Sheet music for Contrabass with 8 instruments

Aria: "Wo zwei und drei versammlet sind" (BWV 42 No 3) for Woodwind Trio & Strings

8 parts10 pages08:043 years ago465 views
Flute, Oboe, English Horn, Violin(2), Viola, Cello, Contrabass
Am Abend aber desselbigen Sabbats (On the evening, however, of the same Sabbath), BWV 42,[a] is a church cantata by Johann Sebastian Bach. He composed the cantata in Leipzig for the first Sunday after Easter, called Quasimodogeniti. He composed it in his second annual cycle, which consisted of chorale cantatas since the first Sunday after Trinity of 1724. Bach ended the sequence on Palm Sunday of 1725, this cantata is not a chorale cantata and the only cantata in the second cycle to begin with an extended sinfonia.

After the quote from the Gospel of John, the poet paraphrases, in movement 3, words of Jesus from the Gospel of Matthew, Matthew 18:20, "Wo zwei oder drei versammelt sind in meinem Namen, da bin ich mitten unter ihnen" (For where two or three are gathered together in my name, there am I in the midst of them).

Bach first performed the cantata on 8 April 1725, and again in Leipzig at least twice, on 1 April 1731 and either on 1 April 1742 or on 7 April 1743.

Possibly Bach took the opening sinfonia from earlier music. Dürr believes that it is a movement from an instrumental concerto. It is a kind of "concerto a due cori", the strings interacting with a concertino of the woodwinds, oboes and bassoon. The two groups first introduce their own lively themes, which are distinct but related to each other. Then they also exchange their themes and play together. The middle section begins with a surprising new motif for oboe and bassoon, which Bach himself marked "cantabile". Julian Mincham sees a close resemblance to the opening movements to concerti such as those for violin, BWV 1042, and keyboard, BWV 1053. According to John Eliot Gardiner, this movement and the first aria are both taken from Bach's congratulatory cantata Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66a, celebrating the 24th birthday of Leopold, Prince of Anhalt-Köthen on 10 December 1718.

The Bible quote is sung in recitative by the tenor as the Evangelist, accompanied by the continuo in repeated fast notes, possibly illustrating the anxious heart beat of the disciples, when Jesus appears, "On the evening, however, of the same Sabbath, when the disciples had gathered and the door was locked out of fear of the Jews, Jesus came and walked among them".

In movement 3, an aria marked adagio, the repetition is kept in the bassoon, but the strings hold long chords and the oboes play extended melodic lines. According to Dürr, it may have been another movement from the same concerto that movement 1 relies on.

Bach composed the chorale text of movement 4, "Do not despair, o little flock", as a duet, accompanied only by the continuo including bassoon. Fragments of the usual chorale theme, "Kommt her zu mir, spricht Gottes Sohn", can be detected occasionally. Terry interprets that the bassoon obbligato was intended to accompany a chorale melody which "never actually sounded", conveying the "hiddenness" of the church in the world.

The bass prepares in a recitative, ending as an arioso, the last aria, which is accompanied by the divided violins and the continuo. The theme is again a contrast between the "Unruhe der Welt" (restlessness of "the world") and "Friede bei Jesus" (peace with Jesus). While the instruments play in wild motion, the bass sings a calm expressive melody, only accenting the word "Verfolgung" (persecution) by faster motion in long melismas. According to Mincham, this aria might go back to a different movement from the same concerto as the sinfonia.

The chorale theme of Luther's chorale was published by Martin Luther in the Kirchē gesenge, mit vil schönen Psalmen unnd Melodey (edited by Johann Walter), published in Nürnberg in 1531), and then in the Geistliche Lieder by Joseph Klug (Wittenberg, 1535). The melody of the additional stanza (Gieb unsern Fürsten) was first published in Das christlich Kinderlied D. Martini Lutheri in Wittenberg, 1566. Bach set it for four parts.

The cantata in seven movements is scored for soprano, alto, tenor, and bass soloists, a four-part choir only in the closing chorale, two oboes, bassoon, two violins, viola and basso continuo. The reason for the choir appearing only in the closing chorale may have been that the Thomanerchor had been in high demand during the Holy Week and Easter, performing Wie schön leuchtet der Morgenstern, BWV 1, the St John Passion and Christ lag in Todes Banden, BWV 4, among others.

Source: Wikipedia (https://en.wikipedia.org/wiki/Am_Abend_aber_desselbigen_Sabbats,_BWV_42).

I created this arrangement of the first Aria: "Wo zwei und drei versammlet sind In Jesu teurem Namen" (Where two or three are gathered together in Jesus' dear name) for Woodwind Trio (Flute, Oboe & English Horn) & Strings (2 Violins, Viola, Cello & Bass).

Concerto in D Major (BWV 1064R) for Violins & Strings

8 parts52 pages14:45a year ago346 views
Violin(5), Viola, Cello, Contrabass
Johann Sebastian Bach mavens hearing this work for the first time will recognize its relationship to the Concerto for three harpsichords in C major (BWV 1064). Indeed, the works might be described as identical twins, for this so-called "reconstruction" is an arrangement of the original version of the piece, scored for three violins, strings, and continuo, which was lost. The manuscript of the harpsichord version survives and the music is thus better known in that instrumental dressing. Arguably then, this string rendition is the more authentic version of the music, though Bach purists might object, citing the piece is tainted by the work of another hand who has in effect fashioned a transcription from a transcription.

In any event, the Concerto for three violins is cast in three movements, with two lively Allegros framing a lovely Adagio. The first movement brims with joy in its busy contrapuntal interplay and colorful solo music. The middle part of this panel contains some challenging, cadenza-like passages for the violinists, who must maintain the breathless pacing while negotiating thorny, typically brilliantly imagined writing.

The second movement features a lovely if forlorn main theme that seems so well suited for the violin that one wonders how the resourceful Bach was able to make it work on the keyboard. Tension develops in the middle section, the music darkening and seeming to struggle along, but the beguiling main theme returns to close the movement. With the finale we return to the joyous character of the first movement. Again, the writing is challenging and colorful, and features perhaps an even more extreme mixture of the delicate and the virtuosic.

Source: AllMusic (http://www.allmusic.com/composition/concerto-for-3-violins-strings-continuo-in-d-major-reconstruction-bwv-1064r-mc0002547433).

Although originally written for 3 Harpsichords (re-arranged for 3 Violins), Strings and Continuo, I created this Transcription of the Concerto in D Major (BWV 1064R) for 3 Solo Violins & Strings (2 Violins, Viola, Cello & Bass).

Black Mountain Middle School Academy Night Music

8 parts24 pages04:482 months ago69 views
Flute, Clarinet(2), Alto Saxophone, Violin(2), Cello, Contrabass
Arranged to be played before the opening of BMMS's Academy Night.
Credits:
Mike Magatagan, for arranging the Rondeau by Henry Purcell- edited to fit group of instruments.
Joe Hisaishi's compostitions arranged from Hayao Miyazaki's animation film, "Kiki's Delivery Service"

Concerto in C Minor (BWV 1062) for Flute, Oboe & Strings

8 parts46 pages15:53a year ago232 views
Flute, Oboe, Violin(2), Viola(2), Cello, Contrabass
Johann Sebastian Bach's (1685-1750) "second" Concerto for Two Harpsichords in C minor from 1736 is a transcription of his Concerto for Two Violins in D minor (BWV 1043). Bach distributed the two solo violin parts to the right hands of the two solo harpsichords and filled the left hands with elaborations of the orchestral bass, but left the actual orchestral parts untouched except to transpose them down a major second. In the opinion of some critics, the two-harpsichord concerto is an inferior adaptation of pre-existing material; they point to the congestion of the left-hand parts and to the non-sustaining character of the harpsichord as the two major faults of Bach's transcriptions. Other critics assert that the work is a brilliant adaptation and that the central Siciliano movement sounds especially lovely when played by two harpsichords.

Source: AllMusic (http://www.allmusic.com/composition/concerto-for-2-harpsichords-strings-continuo-in-c-minor-bwv-1062-mc0002402027).

Although originally written for 2 Harpsichords, Strings and Continuo, I created this Arrangement of the Concerto in C Minor (BWV 1062) for Flute, Oboe & Strings (2 Violins, 2 Violas, Cello & Bass).
Chorale: "Dein ist allein die Ehre" (BWV 41 No 6) for Winds & Strings
Video

Chorale: "Dein ist allein die Ehre" (BWV 41 No 6) for Winds & Strings

8 parts3 pages02:35a month ago56 views
Trumpet(3), Violin(2), Viola, Cello, Contrabass
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 closing Choral: "Dein ist allein die Ehre/Ruhm" (Yours alone is the honor/glory) for Winds (Bb Piccolo Trumpet, Bb Trumpet, Flugelhorn) & Strings (2 Violins, Viola, Cello & Bass).