Sheet music for Trombone

"Hark! the Herald Angels Sing" for Small Orchestra

11 parts11 pages03:153 years ago2,669 views
Trumpet(2), French Horn, Trombone, Tuba, Strings(5), Piano
Hark! The Herald Angels Sing" is a Christmas carol that first appeared in 1739 in the collection Hymns and Sacred Poems, having been written by Charles Wesley. A somber man, Wesley had requested and received slow and solemn music for his lyrics, not the joyful tune expected today. Moreover, Wesley's original opening couplet is "Hark! how all the welkin rings / Glory to the King of Kings". The popular version is the result of alterations by various hands, notably by Wesley's co-worker George Whitefield who changed the opening couplet to the familiar one, and by Felix Mendelssohn. A hundred years after the publication of Hymns and Sacred Poems, in 1840, Mendelssohn composed a cantata to commemorate Johann Gutenberg's invention of the printing press, and it is music from this cantata, adapted by the English musician William H. Cummings to fit the lyrics of “Hark! The Herald Angels Sing”, that propels the carol known today. In 1855, English musician William H. Cummings adapted Felix Mendelssohn's secular music from Festgesang to fit the lyrics of "Hark! The Herald Angels Sing" written by Charles Wesley. Wesley envisioned the song being sung to the same tune as his song "Christ the Lord Is Risen Today", and in some hymnals that tune is included for "Hark! The Herald Angels Sing" along with the more popular Mendelssohn-Cummings tune. At the request of a follower, I created this arrangement of my earlier arrangement (http://musescore.com/mike_magatagan/scores/26687) for a Modern Small (school) Orchestra (Bb Trumpets, Flugelhorn, French Horn, Trombones, F Tuba, 2 Violins, Violas, Cellos & Basses).

Aria: "Mein Freund ist mein" (BWV 140 No 6) for Brass Quartet

4 parts8 pages05:323 years ago1,870 views
Trumpet, French Horn, Trombone, Tuba
Wachet auf, ruft uns die Stimme (Awake, calls the voice to us), BWV 140, also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731. It is based on the hymn "Wachet auf, ruft uns die Stimme" (1599) by Philipp Nicolai. Movement 4 of the cantata is the base for the first of Bach's Schübler Chorales, BWV 645. The cantata is a late addition to Bach's cycle of chorale cantatas, featuring additional poetry for two duets of Jesus and the Soul which expand the theme of the hymn. Bach composed the cantata in Leipzig for the 27th Sunday after Trinity. This Sunday occurs only when Easter is extremely early. The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (1 Thessalonians 5:1–11), and from the Gospel of Matthew, the parable of the Ten Virgins (Matthew 25:1–13). The chorale cantata is based on the Lutheran hymn in three stanzas, "Wachet auf, ruft uns die Stimme" of Philipp Nicolai, which is based on the Gospel. Bach composed the cantata to complete his cycle of chorale cantatas which he had begun in 1724. The text of the three stanzas appears unchanged in movements 1, 4 and 7, while an unknown author supplied poetry for movements 2 and 3, 5 and 6, both a sequence of recitative and duet. He refers to the love poetry of the Song of Songs, showing Jesus as the bridegroom of the Soul. According to Christoph Wolff, the text was already available when Bach composed his cycle of chorale cantatas. Bach performed the cantata only once, in Leipzig's main church Nikolaikirche on 25 November 1731. According to Christoph Wolff, Bach performed it only this one time, although the 27th Sunday after Trinity occurred one more time during his tenure in Leipzig, in 1742. He used movement 4 of the cantata as the base for the first of his Schübler Chorales, BWV 645. In the modern three-year Revised Common Lectionary, the reading is scheduled for Proper 27, or the 32nd Sunday in Ordinary Time, in the first year of the three-year cycle of lessons. Thus, the hymn and the cantata are commonly performed in churches on that Sunday. The text and its eschatological themes are also commonly associated with the early Sundays of the season of Advent, and so the cantata is commonly performed during that season. The first movement is a chorale fantasia based on the first verse of the chorale, a common feature of Bach's earlier chorale cantatas. It is in E-flat major. The cantus firmus is sung by the soprano. The orchestra plays independent material mainly based on two motifs: a dotted rhythm and an ascending scale "with syncopated accent shifts". The lower voices add in unusually free polyphonic music images such as the frequent calls "wach auf!" (wake up!) and "wo, wo?" (where, where?), and long melismas in a fugato on "Halleluja". The second movement is a recitative for tenor as a narrator who calls the "Töchter Zions" (daughters of Zion). In the following duet with obbligato violino piccolo, the soprano represents the Soul and the bass is the vox Christi (voice of Jesus). The third verse as the closing chorale The fourth movement, based on the second verse of the chorale, is written in the style of a chorale prelude, with the phrases of the chorale, sung as a cantus firmus by the tenors (or by the tenor soloist), entering intermittently against a famously lyrical melody played in unison by the violins (without the violino piccolo) and the viola, accompanied by the basso continuo. Bach later transcribed this movement for organ (BWV 645), and it was subsequently published along with five other transcriptions Bach made of his cantata movements as the Schübler Chorales. The fifth movement is a recitative for bass, accompanied by the strings. It pictures the unity of the bridegroom and the "chosen bride". The sixth movement is another duet for soprano and bass with obbligato oboe. This duet, like the third movement, is a love duet between the soprano Soul and the bass Jesus. Alfred Dürr describes it as giving "expression to the joy of the united pair", showing a "relaxed mood" in "artistic intensity". The closing chorale is a four-part setting of the third verse of the hymn. The high pitch of the melody is doubled by a violino piccolo an octave higher, representing the bliss of the "heavenly Jerusalem". Although the cantata was originally scored for three soloists—soprano, tenor and bass—, a four-part choir, horn, two oboes, taille, violino piccolo, two violins, viola, and basso continuo, I created this arrangement for Brass Quartet (Bb Trumpet, French Horn, Trombone & F Tuba) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Chorale: "Nun lieget alles unter dir" (BWV 11 No. 6) for Brass Quartet

4 parts1 page01:155 years ago1,706 views
Trumpet, Trombone, French Horn, Tuba
Lobet Gott in seinen Reichen (Laud to God in all his kingdoms), BWV 11,[a] known as the Ascension Oratorio (Himmelfahrtsoratorium), is an oratorio by Johann Sebastian Bach, marked by him as Oratorium In Festo Ascensionis Xsti (Oratorio for the feast of the Ascension of Christ), probably composed in 1735 for the service for Ascension and first performed on 19 May 1735. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734, a work in six parts to be performed on six occasions during Christmas tide. He had composed an Easter Oratorio already in 1725. The Ascension Oratorio appeared thus in the same liturgical year as the Christmas Oratorio. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had written the libretti for the St Matthew Passion and the Christmas Oratorio, among others. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. The bible narration is compiled from multiple sources: the first recitative of the Evangelist (movement 2) is from Luke 24:50–51, the second (5) from Acts 1:9 and Mark 16:19, the third (7) from Acts 1:10–11, the last (9) from Luke 24:52a, Acts 1:12 and Luke 24:52b. The biblical words are narrated by the tenor as the Evangelist. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso. Part I, which tells of the Ascension, is concluded by the fourth stanza of Johann Rist's hymn "Du Lebensfürst, Herr Jesu Christ" in a four part setting. Part II reflects the reaction of the disciples. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. While the music for the narration and the first chorale were new compositions in 1735, Bach based the framing choral movements and the two arias on earlier compositions. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor. In the first complete edition of Bach's works, the Bach-Ausgabe of the Bach Gesellschaft, the work was included under the cantatas (hence its low BWV number), and in the Bach Compendium it is numbered BC D 9 and included under oratorios. Source: Wikipedia (https://en.wikipedia.org/wiki/Lobet_Gott_in_seinen_Reichen,_BWV_11). The Evangelist continues the narration with the Ascension: Und ward aufgehoben zusehends (And He was apparently lifted up). I created this arrangement of the first Chorale: "Nun lieget alles unter dir" (Now everything is subject to You) for Brass Quartet (Bb Trumpet, Trombone, French Horn, & Bb Tuba).

"Waltz of the Flowers" from the Nutcracker Suite (Opus 71a Mvt. 8) for Small Orchestra

16 parts29 pages06:148 months ago1,633 views
Piccolo, Flute, Oboe, Clarinet, Bassoon, Trumpet, French Horn, Trombone, Tuba, Timpani, Violin(2), Viola, Cello, Contrabass, Harp
Pyotr Ilyich Tchaikovsky (1840 - 1893) was a Russian composer who lived in the Romantic period. He is one of the most popular of all Russian composers. He wrote melodies which were usually dramatic and emotional. He learned a lot from studying the music of Western Europe, but his music also sounds very Russian. His compositions include 11 operas, 3 ballets, orchestral music, chamber music and over 100 songs. His famous ballets (Swan Lake, The Nutcracker and Sleeping Beauty) have some of the best known tunes in all of romantic music. Tchaikovsky's ballet of the Nutcracker is based on Alexandre Dumas' translation of the original tale by E.T.A. Hoffman. Act One tells a story of how little Clara aids her magical Christmas gift (a nutcracker in the form of a soldier) defeat an army of mice. As a reward, in Act Two, he takes her to his magic kingdom and introduces her to a variety of subjects in a colorful stream of character dances. Tchaikovsky was initially displeased with the scenario for the ballet, which would be his last, because it lacked real drama. However, he reconciled himself to it and completed the Nutcracker Suite, Op. 71a, which was popular from its first performance, before going on to complete the entire ballet. Those seven dances -- including the familiar Spanish (Chocolate), Arab (Coffee), Chinese (Tea), and Russian dances -- and the overture are essentially the same as they appeared in the final, full ballet. To these he added interludes and scenes, with music and orchestrations that are just as delightful. His supply of lovely themes is endless, and he constantly provides brilliant orchestration. Unique features of his instrumentation include the Overture, which is entirely without cellos and double basses; the "Dance of the Sugar-Plum Fairy," which was inspired by the new celesta, an instrument Tchaikovsky encountered in Paris while working on the score; and the "Waltz of the Snowflakes," which uses a children's chorus. He also used toy instruments, perfectly in keeping with a story for children. The ballet was not as successful as his other stage works when it first appeared, however, now the traditional Christmas ballet is so popular that its annual performance keeps many a ballet company afloat. If all you know of this ballet is the famous suite, by all means hear the entire work. Source: Wikipedia (https://simple.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky). Although originally created for Orchestra, I created this Transcription of the "Waltz of the Flowers" from the Nutcracker Suite (Opus 71a Mvt. 8) for Small Orchestra (Piccolo, Flutes, Oboes, Bb Clarinets, Bassoons, Bb Trumpets, French Horns, Trombones, Tubas, Harp, Timpani, Violins, Violas, Cellos & Bass).

Aria: "In deine Hände befehl ich meinen Geist" (BWV 106 No 3) for Brass Quintet

5 parts8 pages04:213 years ago1,627 views
Trumpet(2), Trombone, French Horn, Tuba
Born on March 21, 1685, in Eisenach, Thuringia, Germany, Johann Sebastian Bach had a prestigious musical lineage and took on various organist positions during the early 18th century, creating famous compositions like "Toccata and Fugue in D minor." Some of his best-known compositions are the "Mass in B Minor," the "Brandenburg Concertos" and "The Well-Tempered Clavier." Bach died in Leipzig, Germany, on July 28, 1750. Today, he is considered one of the greatest Western composers of all time. There can be little doubt that this is the best known and most admired of Bach's earliest cantatas. It could be argued that in later years Bach's art became a great deal more mature, but it hardly grew more profound. It is one of those art works that stands at the crossroads of time, seeming to look both forward and backwards. In the latter instance it is highly sectional, with little in the way of the extended, developed movements of the later years, it is lightly orchestrated, begins with a short introductory sinfonia and it draws principally upon chorales and biblical references with the minimum of added text. On the other hand, it is created from structural elements which operate across and unite movements, the writing is highly idiomatic and the musical architecture derives principally from the essence of the text. It is a work of such depth and intensity that one can scarcely avoid speculating that the deceased for whose internment it was composed, had some personal connection with the twenty-two year old composer. Or perhaps it simply struck a chord that reminded him of the death of his own parents, scarcely more than a dozen years previously. But whatever the personal impact the occasion might have had on him, there is no disputing the depth and profundity which the emerging composer managed to elicit from the minimal lines of conventional text. The segmented nature of this work makes it seem more complex than it really is. It falls into four basic movements thus: sinfonia, chorus (with solos), aria (becoming a duet) and closing chorale. The longest and most complex of the two hybrid movements is the second. The third movement (like the second) is a hybrid, an alto aria transforming itself into a duet. The former is only supported by the continuo which provides a line of great expressivity. Its opening statement, taking us to the alto entry in the third bar, ascends over a full two octaves and its inexorable sense of direction and the assured cadence which ends each of its statements combine to produce a melodic line of unequivocal confidence----I commit my soul to Thy hand for You have redeemed me Oh great, devoted God. The line has the appearance of a ground bass, initially repeating itself in the keys of C and Gm, but Bach seldom allows himself to be restricted by the constraints of this repetitive principle. As in many later continuo arias which begin similarly, he quickly detaches sections of the melody and develops them independently, here as early as bar 10 where the initial seven-note rising scale is sequenced. This movement is interesting for a number of reasons. Firstly it demonstrates the range of melodic interest and musical expression which may be wrung from two simple lines. Secondly, it reveals that very early in his career Bach was prepared to experiment with ways of inserting chorale melodies into the textures of other movements, not just content to use them as free-standing hymn tunes. Thirdly, the hybrid structure, combining as it does, aria, duet, chorale and incipient ground bass, indicates his eclectic approach to musical forms and their various combinations. Fourthly, the shape of the initial continuo motive seems to have been derived from notions embedded within the text, a process that, in his continuing maturity as an artist, Bach was to develop in ways beyond those of any other contemporary composer. Although originally written for Flutes (2), Viola da Gambas (2), Alto Voice and Basso Continuo, I created this arrangement for Brass Quintet (Bb Trumpet, Flugelhorn, Trombone, French Horn & F Tuba) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php) as well as the "Dirty Brass Trumpet SoundFont" Soundfont at http://hotfile.com/dl/107684584/730b25e/Dirty_Brass_Trumpet_SoundFont_20

"March" from the Nutcracker Suite (Opus 71a Mvt. 2) for Small Orchestra

13 parts17 pages02:338 months ago1,205 views
Flute, Oboe, Clarinet, Bassoon, Trumpet, French Horn, Trombone, Tuba, Violin(2), Viola, Cello, Contrabass
Pyotr Ilyich Tchaikovsky (1840 - 1893) was a Russian composer who lived in the Romantic period. He is one of the most popular of all Russian composers. He wrote melodies which were usually dramatic and emotional. He learned a lot from studying the music of Western Europe, but his music also sounds very Russian. His compositions include 11 operas, 3 ballets, orchestral music, chamber music and over 100 songs. His famous ballets (Swan Lake, The Nutcracker and Sleeping Beauty) have some of the best known tunes in all of romantic music. Tchaikovsky's ballet of the Nutcracker is based on Alexandre Dumas' translation of the original tale by E.T.A. Hoffman. Act One tells a story of how little Clara aids her magical Christmas gift (a nutcracker in the form of a soldier) defeat an army of mice. As a reward, in Act Two, he takes her to his magic kingdom and introduces her to a variety of subjects in a colorful stream of character dances. Tchaikovsky was initially displeased with the scenario for the ballet, which would be his last, because it lacked real drama. However, he reconciled himself to it and completed the Nutcracker Suite, Op. 71a, which was popular from its first performance, before going on to complete the entire ballet. Those seven dances -- including the familiar Spanish (Chocolate), Arab (Coffee), Chinese (Tea), and Russian dances -- and the overture are essentially the same as they appeared in the final, full ballet. To these he added interludes and scenes, with music and orchestrations that are just as delightful. His supply of lovely themes is endless, and he constantly provides brilliant orchestration. Unique features of his instrumentation include the Overture, which is entirely without cellos and double basses; the "Dance of the Sugar-Plum Fairy," which was inspired by the new celesta, an instrument Tchaikovsky encountered in Paris while working on the score; and the "Waltz of the Snowflakes," which uses a children's chorus. He also used toy instruments, perfectly in keeping with a story for children. The ballet was not as successful as his other stage works when it first appeared, however, now the traditional Christmas ballet is so popular that its annual performance keeps many a ballet company afloat. If all you know of this ballet is the famous suite, by all means hear the entire work.. Source: Wikipedia (https://simple.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky). Although originally created for Orchestra, I created this Transcription of the "March" from the Nutcracker Suite (Opus 71a Mvt. 2) for Small Orchestra (Flutes, Oboes, Bb Clarinets, Bassoons, Bb Trumpets, French Horns, Trombones, Tubas, Violins, Violas, Cellos & Bass).

Aria: "Hat er es denn beschlossen" (BWV 97 No 7) for Brass Trio

3 parts4 pages06:053 years ago1,178 views
Trumpet, Trombone, Tuba
In allen meinen Taten (In all that I do / In all my undertakings), BWV 97, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1734 for an unspecified occasion. The text consists of the unchanged words of the hymn by Paul Fleming (1642). Bach wrote the chorale cantata in 1734, about a decade after his annual cycle of cantatas, in the same year as his Christmas Oratorio, one year after Kyrie and Gloria of his later Mass in B minor. He dated the manuscript himself, but the occasion is unspecified. The work may have originally been composed for a wedding, because the score shows on top of movement 7 the crossed-out words "nach der Trauung" (after the wedding). A later copy mentions the fifth Sunday after Trinity. The text consists of nine unchanged stanzas of the chorale by Paul Fleming, published in 1642. The six lines of each stanza rhyme in pairs: 1 and 2, 4 and 5, 3 and 6. The text was written in 1633 at the outset of a "long and hazardous journey" to Moscow and reflects a "beginning in God's name". Bach structured nine stanzas in as many movements, framing a sequence of arias and recitatives by an opening chorus and a closing chorale. At least two later performances between 1735 and 1747 are documented. In the two choral movements, Bach used the melody of the hymn, but composed music unrelated to the melody in the other cantata movements. The poet wrote the words to fit the well-known tune of "Innsbruck, ich muß dich lassen" by Heinrich Isaac. Bach had used it twice in his St Matthew Passion, in movements 10 (Ich bin's, ich sollte büßen) and 37 (Wer hat dich so geschlagen). In keeping with a beginning, Bach set the opening chorale fantasia in the style of a French overture, in a sequence slow – fast (fugue), as he had done already as early as in 1714 in Nun komm, der Heiden Heiland, BWV 61, beginning a new liturgical year. The slow section, marked grave, in dotted rhythm is instrumental, in the fast section, marked vivace, the orchestra plays a fugue, to which the soprano sings the cantus firmus of the melody line by line in long notes, whereas the lower voices take part in the imitation of the instrumental motifs. After the last line all voices join in an "urgent homophonic concluding statement". Bach structured the inner movements, named "versus" (Latin for stanza), as five arias and two recitatives, using the voices from the lowest to the highest, increasing the instrumentation from continuo to obbligato instruments. He kept the structure of the text, two even parts, in all of these movements but the duet which shows a modified da capo form. The recitatives are kept simple, the first (versus 3) is secco, the second (versus 5) is accompanied by the strings. Versus 2 is introduced by a ritornello of the continuo on a theme which the bass picks up. Versus 4 is brightened by a virtuoso violin part, possible as an image of God's grace in "Ich traue seiner Gnaden" (I trust His grace). John Eliot Gardiner compares the writing for the violin to that in his sonatas and partitas for solo violin. The strings open versus 6 with motifs illustrating rest and motion, which is obvious when the alto sings: "Leg ich mich späte nieder" (Late do I lie me down), "erwache" (wake up), "lieg oder ziehe fort" (lie still or go forth). Versus 7 is set as a duet with continuo. The ritornello begins with a theme later also used by the voices and ends on a characteristic motif illustrating the resolution of "... then will I uncomplaining unto my fate press on". In the last aria the oboes support the soprano singing in extended melismas "I have surrendered myself to Him". In the closing chorale, the strings play three independent parts in addition to the four vocal parts, while the oboes play the choral melody, termed "augmenting the luminescent harmony" by Gardiner. Called by Dürr "hymnische Krönung" (hymnal crowning), the movement balances the first movement and adds weight to the summarising text of the final stanza, "To thee be true, o spirit, and trust in Him alone now who hath created thee". Although originally scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, two oboes, bassoon, two violins, viola, and basso continuo. I created this arrangement for Brass Trio (Bb Trumpet, Trombone & F Tuba) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php) as well as the "Dirty Brass Trumpet SoundFont" Soundfont at http://hotfile.com/dl/107684584/730b25e/Dirty_Brass_Trumpet_SoundFont_20.

Prelude (Toccata) & Fugue in E Major (BWV 566) for Brass Quintet

5 parts20 pages10:022 years ago985 views
Trumpet(2), Trombone, French Horn, Tuba
Prelude (Toccata) and Fugue in E major, BWV 566 is an organ work written by Johann Sebastian Bach in 1708. It comprises four sections and is an early work that most scholars agree was probably composed sometime during the composer's residence at Arnstadt (1703 - 1707), during 1705 or 1706. Its form resembles the Preludes and Fugues of Buxtehude. The first section alternates manual or pedal cadenzas with dense suspended chords. The second is a charming fughetta with much repetition following the circle of fifths. The third section is a brief flourish for manuals, ending with an even briefer pedal cadenza punctuated with 9-voice chords. The fourth section, in 3/4 time, is a second fugue with a rhythmic subject resembling the theme of the first fughetta. Bach also wrote a transposed version of the piece in C major, to play on organs tuned in meantone where E major would sound discordant due to the organ's temperament. Various recordings of the C major version exist mainly on historic instruments, for example Ton Koopman's recording on the Schnitger organ in Hamburg's Jacobikirche, and Marie-Claire Alain's recording on the Silbermann organ at Freiberg Cathedral. Both have a high pitch leaving the "concert" pitch up to a tone higher than modern pitch, where the temperament is significantly unequal to merit playing it away from E major. Modern organs or those tuned to a more equal temperament do not have this need.. Source: Wikipedia (https://en.wikipedia.org/wiki/Prelude_(Toccata)_and_Fugue_in_E_major,_BWV_566). Although originally composed for Organ, I created this modern interpretation of the Prelude (Toccata) and Fugue in E Major (BWV 566) transposed for Brass Quintet (Bb Trumpet, Flugelhorn, Trombone, French Horn & F Tuba).

Chorale: "Er ist das Heil und selig Licht" (BWV 125 No 6) for Wind Quintet

5 parts1 page01:223 years ago931 views
Flute, Trumpet, French Horn, Trombone, Tuba
Mit Fried und Freud ich fahr dahin (With peace and joy I depart), BWV 125, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1725 for the Feast of the purification of Mary and first performed it on 2 February 1725. The text is based on the chorale in four stanzas by Martin Luther, a paraphrase of the Nunc dimittis, published in 1524. Bach wrote the chorale cantata in his second year in Leipzig for the Feast of Purification. The prescribed readings for the feast day were from the book of Malachi, "the Lord will come to his temple" (Malachi 3:1–4), and from the Gospel of Luke, the purification of Mary and the presentation of Jesus at the Temple, including Simeon's canticle Nunc dimittis (Luke 2:22–32). Luther's chorale in four stanzas is a paraphrase of this canticle, "With peace and joy I depart in God's will". Luther phrased each verse of the canticle in one stanza. An unknown librettist kept the first and the last stanza and paraphrased the inner stanzas in four movements. Movement 2 takes Luther's second stanza as a starting point and relates Simeon's view as an example on how to look at death. Movement 3 comments the complete text of Luther's second stanza in recitative. The allusion to "light for the heathen" from the Gospel and the hymn is seen related to "He that believeth and is baptized shall be saved" (Mark 16:16). Movements 4 and 5 are derived from the third stanza, 4 relates to Paul's teaching about God's grace, "Whom God hath set forth to be a propitiation through faith in his blood, to declare his righteousness for the remission of sins that are past, through the forbearance of God" (Romans 3:25), thus declaring the Lutheran teaching of justification "by grace alone through faith alone because of Christ alone" even more clearly than Luther's song. The opening chorus begins with a concertante ritornello, in which the flute and the oboe play opposed to the strings. A motif in triplets rises a fifth, related to the first interval of the chorale tune. The soprano sings the cantus firmus in Phrygian mode in long notes. The lower voices participate in the instrumental motifs for lines 1, 2, 3 and 5, but lines 4 and 6 are treated differently. In accordance to the text, "sanft und stille" (calm and quiet) and "der Tod ist mein Schlaf worden" (death has become my sleep), they are performed softly (piano), in homophony, chromatic, and modulating to distant keys. The alto aria is richly ornamented and accompanied by the flute and oboe d'amore, on a calm foundation of repeated notes in the continuo, marked "legato". The phrase "gebrochene Augen" (broken eyes) is pictured by a broken vocal line, flute and oboe d'amore play dotted rhythm to the "almost trembling declamation" of the voice. In the bass recitative with chorale, the chorale tune is unadorned but for the last line, "im Tod und auch im Sterben" (in death and also in dying), where the music is extended by two measures and coloured in chromatic and rich ornamentation. The elements recitative and chorale are unified by a motif in the strings, called "Freudenmotiv" by Alfred Dürr, which "always indicates an underlying mood of happiness". The closing chorale is a four-part setting. Julian Mincham relates the opening movement to that of Bach's later St Matthew Passion. It is similar in its motifs in triplets, density of counterpoint, and is in the same key of E minor, shared by the Crucifixus of his Mass in B minor which he derived from the 1714 Weinen, Klagen, Sorgen, Zagen, BWV 12 (Weeping, lamenting, worrying, fearing). Mincham concludes: "death, sleep, a journey of departure, peace and consolation are some of the intertwined themes and images. Bach is always at his most creative and imaginative when dealing with such complexities". Although the Cantata wa originally scored for three vocal soloists (alto, tenor, and bass), a four-part choir, horn, flauto traverso, oboe, oboe d'amore, two violins, viola, and basso continuo, I created this arrangement for Wind Quintet (Flute, Bb Trumpet, French Horn, Trombone & F Tuba) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

Water Music Suite No. 1 in F Major (HWV 348) for Small Orchestra

15 parts66 pages15:249 months ago862 views
Flute, Oboe, Clarinet, Bassoon(2), Trumpet, French Horn, Trombone, Tuba, Timpani, Violin(2), Viola, Cello, Contrabass
There is a story that George Frideric Handel's magnificent Water Music was originally intended as a peace offering to King George I. In 1710, prior to his ascension to the British throne, the then Elector of Hanover had given the rather vagabond composer a generous position at his court; but Handel never actually fulfilled his duties. After the Elector relocated to London, the composer was more than a little reluctant to face his old master. As the story goes, it was not until 1717, when Handel seized the opportunity to provide some musical entertainment for the King's now-famous barge party on the River Thames, that the composer was restored in the royal eye; George I was completely enamored with the Water Music (asking for the hour-long work to be repeated three times and not returning to the palace until the wee hours) and all past transgressions were immediately forgotten. There was indeed a grand party on the Thames on July 17, 1717, during which some of Handel's music (possibly but not definitely the Water Music) was played, but the rest of the story is likely highly fictionalized. It appears that Handel drew upon three already-composed suites of instrumental music, each scored for slightly different instrumental forces, when putting together the Water Music; the Water Music Suite No. 1 in F major, HWV 348, scored for a pair of oboes, bassoon, two horns, two violins, and basso continuo, is the largest of the three, comprising ten more-or-less separate pieces. The Overture that begins the first Water Music Suite is in two large sections. The stately and eminently restrained exuberance of the first and slower section, built entirely out of a single ornamented pick-up gesture, finally boils over into the vivacious, partially fugato, allegro portion of the piece. There are two printed endings for the Overture: one ending in a full and rich cadence to tonic, the other climaxing on a dramatic half cadence. Next up is an Adagio e staccato (the heading is apparently Handel's), and then a large three-part movement that moves from an "allegro" (not Handel's heading) built on a regal, fanfare-like, repeated-note motive in triple meter, to a Corelli-derived Andate in D minor and then back to the allegro "da capo." If we count this Allegro-Andante-Allegro as a single movement, there are really only nine pieces in the Suite. A delightful minuet (sometimes called simply Andante or Moderato) precedes the famous Air, which is marked by Handel to be played three times. Another minuet and trio, this time starting off with a robust horn duet, follows. The Bourrée, like the Air, is to be played three times; on the second time around the two oboes take the place of the two violin sections, and on the third the two contingents join forces. After a Hornpipe, Handel finishes the Suite with a substantial fast movement (not titled, but written in ordinary Baroque allegro style) not in F major, but rather in its relative minor, perhaps in an effort to make more seamless the transition between this Suite and the following one in D major (HWV 349). Source: AllMusic (https://www.allmusic.com/composition/water-music-suite-no-1-for-orchestra-in-f-major-hwv-348-mc0002368487). Although originally created for Large orchestra, I created this arrangement of Water Music Suite in F Major (HWV 348 No. 1) for Small Orchestra (Flutes, Oboes, Bb Clarinets, Bassoon, Contrabassoon, Bb Trumpets, French Horns, Trombones, F Tubas, Timpani, Violins, Violas, Cellos & Bass).

"Praeludium" für Kleines Orchester

15 parts14 pages02:535 years ago858 views
Flute, Oboe, Clarinet(2), Bassoon, French Horn, Trombone, Timpani, Percussion(2), Strings(5)
Edvard Armas Järnefelt (1869 – 1958), was a Finnish composer and conductor. Refered to as Armas, Järnefelt was born in Vyborg, in the Grand Duchy of Finland, the son of general August Aleksander Järnefelt and Elisabeth Järnefelt (née Clodt von Jürgensburg). His siblings were Kasper, Arvid, Erik, Ellida, Ellen, Aino, Hilja and Sigrid. Armas Järnefelt was the first Finnish composer to conduct Richard Wagner's operas in Finland. He achieved some minor success with his orchestral works Berceuse and Praeludium. Järnefelt's music teacher in Helsinki was Ferruccio Busoni and in Paris, Jules Massenet. He enjoyed a close relationship with Jean Sibelius, who was married to Järnefelt's sister Aino. From 1905 Armas Järnefelt worked in Sweden. He became a Swedish citizen in 1909, and died in Stockholm. Although originally written for small orchestra and percussion, I created this transcription for Flute, Oboe, Bb Clarinet, Bassoon, French Horn, F Trombone, Timpani (C & F), Xylophone, Tubular Bells & String Ensemble (Violins (2), Viola, Cello & Bass).

Aria: "Warum willst du so zornig sein" (BWV 101 No 4) for Brass Quintet

5 parts9 pages08:113 years ago837 views
Trumpet(2), French Horn, Trombone, Tuba
Nimm von uns, Herr, du treuer Gott (Take away from us, Lord, faithful God), BWV 101, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the tenth Sunday after Trinity and first performed it on 13 August 1724. It is based on the hymn by Martin Moller (1584). Bach composed the cantata in Leipzig for the tenth Sunday after Trinity as part of his second cantata cycle. The prescribed readings for the Sunday were from the First Epistle to the Corinthians, different gifts, but one spirit (1 Corinthians 12:1–11), and from the Gospel of Luke, Jesus announcing the destruction of Jerusalem and cleansing of the Temple (Luke 19:41–48). The text of the cantata is based on the seven stanzas of Martin Moller's chorale (1584), which he had written during a time of plague, as a paraphrase of the Latin poem Aufer immensam (1541). The chorale is sung on the melody of Martin Luther's "Vater unser im Himmelreich" on the Lord's Prayer. The words are used unchanged in movements 1 and 7. An unknown poet transcribed the ideas of stanzas 2, 4 and 6 to arias. He kept the text of stanzas 3 and 5, but interpolated it by recitative. The cantate text is only generally related to the readings, unlike Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46, a year before, dealing with the lament of Jerusalem in text from Lamentations. But the poet hinted at the destruction of Jerusalem by "Daß wir nicht durch sündlich Tun wie Jerusalem vergehen!" (so that, through sinful acts, we might not be destroyed like Jerusalem!) in movement 2. The chorale melody in Dorian mode is present in all movements but the first aria. The opening chorus is a chorale fantasia with the cantus firmus in the soprano, each line prepared by the lower voices. A choir of trombones plays colla parte with the voices, embedded in a setting of oboes and strings, which is also rather vocal. John Eliot Gardiner notes Bach's "disturbing intensification of harmony and vocal expression for the words 'für Seuchen, Feur und großem Leid' (contagion, fire and grievous pain) at the end of the movement". The first aria is accompanied by a virtuoso flute, replaced by a violin in a later version. The flute writing suggests that Bach had a capable flute player at hand in 1724, as in Was frag ich nach der Welt, BWV 94, composed a week before. The recitative combines an embellished version of the chorale melody with secco recitative. The central movement starts like a dramatic aria, marked vivace, in three oboes and continuo. But after this "furious ritornello" the bass begins unexpectedly, marked andante, with the first line of the chorale stanza on the chorale melody, raising the question "why are you so incensed with us". In the middle section, the complete chorale is played by the instruments, while the voice sings independently. The second recitative is symmetric to the first. Movement 6 combines two voices, the flute and the oboe da caccia, which plays the chorale melody. The instrumentation is similar to the central movement of Bach's St Matthew Passion, Aus Liebe will mein Heiland sterben. The final stanza is set for four parts. Although originally scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett, three trombones, two oboes, taille (tenor oboe), flauto traverso (or violin), two violins, viola and basso continuo, I created this arrangement for Brass Quintet (C Trumpet, Flugelhorn, French Horn, Bass Trombone & F Tuba) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php) as well as the "Dirty Brass Trumpet SoundFont" Soundfont at http://hotfile.com/dl/107684584/730b25e/Dirty_Brass_Trumpet_SoundFont_20

Aria: "Seht, was die Liebe tut" (BWV 85 No 5) for Brass Trio

3 parts3 pages02:283 years ago811 views
French Horn, Trombone, Tuba
Ich bin ein guter Hirt (I am a Good Shepherd), BWV 85, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the second Sunday after Easter and first performed it on 15 April 1725. Bach composed the cantata in his second annual cycle in Leipzig for the second Sunday after Easter, called Misericordias Domini. The prescribed readings for that Sunday were from the First Epistle of Peter, Christ as a model (1 Peter 2:21–25), and from the Gospel of John, the Good Shepherd (John 10:11–16). According to John Eliot Gardiner, the poet is likely the same as for two preceding cantatas, Bleib bei uns, denn es will Abend werden, BWV 6, and Am Abend aber desselbigen Sabbats, BWV 42, before Christiana Mariana von Ziegler became the poet for the following cantatas of the period. The three cantata texts were probably written for Bach's first year in Leipzig, but postponed due to the workload of the first performance of the St John Passion that year. They are a sequence on themes from the Gospel of John. The poet opens the cantata with the beginning from the Gospel, verse 11. Movement 2 explains that being a Good Shepherd was realized in the Passion. The thought is commented by the first stanza of Cornelius Becker's hymn "Der Herr ist mein getreuer Hirt" (1598), a paraphrase of Psalm 23. The poet refers In movement 4 to verse 12 of the Gospel, the contrast of the shepherd who is awake to watch over the sheep, whereas the hired servants sleep and neglect them. Movement 5 names love as the shepherd's motivation to care for the sheep. The cantata ends with the chorale "Ist Gott mein Schutz und treuer Hirt", the fourth stanza of Ernst Christoph Homberg's hymn "Ist Gott mein Schild und Helfersmann" (1658). In the first movement, the bass as the vox Christi sings "I am a good shepherd", framed by instrumental ritornellos. The motif on these words appears already four times in the ritornello. The movement is between aria and arioso, with the oboe as a concertante instrument in "a mood of tranquil seriousness". The alto aria is accompanied by an obbligato violoncello piccolo. The chorale stanza is sung by the soprano on the tune of "Allein Gott in der Höh sei Ehr" by Nikolaus Decius, with a slightly ornamented melody, whereas the two oboes play a theme in ritornellos which is derived from the first line of the tune. The only recitative is a miniature sermon, accompanied by the strings accenting phrases of the text. Movement 5 is the only movement in the cantata in pastorale rhythm. The strings, violins and viola's, play in unison, so in the low register. Thus the tenor voice frequently appears as the highest part, beginning with three times "Seht" (look). Gardiner observes the similarity to the alto aria "Sehet, Jesus hat die Hand" in the St Matthew Passion (#60 in the Neue Bach-Ausgabe), both in the theme "pastoral love emanating from the cross", and the music, described as "rich, flowing melody and gently rocking rhythm". The closing chorale is a four-part setting. Although originally scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the chorale, two oboes, two violins, viola, violoncello piccolo and basso continuo, I created this arrangement for Brass Trio (French Horn, Trombone & Tuba).

Chorale: "Herr Jesu Christ, wahr’ Mensch und Gott" (BWV 127 No 1) for Small Orchestra

13 parts31 pages05:213 years ago809 views
Piccolo, Flute, Oboe, Clarinet, Trumpet(2), Trombone, French Horn, Tuba, Strings(4)
Herr Jesu Christ, wahr' Mensch und Gott (Lord Jesus Christ, true Man and God), BWV 127, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the Sunday Estomihi, the Sunday before Ash Wednesday, and first performed it on 11 February 1725. It is based on the chorale in eight stanzas by Paul Eber (1562). Bach wrote the chorale cantata in his second year in Leipzig for Estomihi. The Sunday, also called Quinquagesima, is the last Sunday before Lent, when Leipzig observed tempus clausum and no cantatas were performed. In 1723, Bach had probably performed two cantatas in Leipzig on that Sunday, Du wahrer Gott und Davids Sohn, BWV 23, composed earlier in Köthen, and Jesus nahm zu sich die Zwölfe, BWV 22, both audition pieces to apply for the post of Thomaskantor in Leipzig. The prescribed readings for the Sunday were taken from the First Epistle to the Corinthians, "praise of love" (1 Corinthians 13:1–13), and from the Gospel of Luke, healing the blind near Jericho (Luke 18:31–43). The Gospel also announces the Passion. The text is based on the funeral song in eight stanzas by Paul Eber (1562). The hymn suites the Gospel, stressing the Passion as well as the request of the blind man in the final line of the first stanza: "Du wollst mir Sünder gnädig sein" (Be merciful to me, a sinner). The song further sees Jesus' path to Jerusalem as a model for the believer's path to his end in salvation. An unknown librettist kept the first and the last stanza and paraphrased the inner stanzas in a sequence of recitatives and arias. Stanzas 2 and 3 were transformed to a recitative, stanza 4 to an aria, stanza 5 to a recitative, stanzas 6 and 7 to another aria. Bach first performed the cantata on 11 February 1725. It is the second to last chorale cantata of his second annual cycle, the only later one being BWV 1 for the feast of Annunciation which was celebrated even if it fell in the time of Lent. The opening chorale is structured by an extended introduction and interludes. These parts play on a concertante a motif derived from the first line of the chorale, but also have a cantus firmus of the chorale "Christe, du Lamm Gottes", the Lutheran Agnus Dei, first played by the strings, later also by the oboes and recorders. It appears in a similar way to the chorale as the cantus firmus in the opening chorus of his later St Matthew Passion, "O Lamm Gottes, unschuldig (de)". Its request "erbarm dich unser" (have mercy upon us) corresponds to the request of the blind man. A third chorale is quoted repeatedly in the continuo, "O Haupt voll Blut und Wunden". Christoph Wolff notes that on Good Friday of that year Bach would perform the second version of his St John Passion, replacing the opening and the closing movement of the first version by music based on chorales, "O Mensch, bewein dein Sünde groß" which would become the final movement of the first part of the St Matthew Passion, and again "Christe, du Lamm Gottes". Bach chose a rare instrumentation for the first aria, the oboe plays a melody, supported by short chords in the recorders, in the middle section "Sterbeglocken" (funeral bells) are depicted by pizzicato string sounds. Movement 4 illustrates the Day of Judgement. On the text "Wenn einstens die Posaunen schallen" (When one day the trumpets ring out), the trumpet enters. The unusual movement combines an accompagnato recitative with an aria, contrasting the destruction of heaven and earth with the security of the believers, the latter given in text and tune from the chorale. John Eliot Gardiner describes it as a "grand, tableau-like evocation of the Last Judgement, replete with triple occurrences of a wild 6/8 section when all hell is let loose in true Monteverdian concitato ("excited") manner". He compares it to the "spectacular double chorus" from the St Matthew Passion "Sind Blitze, sind Donner in Wolken verschwunden". The closing chorale is a four-part setting with attention to details of the text, such as movement in the lower voices on "auch unser Glaub stets wacker sei" (also may our faith be always brave) and colourful harmonies on the final line "bis wir einschlafen seliglich" (until we fall asleep contentedly). Although originally scored for three vocal soloists (soprano, tenor and bass), a four-part choir, trumpet, two recorders, two oboes, two violins, viola and basso continuo, I created this arrangement for Piccolo, Flute, Oboe, Bb Clarinet, Bb Trumpet, Flugelhorn, Trombone, French Horn, F Tuba 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) as well as the "Dirty Brass Trumpet SoundFont" Soundfont at http://hotfile.com/dl/107684584/730b25e/Dirty_Brass_Trumpet_SoundFont_20.

Fuga: "Dein Alter sei wie deine Jugend" (BWV 71 No 3) for Brass Quintet

5 parts3 pages01:423 years ago802 views
Trumpet(2), French Horn, Trombone, Tuba
Gott ist mein König (God is my king), BWV 71, is a cantata by Johann Sebastian Bach. He composed it in Mühlhausen for an annual church service that was held to celebrate the inauguration of the new city council on 4 February 1708. It is one of the six earliest cantatas Bach composed (along with BWV 150, 131, 106, 196 and 4) that are still extant. Like these other works, the text of BWV 71 is of a pre-Neumeister character, featuring neither recitative nor arias. From 1707 to 1708, Bach was the organist of one of Mühlhausen's principal churches, Divi Blasii church (dedicated to St Blaise also called Blaise the Divine), where he composed some of his earliest surviving cantatas. (One or two cantatas, for example Nach dir, Herr, verlanget mich, BWV 150, may have been written at Arnstadt, his previous residence, for performance at Mühlhausen.) Gott ist mein König, along with another cantata (now lost) composed the following year, was written for the annual service that took place on February 4, the day after the city held elections to install a new city council. Gott ist mein König is a significant early work of Bach. It differs from the other extant cantatas from Bach's time in Mühlhausen by its elaborate instrumentation. Bach went on to compose other cantatas for the ratswechsel for the town council at Leipzig, which also had a "festive" scoring, but Gott ist mein König differs from them too: very few of the formal characteristics of Bach's Leipzig cantatas (still some fifteen years in the future) are found in this early work. It was so positively received that it was the first of Bach's works to be printed (paid for by the city council); it is the only cantata to have been printed in his lifetime, at least in a version which has survived to this day. (Bach was commissioned to compose another cantata for the following year's council inauguration; there is evidence that the piece was composed and even printed, but no copies are known to survive). The printing is all the more remarkable as the council changed every year, and Gott ist mein König appears to have been intended for not more than one repeat performance. The cantata is scored for four soloists: soprano, alto, tenor and bass. The choral writing is in four parts, and the work can be sung with just four singers, although some performances deploy more singers in the choral sections. The use of a larger choir is partly a question of balance with the instrumental forces, but there is also supporting evidence in the score, where a marking implies that Bach envisaged the option of a vocal ensemble that is separate from the four soloists. This was Bach's first cantata for festive orchestra, including trumpets and timpani. The instruments are divided into four spatially separated "choirs", placing the work in the polychoral tradition associated with composers such as Heinrich Schutz. The instruments required are three trumpets, timpani, two recorders, two oboes, bassoon, organ obbligato, two violins, viola, viola da gamba and basso continuo. Source: Wikipedia (https://en.wikipedia.org/wiki/Gott_ist_mein_K%C3%B6nig,_BWV_71). I created this arrangement for Brass Quintet (2 Bb Trumpets, French Horn, Bass Trombone and Euphonium).

Aria: "Ach, wir bekennen unsre Schuld" (BWV 116 No 4) for Brass Quartet

4 parts5 pages04:243 years ago798 views
Trumpet, French Horn, Trombone, Tuba
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 created this arrangement for Brass Quartet (Bb Trumpet, French Horn, Trombone & Euphonium) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php) as well as the "Dirty Brass Trumpet SoundFont" Soundfont at http://hotfile.com/dl/107684584/730b25e/Dirty_Brass_Trumpet_SoundFont_20.
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"Trepak" from the Nutcracker Suite (Opus 71a Mvt. 4) for Small Orchestra

16 parts11 pages01:068 months ago754 views
Flute, Oboe, Clarinet, English Horn, Bassoon, Trumpet, French Horn, Trombone, Tuba(2), Timpani, Violin(2), Viola, Cello, Contrabass
Pyotr Ilyich Tchaikovsky (1840 - 1893) was a Russian composer who lived in the Romantic period. He is one of the most popular of all Russian composers. He wrote melodies which were usually dramatic and emotional. He learned a lot from studying the music of Western Europe, but his music also sounds very Russian. His compositions include 11 operas, 3 ballets, orchestral music, chamber music and over 100 songs. His famous ballets (Swan Lake, The Nutcracker and Sleeping Beauty) have some of the best known tunes in all of romantic music. Tchaikovsky's ballet of the Nutcracker is based on Alexandre Dumas' translation of the original tale by E.T.A. Hoffman. Act One tells a story of how little Clara aids her magical Christmas gift (a nutcracker in the form of a soldier) defeat an army of mice. As a reward, in Act Two, he takes her to his magic kingdom and introduces her to a variety of subjects in a colorful stream of character dances. Tchaikovsky was initially displeased with the scenario for the ballet, which would be his last, because it lacked real drama. However, he reconciled himself to it and completed the Nutcracker Suite, Op. 71a, which was popular from its first performance, before going on to complete the entire ballet. Those seven dances -- including the familiar Spanish (Chocolate), Arab (Coffee), Chinese (Tea), and Russian dances -- and the overture are essentially the same as they appeared in the final, full ballet. To these he added interludes and scenes, with music and orchestrations that are just as delightful. His supply of lovely themes is endless, and he constantly provides brilliant orchestration. Unique features of his instrumentation include the Overture, which is entirely without cellos and double basses; the "Dance of the Sugar-Plum Fairy," which was inspired by the new celesta, an instrument Tchaikovsky encountered in Paris while working on the score; and the "Waltz of the Snowflakes," which uses a children's chorus. He also used toy instruments, perfectly in keeping with a story for children. The ballet was not as successful as his other stage works when it first appeared, however, now the traditional Christmas ballet is so popular that its annual performance keeps many a ballet company afloat. If all you know of this ballet is the famous suite, by all means hear the entire work.. Source: Wikipedia (https://simple.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky). Although originally created for Orchestra, I created this Transcription of the "Trepak" from the Nutcracker Suite (Opus 71a Mvt. 4) for Small Orchestra (Flutes, Oboes, Bb Clarinets, English Horns, Bassoons, Bb Trumpets, French Horns, Trombones, Euphoniums, Tubas, Timpani, Violins, Violas, Cellos & Bass).

Prelude & Fugue in E Minor (BWV 533) for Brass Quintet

5 parts6 pages03:572 years ago726 views
Trumpet(2), French Horn, Trombone, Tuba
The "Cathedral" Prelude and Fugue is also listed in various Bach catalogs under the nicknames "Little" or "Petite." At about five minutes, it is among the shorter Preludes and Fugues, and thus its simpler moniker may be more appropriate than the seemingly nondescript "Cathedral," listed in the headnote here. This work was likely written during the first few years that Bach spent in Arnstadt, the city where he served as organist at the Neue Kirche from 1703-1707. It probably preceded Bach's study of Buxtehude's works (begun in 1705), which would have a profound influence on his keyboard compositions. In one respect the Prelude and Fugue in E minor here is unusual: most such works by Bach contain a slow section (usually the prelude) and a larger fast section (usually the fugue). Here, both are moderately paced, with the opening portion, the Prelude, at times stormy and restless, and filled with much intensity and drama. It is also stately in its seriousness, and contains very little contrapuntal writing, thereby setting the stage for the counterpoint-laden Fugue that follows. If the music in the Fugue comes across as relaxed -- at least by contrast -- it also conveys a busier sense, a feeling the mood is evolving from the serene but earthbound to the inspiring and heavenly. Perhaps the nickname "Cathedral" is not so nondescript after all? Source: Allmusic.com (http://www.allmusic.com/composition/prelude-and-fugue-for-organ-in-e-minor-cathedral-bwv-533-bc-j18-mc0002405098). Although originally composed for Organ, I created this modern interpretation for Brass Quintet (Bb Trumpet, Flugelhorn, French Horn, Trombone & F Tuba).

Prelude: "Wir glauben all' an einen Gott" (BWV 740) for Brass Quintet

5 parts3 pages03:51a year ago719 views
Trumpet(2), French Horn, Trombone, Tuba
As organist at Weimar, Johann Sebastian Bach was charged with providing a harmonic underpinning for the singing of Lutheran chorale tunes chosen for each day. Bach wrote out many of these harmonizations, in part as instruction for younger composers (they are still used for this purpose). A derivation of this practice, Bach's conception of the organ chorale, as manifested in the chorale preludes, dates from 1713 -1714, about the time he became familiar with Vivaldi's concertos. Bach's Orgelbüchlein (Little Organ Book) contains chorale preludes for the church year written during the composer's service at Weimar (1708 - 1717). In about 1713, Bach began assembling the Orgel-Büchlein, and his earliest entries seem to be Her Christ, der ein'ge Gottes-Sohn, BWV 601, In dulci jubilo, BWV 608, Christ ist erstanden, BWV 627, and Heut' triumphieret Gottes Sohn, BWV 630. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. Bach's Orgelbüchlein was essentially complete by 1716. Only the fragment O Traurigkeit and the chorale prelude, Helft mir Gottes Güte preisen, BWV 613, were added later. "Complete" is used with some reservation here, because Bach originally projected 164 pieces but completed fewer than 50. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes. The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text. In the early 1740s Bach assembled a number of chorale preludes, possibly with the intention of publishing them as a set. These Achtzehn Choräle (Eighteen Chorales) BWV 651 - 668 were almost certainly written before 1723 and revised later. The Fantasia super Komm, heiliger Geist, BWV 651 is an especially impressive, extended elaboration of the chorale melody, which is in the pedal. The tune is treated in a less ornate fashion in the next prelude of the set (BWV 652). The highly convoluted Von Gott will ich nicht lassen, BWV 658 also contains the chorale melody in the pedal. The six Schübler chorales (BWV 645 - 650) are derived from Bach's cantatas and contain one of his most popular chorale preludes, on the melody Wachet auf, ruft uns die Stimme, BWV 645. The third part of Bach's Clavier-Übung, published in Leipzig in 1739, contains 21 chorale preludes (not all appear in every publication), many of which are for manuals only. Nine of these are meant for use during the Mass, while the others are for the catechism. Among the most impressive is Kyrie, Gott heiliger Geist, BWV 671, which is in five voices with the chorale melody in the pedal. More complex is the first of two preludes on Aus tiefer Not schrei ich zu dir, BWV 686, which is in six parts, including two pedal parts. Although the authorship of this work is in question, one can surmise that if Bach did compose it, he probably did so in the early years of the eighteenth century. For one thing, he wrote another setting of this chorale theme for organ during this time, the BWV 1098, which was discovered in the so-called Neumeister collection in 1985. That work is generally dated to the years 1700-1708. Of course, Bach also did two additional ones for the 1739 Deutsche Orgelmess, but this BWV 740 rendition has less in common with the composer's later style. Like the Neumeister effort, this one begins in a somewhat somber manner, though the mood is light here and dreamy, imparting a contemplative sense. Most of the writing of the main thematic materials is in the upper ranges and conveys a somewhat fragile ethereality. The contrapuntal activity, while well-crafted, is not as subtle as that in many other Bach keyboard works, despite the five-part writing here (two voices in the pedals). Still, this five-minute work is a fine effort whose complexity and other features suggest that Bach could well be the composer. Source: Allmusic (http://www.allmusic.com/composition/wir-glauben-all-an-einen-gott-iv-chorale-prelude-for-organ-by-j-l-krebs-not-jsb-bwv-740-mc0002379185). Although originally written for Pipe Organ, I created this Interpretation of the Chorale Prelude (BWV 740) "Wir glauben all an einen Gott" (We all believe in one true God) for Brass Quintet (Bb Trumpet, Flugelhorn, French Horn, Trombone, Euphonium & F Tuba).

"Dance of the Reed Pipes" from the Nutcracker Suite (Opus 71a Mvt. 7) for Small Orchestra

17 parts10 pages02:068 months ago683 views
Flute, Oboe, Clarinet(2), English Horn, Bassoon, Trumpet, French Horn, Trombone, Tuba, Percussion, Timpani, Violin(2), Viola, Cello, Contrabass
Pyotr Ilyich Tchaikovsky (1840 - 1893) was a Russian composer who lived in the Romantic period. He is one of the most popular of all Russian composers. He wrote melodies which were usually dramatic and emotional. He learned a lot from studying the music of Western Europe, but his music also sounds very Russian. His compositions include 11 operas, 3 ballets, orchestral music, chamber music and over 100 songs. His famous ballets (Swan Lake, The Nutcracker and Sleeping Beauty) have some of the best known tunes in all of romantic music. Tchaikovsky's ballet of the Nutcracker is based on Alexandre Dumas' translation of the original tale by E.T.A. Hoffman. Act One tells a story of how little Clara aids her magical Christmas gift (a nutcracker in the form of a soldier) defeat an army of mice. As a reward, in Act Two, he takes her to his magic kingdom and introduces her to a variety of subjects in a colorful stream of character dances. Tchaikovsky was initially displeased with the scenario for the ballet, which would be his last, because it lacked real drama. However, he reconciled himself to it and completed the Nutcracker Suite, Op. 71a, which was popular from its first performance, before going on to complete the entire ballet. Those seven dances -- including the familiar Spanish (Chocolate), Arab (Coffee), Chinese (Tea), and Russian dances -- and the overture are essentially the same as they appeared in the final, full ballet. To these he added interludes and scenes, with music and orchestrations that are just as delightful. His supply of lovely themes is endless, and he constantly provides brilliant orchestration. Unique features of his instrumentation include the Overture, which is entirely without cellos and double basses; the "Dance of the Sugar-Plum Fairy," which was inspired by the new celesta, an instrument Tchaikovsky encountered in Paris while working on the score; and the "Waltz of the Snowflakes," which uses a children's chorus. He also used toy instruments, perfectly in keeping with a story for children. The ballet was not as successful as his other stage works when it first appeared, however, now the traditional Christmas ballet is so popular that its annual performance keeps many a ballet company afloat. If all you know of this ballet is the famous suite, by all means hear the entire work. Source: Wikipedia (https://simple.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky). Although originally created for Orchestra, I created this Transcription of the "Dance of the Reed Pipes" from the Nutcracker Suite (Opus 71a Mvt. 7) for Small Orchestra (Flutes, Oboes, Bb Clarinets, English Horns, Bass Clarinets, Bassoons, Bb Trumpets, French Horns, Trombones, Tuba, Cymbols, Timpani, Violins, Violas, Cellos & Bass).