two decades earlier. It is a splendid work in the then-modern three-movement pattern, cheerful and gregarious. The concerto opens with the same kind of lengthy da capo Allegro movement that begins the Violin Concerto in E major and a handful of the Brandenburg Concertos (a kind of allegro that would have been rather old-fashioned by the late 1730s and early 1740s). The middle section of the movement is of the continuously developmental fortspinnung type, taking the basic melody of the tutti's ritornello and setting it up against one or another of several mock-improvisational digressions from the harpsichord; a strong close to C sharp minor is made, complete with dramatic grand pause, before the reprise of the opening ritornello. The second movement is a deliciously affected Siciliano in C sharp minor; the dotted rhythm melody as laid out by the violins in the opening bars of the movement and supported by some lush chromaticism in the parts below. Soon enough the harpsichord takes over the melodic thought, elaborating at great length against a transparent chordal background. The opening tutti is called upon once more to provide a finish. Bach casts the third movement, Allegro again, in a three-part da capo design very similar to the one used in the first movement. Here, however, a joyous 3/8 meter is at work, and one catches a hint of a gigue from time to time. A nice rising chromatic idea in eighth notes pops up during the less stable middle portion and is set up sequentially against some strong unison cadential gestures in the strings; soon the ritornello melody begins to sneak back in bits and pieces. Again, Bach makes a powerful cadence to the minor mode (this time G sharp) before conjuring up the reprise of the happy opening ritornello.

Source: AllMusic (http://www.allmusic.com/composition/concerto-for-harpsichord-strings-continuo-no-2-in-e-major-bwv-1053-mc0002368962).

Although originally written for Harpsichord, 2 Violins, Viola and Continuo, I created this Arrangement of the Concerto in E Major (BWV 1053) for Piano & Strings (2 Violins, Viola & Cello).

Coro: "Nach dir, Herr, verlanget mich" (BWV 150 No 2) for Woodwinds & Strings

8 parts7 pages02:334 years ago493 views
Flute, Oboe, Clarinet, Bassoon, Violin(2), Guitar, Cello
Nach dir, Herr, verlanget mich (For Thee, O Lord, I long), BWV 150, is an early Lutheran church cantata by Johann Sebastian Bach composed for an unknown occasion. It is unique among Bach's cantatas in its sparse orchestration and in the independence and prominence of the chorus, which is featured in four out of seven movements.

Although the exact date is not known, this is one of Bach's earliest surviving cantatas. Some sources say it dates from Bach's early years in Weimar (from 1708). However, it may well be earlier. The Zwang catalogue (which lists the cantatas chronologically) dates it as the sixth of the surviving cantatas by Bach (composed 1708–1709), and places Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, composed in 1707, as the earliest.

The scholar Hans-Joachim Schulze identified a remarkable acrostic in the concluding four movements (which he described in the 2010 Bach-Jahrbuch, the journal of the Neue Bachgesellschaft). Adjusting for transposition errors by the 1755 scribe, C H Penzel, the initial letters should spell DOKTOR CONRAD MECKBACH and plausibly therefore the work was composed to mark this Mühlhausen councillor's 70th birthday which occurred in April 1707. On this basis the cantata may date from Bach's time in Arnstadt, where he was organist of St Boniface's church until his move to Mühlhausen in the summer of 1707. Possibly the cantata was heard a few weeks later after the end of Lent, and thus it may have formed a test-piece for the Mühlhausen appointment, composed in Arnstadt with Bach's supporter Meckbach in mind.

The libretto alternates between biblical verses and free poetry (a rarity among Bach's early cantatas). The text of movements 2, 4, and 6 is from Psalm 25 (vv. 1, 2, 5, 15). The author of the poetry is unknown. The work was written for an unspecified penitential service.

The work begins with a sinfonia and then alternates choral movements and arias. There are no recitatives, no da capo repeats, and there is no chorale tune. Bach makes extensive use of choral fugues and imitative polyphony, often shifting the tempo and character of the music within movements very quickly to accommodate a new musical idea with each successive phrase of text.

The sinfonia and the opening choral movement are both based on the motive of an octave leap followed by five descending half steps. This chromatic figure, sometimes dubbed the "lamento bass" or passus duriusculus, has been utilized by composers as early as Monteverdi as a musical representation of anguish, pain, and longing. The sinfonia also introduces thematic material developed later in the work, uses asymmetric phrasing, and "a seamless flow of unstoppable melody".

The second movement is "waywardly constructed despite its relative brevity". It is episodic, emphasizing a descending chromatic scale motif. The following soprano aria is also brief but includes significant word painting. The fourth movement is another short and episodic chorus, divided into four sections.

Movement five is one of only a handful of vocal trios to be found in Bach's oeuvre, as well as the only movement in the cantata in the major mode, shifting from B minor to D major.

The penultimate movement features a "celestial haze" of instruments as part of a complex texture. It is in binary form and modulates from D major through B minor to B major.

The ground bass in the final movement chaconne is the inversion of the chromatic fourth ostinato from the opening movement that goes through a series of modulations. Both the inversion of the lamento bass and the modulations express in baroque musical affect how Christ leads from sorrow to joy. The theme of this closing movement was adapted by Johannes Brahms for the Finale of his Symphony No. 4.

Although the cantata is scored for soprano, alto, tenor and bass soloists, four-part choir and a small orchestra of two violins, bassoon obbligato, and basso continuo, I created this arrangement for Woodwinds (Flute, Oboe, Bb Clarinet & Bassoon) 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).

"Stavasi il mio bel Sol" for Harp

1 part1 page02:025 years ago493 views
Maddalena Casulana (c. 1544 – c. 1590) was an Italian composer, lutenist and singer of the late Renaissance. She is the first female composer to have her music printed and published in the history of western music.

Extremely little is known about her life, other than what can be inferred from the dedications and writings on her collections of madrigals. Most likely she was born at Casole d'Elsa, near Siena, from the evidence of her name. Her first work dates from 1566: four madrigals in a collection, Il Desiderio, which she produced in Florence. Two years later she published in Venice her first actual book of madrigals for four voices, Il primo libro di madrigali, which is the first printed, published work by a woman in western music history. Also that year Orlando di Lasso conducted a work of hers at the court of Albert V, Duke of Bavaria in Munich; however the music has not survived.

She evidently was close to Isabella de' Medici, and dedicated some of her music to her. In 1570, 1583 and 1586 she published other books of madrigals, all at Venice. Sometime during this period she married a man named Mezari, but no other information is known about him, or where she (or they) were living. Evidently she visited Verona, Milan and Florence, based on information contained in dedications, and likely she went to Venice as well, since her music was published there and numerous Venetians commented on her abilities.

The following line in the dedication to her first book of madrigals, to Isabella de' Medici, shows her feeling about being a female composer at a time when such a thing was rare: "[I] want to show the world, as much as I can in this profession of music, the vain error of men that they alone possess the gifts of intellect and artistry, and that such gifts are never given to women."

Her style is moderately contrapuntal and chromatic, reminiscent of some of the early work by Marenzio as well as many madrigals by Philippe de Monte, but avoids the extreme experimentation of the Ferrara school composers such as Luzzaschi and Gesualdo. Her melodic lines are singable and carefully attentive to the text. Other composers of the time, such as Philippe de Monte, thought highly of her; that Lassus conducted a work of hers at a wedding in Bavaria suggests that he also was impressed with her ability. A total of 66 madrigals by Casulana have survived.

Although originally created for Lute & Voice (SAT), 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).

Chorale: "Du sollt Gott, deinen Herren, lieben" (BWV 77 No 1) for Winds & Strings

9 parts14 pages04:333 years ago493 views
Flute, Oboe, Clarinet, French Horn, Bassoon, Violin(2), Viola, Cello
Du sollt Gott, deinen Herren, lieben (You shall love God, your Lord), BWV 77, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the thirteenth Sunday after Trinity and first performed it on 22 August 1723.

The first movement carries Bach's statement on the most important law, on which, according to the parallel Matthew 22:34–40, "hang all the law and the prophets". The words translate to "You shall love God, your Lord, with all your heart, with all your soul, with all your strength and with all your mind, and your neighbor as yourself". Bach had enlarged on the "dualism of love of God and brotherly love" already in his monumental cantata in 14 movements, Die Himmel erzählen die Ehre Gottes, BWV 76, at the beginning of his first cycle. In order to show the law's universality, Bach introduces Martin Luther's chorale "Dies sind die heilgen zehn Gebot" (These are the holy ten commandments), referring to the commandments of the Old Testament, as a foundation of the movement's structure. The tune is played in a strict canon, the most rigid musical law as one more symbol. The canon is performed by the trumpet in the highest range, and the continuo, representing the lowest range. The tempo of the trumpet is twice as fast as the tempo of the continuo, therefore the trumpet has time to repeat first single lines and finally the complete melody of the chorale. The trumpet enters ten times, to symbolize once more the completeness of the law. The voices, representing the law of the New Testament, engage in imitation of a theme which is derived from the chorale tune and first played by the instruments.

John Eliot Gardiner, who provided an extended analysis of the movement, concludes: "The end result is a potent mixture of modal and diatonic harmonies, one which leaves an unforgettable impression in the mind's ear, and in context propels one forward to the world of Brahms' German Requiem and beyond, to Messiaen's Quartet for the End of Time".

Source: Wikipedia (http://en.wikipedia.org/wiki/Du_sollt_Gott,_deinen_Herren,_lieben,_BWV_77)

Although originally scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, tromba da tirarsi (Baroque slide trumpet), two oboes, two violins, viola, and basso continuo including bassoon, I created this arrangement for Winds (Flute, Oboe, Bb Clarinet, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello).

Chorus: "Ehre sei Gott in der Höhe" (BWV 248 No 21) for Winds, Harp & Strings

10 parts11 pages03:293 years ago493 views
Flute, Oboe, Clarinet, French Horn, Bassoon, Violin(2), Viola, Cello, Harp
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: "Ehre sei Gott in der Höhe und Friede auf Erden" (Glory be to God in the highest and peace on earth) for Winds (Flute, Oboe, Bb Clarinet, French Horn & Bassoon), Concert (Pedal) Harp and Strings (2 Violins, Viola & Cello).

"Blessed is the People, O Lord" (HWV 252 No. 6) for Woodwind Quintet

5 parts4 pages02:175 years ago492 views
George Frideric Handel (1685 - 1759) was a German-born British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727. By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.

The opening Sonata of "My song shall be alway" will probably be immediately familiar, as it was used in its entirety in the Concerto grosso in G major, Op 3 No 3. (The second section is based on an idea from Handel’s Birthday Ode to Queen Anne.) In the first vocal number (all the texts are selected from Psalm 89) Handel ingeniously combines two ideas from earlier works: the orchestral introduction is taken from a chorale setting in the Brockes Passion, while the choral intonation in octaves on the words ‘The heav’ns shall praise thy wondrous works’ is derived from the ‘De torrente’ movement in Dixit Dominus. The solo tenor enters with an accompanied recitative, of which there are only a few examples in the anthems, and continues with a more orthodox solo dominated by angular rhythms in the accompaniment. This, and two other movements of the anthem, are reworkings of movements in the ‘Caroline’ Te Deum in D major (HWV280) of 1714. (In some sources of the anthem a trio follows at this point, but it is almost certainly an interpolation by another composer.) Handel sets ‘The heav’ns are thine’ as a contemplative duet for alto and bass, perhaps surprisingly, but it has an appropriate sense of awe and makes an excellent contrast to the rhythmic vigour of the chorus ‘Righteousness and equity’ that follows. The last solo, ‘Blessed is the people’, and the short concluding chorus are the other movements derived from the Te Deum.

Although originally written for Soprano and Orchestra, I created this arrangement for Woodwind Quintet (Flute, Oboe, Bb Clarinet, English Horn & Bassoon) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Suite in C Minor (BWV 997) for Organ

1 part15 pages14:18a year ago493 views
Organ
There has long been debate about the actual instrument that J. S. Bach had in mind when composing his various works for lute. It may well be that at least some of these seven compositions were really meant to be played on a keyboard instrument known as the Lautenwerk (an eighteenth-century harpsichord modified to approximate the sound of the lute). Certainly Bach's knowledge of Baroque plucked instruments was not nearly as thorough as his knowledge of the bowed string instruments for which his other unaccompanied suites and sonatas were composed, so the idea that when writing the lute works he found it helpful to make recourse to a more familiar medium -- the keyboard -- is not unthinkable.

The Partita for lute in C minor, BWV 997, is Bach's only work for lute that seems to fit the plucked instrument particularly well; it is one of just two lute suites (whether we take that to mean actual lute or the Lautenwerk) that Bach wrote from scratch -- the others are arrangements of works for violin or cello. (This fact has been the primary weapon of those who advocate performances of Bach's lute works on the guitar). The C minor Partita is thought to be a product of Bach's Leipzig years, probably dating from the late 1730s or perhaps early 1740s. It is infused with deep but restrained affect, and displays the extraordinary architectural detail that is so much a part of Bach's last 10 years. It is with good reason that the piece is widely considered Bach's finest lute work.

The Partita is laid out in four movements, only the last two of which -- the Sarabande and the Gigue -- are of the dance variety usually found in a Baroque instrumental suite. Instead of following the opening Preludio of the Partita with an allemande and a courante, Bach provides a fugue of extraordinary density and very unusual form.

The Preludio is of the through-composed, entirely non-improvisational variety. It is written in two voices throughout, the higher one florid and of great flexibility, the lower moving mostly in steady quarter notes. This magnificent movement is of a peculiarly resigned tone, powerfully expressive but never indulgent. One hardly gets a sense of virtuosity as the sixteenth notes unfold, and yet the movement is of great difficulty.

The Fuga is an extraordinary example of its breed. Rather than a continuously developmental kind of contrapuntal piece that climaxes at the end, this fugue is written in true da capo form, with the opening forty-eight bars of music reprised after a contrasting central section. The subject of the fugue is absolutely stunning, featuring a dramatic leap of a major seventh and some tense, rising chromaticism.

The Sarabande is laid out in two equal halves, each of which begins ponderously -- and with a little imitation between the treble and bass -- but soon moves on to roving sixteenth notes.

Bach chooses to provide a Double at the end of the graceful Gigue proper, filling in all the rhythmic gaps of the original version of the dance with smaller ornamental notes while retaining the basic harmonic and melodic shapes. A final arpeggio plunge draws a resonant conclusion.

Source: AllMusic (http://www.allmusic.com/composition/partita-for-lute-in-c-minor-bwv-997-bc-l170-mc0002366152).

Although originally written for Lute. I created this Arrangement of the Suite No. 3 in C Minor (BWV 997) for Organ (2 Manuals w/o Pedals).

Recitative: "Da ging hin der Zwölfen einer" (BWV 244 No. 7) for Classical Guitar

1 part1 page00:242 years ago491 views
Guitar
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 Recitative: "Da ging hin der Zwölfen einer" (Then one of the twelve) for Classical Guitar.

"Menuet Gothique" from the "Suite Gothique" (Op. 25 Mvt. 2) for Brass Quartet

4 parts6 pages02:592 years ago492 views
Trumpet(2), French Horn, Tuba
Léon Boëllmann (September 25, 1862 – October 11, 1897) was a French composer of Alsatian origin, known for a small number of compositions for organ. His best-known composition is Suite gothique (1895), still very much a staple of the organ repertoire, especially its dramatic concluding Toccata.

The Suite consists of four movements:

Introduction - Choral (C minor)
Menuet gothique (C major)
Prière à Notre-Dame (A-flat major)
Toccata (C minor)

The first movement (Introduction - Choral) is in C minor and is made up of harmonized choral phrases that are first played in block chords on the great and pedals, and then repeated, piano, on the Swell.
The second movement (Menuet gothique) is in 3/4 time and in C major.
The third movement (Prière à Notre-Dame) is in A-flat major. It rarely uses dynamics above 'piano'. This movement is often played at weddings.
The final fourth movement (Toccata) is the best-known of the suite. This movement returns to C minor, ending with a Tierce de Picardie on full organ.

Source: Wikipedia (http://imslp.org/wiki/Suite_Gothique,_Op.25_(Bo%C3%ABllmann,_L%C3%A9on)).

Although originally written for Pipe Organ, I created this Arrangement of the "Menuet Gothique" from the Suite Gothique (Op.25 Mvt. 2) for Brass Quartet (Bb Trumpet, Flugelhorn, French Horn & Euphonium).

Sinfonia No. 10 in G Major (BWV 796) for String Trio

3 parts2 pages01:202 years ago492 views
The Inventions and Sinfonias, BWV 772–801, also known as the Two- and Three-Part Inventions, are a collection of thirty short keyboard compositions by Johann Sebastian Bach (1685–1750): 15 inventions, which are two-part contrapuntal pieces, and 15 sinfonias, which are three-part contrapuntal pieces. They were originally written as musical exercises for his students.

Bach titled the collection: "Honest method, by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to develop the same well; above all, however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition."

The two groups of pieces are both arranged in order of ascending key, each group covering eight major and seven minor keys and were composed in Köthen; the sinfonias, on the other hand, were probably not finished until the beginning of the Leipzig period.

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

Although originally composed for Harpsichord, I created this arrangement of the Sinfonia No. 10 in G Major (BWV 796) for String Trio (Violin, Viola & Cello).

Tenor Aria (BWV146 No. 7) for Woodwind Quintet

5 parts9 pages05:266 years ago491 views
"Wir müssen durch viel Trübsal" (We must [pass] through great sadness), BWV 146, is a church cantata by Johann Sebastian Bach. Bach composed the cantata in Leipzig for Jubilate, the third Sunday after Easter, in 1726 or later.

Two movements of the cantata, the Sinfonia and the first movement, are related to Bach's Harpsichord Concerto in D minor, BWV 1052, which was possibly derived from a lost violin concerto. The original music of the cantata is also lost, but scholars are convinced that it is a work of Bach. He used an instrumental concerto in a similar way for movements of his cantatas Gott soll allein mein Herze haben, BWV 169 and Ich geh und suche mit Verlangen, BWV 49, where his authorship is beyond doubt.

This Aria for Tenor and Bass is from the seventh movement titled "Wie will ich mich freuen, wie will ich mich laben".

Although originally written for Baroque Orchestra and voice, I created this arrangement for Woodwind Quintet (Flute, Oboe, Bb Clarinet, French Horn and Bassoon) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).