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

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Bach, Johann Sebastian: Aria: "In deine Hände befehl ich meinen Geist" for Brass Quintet

Aria: "In deine Hände befehl ich meinen Geist" for Brass Quintet
BWV 106 No 3
Johann Sebastian Bach




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

Quintette de Cuivres : 2 Trompettes, 1 Cor, 1 Trombone, 1 Tuba

Genre :

Baroque

Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
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).
Source / Web :MuseScore
Ajoutée par magataganm le 2015-02-04
Partition centrale :Gottes Zeit ist die allerbeste Zeit, 106 (10 partitions)



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Cette partition est associée à la collection de magataganm :
Arrangements musicaux de Mike Magatagan
Arrangements musicaux de Mike Magatagan
Arrangements musicaux de Mike Magatagan
Liste des partitions :
› "A Che Più Strali" for Brass Ensemble - Quatuor de Cuivres
› "Are You Sleeping?" for Steel Orchestra - Ensemble de Percussion
› "Benedictus" from the Mass in B Minor for Mandolin & Guitars
› "Cádiz (Canción)" from the Suite "Española" for Cello & Guitar
› "Der Geist hilft unser Schwachheit auf" for Double String Quartet - Quatuor à cordes
› "Domino Clasula" for String Quartet - Quatuor à cordes
› "Etude" from "12 Morceaux" for Marimba Duet
› "Every Valley Shall Be Exalted" for Steel Orchestra - Ensemble de Percussion
› "Fanfare for a King" for Trumpet Quartet
› "Fanfare-Rondeau"for Steel Orchestra - Ensemble de Percussion






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