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Bach, Johann Sebastian Johann Sebastian Bach
Germany Germany
(1685 - 1750)
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Bach, Johann Sebastian: Aria: "Verzage nicht, o Häuflein klein&" for Double-Reed Quartet

Aria: "Verzage nicht, o Häuflein klein&" for Double-Reed Quartet
BWV 42 No 4
Johann Sebastian Bach




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Composer :Johann Sebastian BachBach, Johann Sebastian (1685 - 1750)
Instrumentation :

Double-Reed Quartet

Style :

Baroque

Arranger :
Publisher :
Johann Sebastian BachMagatagan, Mike (1960 - )
Copyright :Public Domain
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_desselbige n_Sabbats,_BWV_42).

I created this arrangement of the second Aria: "Verzage nicht, o Häuflein klein" (Do not despair, o little flock) for Double-Reed Quartet (Oboe, English Horn, Bassoon & Contrabasoon).
Source / Web :MuseScore
Sheet central :Am Abend aber desselbigen Sabbatas (8 sheet music)
Added by magataganm the 2015-08-30


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This sheet music is part of the collection of magataganm :
Woodwind
bois
Woodwind Arrangements
Sheet music list :

› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Oboe and bassoon
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Oboe, English horn, Bassoon
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings
› "Amen Chorus" for Oboes & Strings