adblocktest


BIBLIOTHÈQUE
Bach, Johann Sebastian Johann Sebastian Bach
Allemagne Allemagne
(1685 - 1750)

6541 Partitions
7177 MP3
1126 MIDI





Pack Flūte traversičre
Débuter la flūte traversičre avec tout ne nécessaire : une flūte + un pupitre + accordeur...



"Depuis 18 ans nous vous fournissons un service gratuit et légal de téléchargement de partitions gratuites.

Si vous utilisez et appréciez Free-scores.com, merci d'envisager un don de soutien."

A propos / Témoignages de membres

› ›
Bach, Johann Sebastian: Chorale: "Weil du mein Gott und Vater bist" for Flute, Oboe & Strings

Chorale: "Weil du mein Gott und Vater bist" for Flute, Oboe & Strings
BWV 138 No 7
Johann Sebastian Bach




Annoter cette partition
Notez le niveau :
Notez l'intérźt :

EcouterTélécharger MP3 (3.07 Mo)113x 113x VoirTélécharger PDF : Chorale: "Weil du mein Gott und Vater bist" (BWV 138 No 7) for Flute, Oboe & Strings (15 pages - 211.83 Ko)254x
 

 
Maintenant que vous eu cette partition en accès libre, les artistes membres attendent un retour de votre part en échange de cet accès gratuit.

Merci de vous connecter ou de créer un compte gratuit afin de pouvoir :





laisser votre commentaire
noter le niveau et l'intérêt de la partition
attribuer un coeur (et participer ainsi à l'amélioration de la pertinence du classement)
ajouter cette partition dans votre bibliothèque
ajouter votre interprétation audio ou video

Connectez-vous gratuitement
et participez à la communauté Free-scores.com





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

Flūte; Hautbois, Cordes

Genre :

Baroque

Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Bach wrote the cantata in his first year in Leipzig for the 15th Sunday after Trinity. The prescribed readings for the Sunday were from the Epistle to the Galatians, Paul's admonition to "walk in the Spirit" (Galatians 5:25–6:10), and from the Gospel of Matthew, from the Sermon on the Mount the demand not to worry about material needs, but to seek God's kingdom first (Matthew 6:23–34). Melody and words of the chorale, published in Nuremberg in 1561, were once attributed to Hans Sachs, but this seems not likely according to Albert Friedrich Wilhelm Fischer's Kirchenliederlexikon (1878). Its theme is close to the reading from the sermon on the mount. Different from later chorale cantatas, the words are not based exclusively on the complete chorale, but only on the first three of its fourteen verses, used in three movements, expanded by additional poetry. The unknown poet contrasted the theme of the chorale, trust in God, with the anxious questioning of single voices, stressed by contrast of the metric poetry of the chorale opposed to the free meter of many interspersed recitatives. A turning point from distress to trust is reached close to the end in the only aria of the cantata. Bach first performed the cantata on 5 September 1723. Bach used the only aria as a base for the Gratias of his Missa in G major.


Bach followed the idea of the unusual text in a complex way in the two movements contrasting the chorale with recitative: in both, in lines 1 to 3 the strings open, the oboes enter, oboe I playing the chorale theme, oboe II adding lamenting motifs, then the tenor enters singing the chorale line as an arioso, finally the choir sings the choral theme in a four-part setting; this is followed by the recitative of the questioning single voice, alto in the first movement, soprano in the later one, both accompanied by the strings. After the three lines and recitatives, lines 4 and 5 are sung by the choir in the first movement. In the later one lines 4 and 5 are first composed as an imitative choral movement on the chorale theme of line 4 in a five-part setting, the fifth part played by violin I. Then a final secco recitative leads to a repeat of lines 4 and 5, this time similar to the first movement.

The only aria in dancing 6/8 time is dominated by figuration of violin I. The third verse of the chorale ends the cantata in a simple choral setting embedded in orchestral music on an independent theme.

The cantata's unusual structure has been criticized by his biographers Philipp Spitta and Albert Schweitzer. John Eliot Gardiner, who conducted the Monteverdi Choir and the English Baroque Soloists on their Bach Cantata Pilgrimage in performance and recording at the Liebfrauenkirche, Bremen (de), objects and summarises the cantata:

There is no question that BWV 138 is a highly original, experimental work, one that is simultaneously archaic, especially in the motet-like writing ... and modern in Bach's way of grappling with three successive stanzas of a sixteenth-century chorale, in anticipation of the chorale-based cantatas of his second Leipzig cycle. It is a clever device which allows him to pile on the tension between anxiety (the solo recitative interjections) and belief (the choral delivery of the hymn stanzas). The cantata's turning-point occurs midway – a dawning realisation that God will come to the believer’s rescue... with an outspoken declaration of trust in His providential care. The elaborate fantasia in 6/8 for the final chorale is a perfect – and well-planned – counterbalance to the gloom and distress of the opening movements.

Although the cantata was scored for soprano, alto, tenor and bass soloists, a four-part choir singing the chorale exclusively, two oboes d'amore, two violins, viola, and basso continuo, I created this arrangement for Flute, Oboe & Strings (4 Violins, 2 Violas & 2 Cellos).
Source / Web :MuseScore
Ajoutée par magataganm le 2014-10-01
Partition centrale :Warum betrübst du dich, mein Herz, 138 (4 partitions)


0 commentaire



Signaler

Cette partition est associée ą la collection de magataganm :
flûte
flûte
Dispositions Flute
Liste des partitions :
› "2 Alma Redemptoris Mater" for Woodwinds & Strings - Vents et Quintet ą cordes
› "3 Gradualia" for Winds & Strings - Vents & Orchestre Cordes
› "A Christmas Air" for Flutes & Harp - Flute et Harpe
› "A Cup of Tea" Reel for Flute - Flūte seule
› "A Dieu Celle" for Woodwind Sextet - Sextuor ą vent.
› "A Pretty Maid Milking the Cow" for Flute, Oboe & Harp - Flūte, Hautbois, Harpe
› "A Swiss Melody" for Flute Quartet - Quatuor de Flūtes
› "Abendlied" for Woodwind Quartet - Quatuor ą vent
› "Ach bleib bei uns, Herr Jesu Christ" for Flute Duet - 2 flutes
› "Ad Te Levavi" for Brass & Strings - Vents & Orchestre Cordes






Boutiques pour FLUTE TRAVERSIERE

Partitions & Méthodes
Voir aussi les partitions digitales

Accessoires & Instruments
Voir aussi les idées cadeaux