Sheet music for Harpsichord

Piccolo Concerto (Opus 44, No. 11, RV 443) for Piccolo & Strings
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Piccolo Concerto (Opus 44, No. 11, RV 443) for Piccolo & Strings

7 parts33 pages10:186 years ago11,360 views
Piccolo, Strings(5), Harpsichord
Antonio Vivaldi (1678-1741) started playing the violin in his early years. He started studying to become a priest when he was 15 and was ordained in 1703 at the age of 25. In September 1703 Vivaldi became a violin teacher at an orphanage where he started writing concertos and sacred vocal music for the oprhans. Later on he became responsible for all the musical activity of the institution. Around 1717 Vivaldi was offered a new position as Maestro di Cappella (in charge of music in a chapel) of the governor of Mantua. During this period Vivaldi wrote his famous four violin concertos the Four seasons.

Antonio Vivaldi's concertos cut a revolutionary swath through the more fustian rituals of high Baroque music in much the way that minimalism gutted academic serialism 250 years later. They standardized the fast-slow-fast movement scheme that has survived as the classic concerto pattern, and developed the ritornello form (in which a refrain for the ensemble alternates with free episodes for the soloist), using it as a vehicle for thematic integration and elaboration. Vivaldi's 500-plus concertos were athletic entertainments that swept continental Europe, influencing not only younger composers, but causing a wave of stylistic conversion in older ones.

Vivaldi wrote this "Concerto per Flautino" sometime between 1728 and 1729 and although there is not a reliable evidence that the frontispiece information "Concerto per Flautino" means the sopranino recorder (in 'F') as a soloist. The Italian term flautino means simply a "small flute". There is however, a written instruction "Gl'istromti trasportati alla 4a" ("The instruments transposed a fourth"), witch corroborate which the conjecture that this concert was written for a soprano recorder (in 'C'), the standard transposition for recorder in 18th century, where the recorder player needs to read the recorder part like playing with an alto recorder in 'F'.

This arrangement was created for solo Piccolo and String Ensemble (Violins, Viola, Cello & String Bass).
Sonata No. 2 (BWV 1031) for Flute & Harpsichord
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Sonata No. 2 (BWV 1031) for Flute & Harpsichord

2 parts13 pages086 years ago2,755 views
Flute, Harpsichord
Johann Sebastian Bach, was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organization, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which around two hundred survive. His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.

Today, he is probably the most famous composer of the Baroque Period in music (1600-1750) and definitely represents the culmination of Baroque style. One of the main differences between Baroque style and that of the Classical Period (1750-1825) which followed, was the use of counterpoint - literally note (i.e., “point”) against (“counter”) note (“point”). With 21st Century ears, we tend to hear music as a single melody, usually, the highest part, with (harmonic) accompaniment; however, much of his music consists of several melodies, all of equal importance, being played simultaneously.

In this piece, the Flute often has the melody, but it is not necessarily the melody (i.e., the left and/or right hand of the keyboard part may have an equally important melody).

He composed for the Flute over a period of about twenty year, beginning with the Sonata in A Minor for unaccompanied Flute (BWV 1013). Sonata No. 2 in Eb Major (BWV 1031) was written while he was the conductor of the court orchestra in Cöthen, between 1717 and 1723, for the French flautist Pierre-Gabriel Buffardin (1690-1768), who he had met at the Dresden court in 1717; Sonata No. 1 in B Minor (BWV 1030) was also probably written for Buffardin.

One of the two surviving manuscript copies of Sonata No. 2 in Eb Major (BWV 1031) was in copied by Carl Philipp Emanuel Bach (1714-1788) - Bach’s second oldest son, also a composer, who himself wrote many works for the Flute; this has caused much debate about the authenticity of Sonata No. 2 in Eb Major (BWV 1031) and, for the same reason, Sonata No. 4 in C Major (BWV 1033, now believed to have been originally composed for unaccompanied Flute by J. S. Bach with a figured bass line added later by C. P. E. Bach): were these works by Johan Sebastian or Carl Philipp Emanuel? Either way, they are Bach Flute Sonatas!

This is my transcription of the 3 movements from the 2nd Sonata in Eb Major (BWV 1031).

Chorus: "Darzu ist erschienen der Sohn Gottes" (BWV 40 No. 1) for Harpsichord & Wind Ensemble

9 parts9 pages04:075 years ago416 views
Flute(2), Oboe(2), Clarinet, French Horn(2), Bassoon, Harpsichord
Darzu ist erschienen der Sohn Gottes (For this the Son of God appeared), BWV 40,[a] is a church cantata by Johann Sebastian Bach. He composed it in 1723, his first year in Leipzig, for the Second Day of Christmas, and first performed it on 26 December that year in both main churches, Thomaskirche and Nikolaikirche. It was the first Christmas cantata Bach composed for Leipzig. The title of the cantata also appears in more modern German as Dazu ist erschienen der Sohn Gottes.

The theme of the work is Jesus as the conqueror of the works of the devil, who is frequently mentioned as the serpent. The music is festively scored, using two horns, similar to Part IV of Bach's later Christmas Oratorio. The text by an unknown poet is organised in eight movements, beginning with a choral movement on the biblical text, followed by a sequence of recitatives and arias which is structured as three stanzas from three different hymns. Only two of these hymns are Christmas carols.

The frightfully successful collection of balances in this 40th cantata, Darzu ist erschienen der Sohn Gottes ("For this purpose the Son of God was made visible') was premiered 26 December, 1723 in Leipzig. It features a unique distribution of movements that strike a compelling balance: chorus, recitative, chorale (chorus), aria, recitative, chorale (chorus), aria, and chorale. This sort of inverted palindrome breaks from a more conventional style of two recitative and aria pairs, each begun with a chorus, with the work concluded by a final chorale. Part of the reason Bach's legacy is so enduring is his ability to make music simple more interesting, the form more compelling, such as is heard here. The instrumentation continually varies, as does the range of the singer taking on the next solo section. Everything keeps changing, yet affirming the basic material of this single, cohesive work. The opening chorus draws text from I John 3: 8, but it is not known who wrote the poetry. In tone and in musical treatment, this cantata is an aggressive denunciation of the devil. In the first chorus horn, oboes, strings and continuo perform a ritornello that accompanies the chorus' announcement that the destruction of Satan and his works is at hand. This is a martial statement, and there is an implicit challenge in the general atmosphere of the cantata. Later in the bass' aria, the downfall of Satan is further elaborated on with text drawn from Genesis 3: 15, wherein the dark angel is portrayed as a snake. Other references to the bible then go on to compare Jesus to hen protecting her chicks (Matt. 23: 34-9) and other, comparatively pleasant metaphors. Some work painting exists as well, as is heard in the tenor aria with the word erschrecken (‘terrible'), which is heard as an extended melisma to suggest the breathlessness of fear. In all, there is an incredible wealth of musical beauty to comment on in the 40th cantata. Readers would do well to make a first hand investigation.

For the festive occasion, the cantata is scored for three vocal soloists—alto, tenor and bass—a four-part choir, two horns (corno da caccia), two oboes, two violins, viola and basso continuo. Bach later used a similar scoring in Part IV of his Christmas Oratorio, to be performed on New Year's Day.

Source: Wikipedia (https://en.wikipedia.org/wiki/Darzu_ist_erschienen_der_Sohn_Gottes,_BWV_40).

I created this arrangement of the opening Chorus: "Darzu ist erschienen der Sohn Gottes" (For this the Son of God appeared) for Woodwind Ensemble (Flutes (2), Oboes (2), Bb Clarinet, French Horns (2), Bassoon & Harpsichord).

Chorus: "Jesu, nun sei gepreiset" (BWV 41 No 1) for Small Orchestra

15 parts56 pages08:143 years ago384 views
Trumpet(2), Harpsichord, Flute, Oboe, Clarinet, Bassoon, Timpani, Strings(7)
Jesu, nun sei gepreiset (Jesus, now be praised), BWV 41,[a] is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for New Year's Day, the feast also celebrated the naming and circumcision of Jesus, and first performed it on 1 January 1725. It is based on the hymn by Johannes Hermann (1591).

That year, Bach composed a cycle of chorale cantatas, begun on the first Sunday after Trinity of 1724. The cantata is based on the hymn for New Year's Day in three stanzas by Johannes Hermann (1591) who was also a Thomaskantor. Its melody is by Melchior Vulpius, who first published it in his Ein schön geistlich Gesangbuch, printed in Jena (1609). The hymn calls Jesus by name first, fitting to the celebration of the naming. Otherwise it is more concerned with the beginning of the New Year. It was popular in Leipzig and was used in two more of Bach's cantatas for the occasion, Singet dem Herrn ein neues Lied, BWV 190 and Gott, wie dein Name, so ist auch dein Ruhm, BWV 171. An unknown poet kept the first and the last stanza as movements 1 and 6, and paraphrased stanza 2 to a sequence of alternating arias and recitatives, expanding the 14 lines by additional ideas, but not specifically referring to the gospel.

In the opening chorus, a chorale fantasia, Bach faced the problem of structuring the unusually long stanza of 14 lines and an additional repeat of the first two lines, as seems to have been customary in Leipzig. The concerto of the orchestra is dominated by a syncop fanfare motif from the trumpets. In the first four lines, repeated in the next four and the final two, the soprano sings the cantus firmus, with the lower voices in free polyphony. Lines 9 and 10, speaking of "in guter Stille" (in good silence) are marked adagio; the choir sings in homophony in triple meter, accompanied by the orchestra without the trumpets. Lines 11 and 12, repeated in 13 and 14, are a presto fugato, with the instruments playing colla parte, expressing "Wir wollen uns dir ergeben" (We want to devote ourselves to you), an "enthusiastic rededication to spiritual values". The fugal subject is derived from the first phrase of the chorale melody. Lines 15 and 16 repeat lines 1 and 2, saying "behüt Leib, Seel und Leben" (Protect our body, soul and life).

In contrast, both arias have been described as chamber music. The first aria is sung by the soprano, accompanied by three oboes in pastoral 6/8 time. A short secco recitative leads to a tenor aria, which is dominated by an obbligato violoncello piccolo in expansive movement. The last recitative for bass contains one line from Martin Luther's Deutsche Litanei (German litany), which Bach set for four-part choir, marked allegro, as if the congregation joined the prayer of the individual. The closing chorale corresponds to the first movement. The lines are separated several times by its trumpet motif; the trumpets are silent in lines 9 to 14; lines 11 to 14 are in 3/4 time; the final fanfare recalls the beginning.

John Eliot Gardiner notes that Bach achieves a suggestion of the year's cycle by ending both the first movement and the end of the cantata as the work began, as a "closing of the circle".

The cantata in six movements is scored for four soloists (soprano, alto, tenor and bass), a four-part choir, three trumpets, timpani, three oboes, two violins, viola, violoncello piccolo da spalla and basso continuo.

Source: Wikipedia (https://en.wikipedia.org/wiki/Jesu,_nun_sei_gepreiset,_BWV_41).

I created this arrangement of the opening Chorus: "Jesu, nun sei gepreiset" (Jesus, now be praised) for Small Orchestra (Bb Piccolo Trumpet, Bb Trumpet, Flugelhorn, Flute, Oboe, Bb Clarinet, Bassoon, Timpani, 4 Violins, 2 Violas and Cellos).

Chorus: "Der Himmel lacht! Die Erde jubilieret" (BWV 31 No 2) for Orchestra

20 parts16 pages04:083 years ago358 views
Trumpet(2), Harpsichord, Flute(2), Oboe(2), Clarinet(3), French Horn, Bassoon(2), Tuba, Timpani, Violin(2), Viola, Cello, Contrabass
Der Himmel lacht! Die Erde jubilieret (Heaven laughs! Earth exults), BWV 31,[a] is a cantata by Johann Sebastian Bach, a church cantata for the first day of Easter. Bach composed the cantata in Weimar and first performed it on 21 April 1715. On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the Schloßkirche (palace church), on a monthly schedule. Bach composed the cantata for Easter Sunday in 1715.

The festive character of the work is demonstrated by a sonata with a fanfare-like introduction, a concerto of the three groups brass, reeds and strings, all divided in many parts. The first choral movement, sung by a five-part chorus, evokes the "celestial laughter and worldly jubilation" of the text, according to John Eliot Gardiner.

The cantata in nine movements is festively scored for three vocal soloists (soprano, tenor and bass), a five-part choir (SSATB), three trumpets, timpani, three oboes, taille (tenor oboe), bassoon, two violins, two violas, two cellos and basso continuo. The scoring for five parts in the choir, five parts in the woodwinds and six parts in the strings is unusual.

Source; Wikipedia (https://en.wikipedia.org/wiki/Der_Himmel_lacht!_Die_Erde_jubilieret,_BWV_31).

I created this arrangement of the first Chorus: "Der Himmel lacht! Die Erde jubilieret" (Heaven laughs! Earth exults) for Orchestra (Piccolo Trumpet in Bb, Bb Trumpet, Flugelhorn, 2 Flutes, 2 Oboes, 2 Bb Clarinets, Bass Clarinet,French Horn, 2 Bassoons, Euphonium, Timpani, 2 Violins, Viola, Cello & Bass).
Chorale: "Du Friedefürst, Herr Jesu Christ" (BWV 116 No 1) for Piccolo & Organ
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Chorale: "Du Friedefürst, Herr Jesu Christ" (BWV 116 No 1) for Piccolo & Organ

2 parts8 pages05:569 months ago155 views
Piccolo, Harpsichord
Du Friedefürst, Herr Jesu Christ (Thou Prince of Peace, Lord Jesus Christ), BWV 116, is a church cantata written by Johann Sebastian Bach in 1724 in Leipzig for the 25th Sunday after Trinity. It was first performed on 26 November 1724. The cantata is based on the hymn by Jakob Ebert (1601).

Bach wrote the cantata in 1724 for the 25th Sunday after Trinity as part of his second annual cycle of mostly chorale cantatas. The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, the coming of the Lord (1 Thessalonians 4:13–18), and from the Gospel of Matthew, the Tribulation (Matthew 24:25–28). The cantata text of an unknown author is based exclusively on the chorale in seven verses of Jakob Ebert (1601). The first and last verse in their original wording are movements 1 and 6 of the cantata, verses 2 to 4 were transformed to movements 2 to 4 of the cantata, and verses 5 and 6 were reworded for movement 5. The chorale is in a general way related to the gospel.

Bach first performed the cantata on 26 November 1724, which was that year the last Sunday of the liturgical year.

The opening chorus is a chorale fantasia, the soprano singing the cantus firmus and a horn playing the melody. It is embedded in an orchestral concerto with ritornells and interludes, dominated by the concertante solo violin. The treatment of the lower voices differs within the movement. In lines 1 and 2 and the final 7 they are set in homophonic block chords, in lines 3 and 4 they show vivid imitation, in lines 5 and 6 their faster movement contrasts to the melody.

The alto aria is accompanied by an oboe d'amore, equal to the voice part, expressing the soul's terror imagining the judgement. The following recitative begins as a secco, but the idea "Gedenke doch, o Jesu, daß du noch ein Fürst des Friedens heißest!" (Yet consider, o Jesus, that you are still called a Prince of Peace!), close to the theme of the cantata, is accompanied by a quote of the chorale melody in the continuo.

Rare in Bach's cantatas, three voices sing a trio, illustrating the "wir" (we) of the text "Ach, wir bekennen unsre Schuld" (Ah, we recognize our guilt), confessing and asking forgiveness together. It is accompanied only by the continuo. The following recitative is a prayer for lasting peace, accompanied by the strings and ending as an arioso.

The closing chorale is a four-part setting for the choir, horn, oboes and strings.

Although originally scored for soprano, alto, tenor and bass soloists, a four-part choir, horn, two oboes d'amore, two violins, viola, and basso continuo, I took some creative license with this piece to construct a solo Piccolo part and an accompanying arrangement for Pipe Organ (2 Manuals w/o Pedals)

"Vo' far guerra, e vincer voglio" from "Rinaldo," HWV 7, 1711

11 parts18 pages08:189 months ago91 views
Oboe(2), Strings(4), Flute, Harpsichord, Bassoon, Cello, Contrabass
"Vo' far guerra, e vincer voglio," aria for Armida in G Major, from Act II of the opera, "Rinaldo," HWV 7, composed by George F. Handel in 1711. It was very popular, and was revived many times. Music has survived from revivals in 1717 and 1731. The solos for harpsichord were improvised contemporaneously by the composer himself, and only later written down from memory by someone else. This aria was only used from 1711 to 1717. It was replaced by a new aria, "Parolette, vezzi e sguardi," in A Major, sung by Almirena, in the 1731 revival. Compare this aria to HWV 579 as posted by Mike Magatagan here: https://musescore.com/mike_magatagan/scores/4998947.