Johann Sebastian Bach (21 March 1685 ? 28 July 1750) was a German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity.[1] Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation in composition for diverse instrumentation, and the adaptation of rhythms and textures from abroad, particularly Italy and France.
Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg concertos, the Goldberg Variations, the Partitas, the Well-Tempered Clavier, the Mass in B Minor, the St. Matthew Passion, the St. John Passion, the Magnificat, The Musical Offering, The Art of Fugue, the English Suites, the French Suites, the Sonatas and Partitas for violin solo, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the celebrated Toccata and Fugue in D Minor.
While Bach's abilities as an organist were recognized and highly respected throughout Europe during his lifetime, he was not particularly well-known as a composer. His adherence to Baroque forms and contrapuntal style was considered "old-fashioned" by his contemporaries, especially late in his career when the musical fashion tended towards Rococo and later Classical styles. A revival of interest and performances of his music began early in the 19th century, and he is now widely considered to be one of the greatest composers in the Western tradition. (Collapse)...(Read more)
Erhalt uns, Herr, bei deinem Wort (Uphold us, Lord, within thy word), BWV 126, is a church cantata by Johann Sebastian Bach. He wrote the chorale cant...
Erhalt uns, Herr, bei deinem Wort (Uphold us, Lord, within thy word), BWV 126, is a church cantata by Johann Sebastian Bach. He wrote the chorale cantata in his second year in Leipzig for Sexagesimae and first performed it on 4 February 1725. This means that it was performed only two days after the cantata Mit Fried und Freud ich fahr dahin, BWV 125, for the Purification of Mary on 2 February.
A characteristic feature of the opening chorus is a four-note trumpet signal, which is derived from the beginning of the chorale melody, as if to repeat the words "Erhalt uns, Herr" (Uphold us, Lord) again and again. The motif consists of the three notes of the A minor chord in the sequence A C A E, with the higher notes on the stressed syllables, the highest one on "Herr". The cantus firmus of the chorale is sung by the soprano, the other voices sing in imitation, embedded in an independent concerto of the orchestra.
The first aria is a prayer, intensified by two oboes. In the middle section the words "erfreuen" (delight) and "zerstreuen" (scatter) are illustrated by fast runs in the tenor. The second aria, movement 4, is dramatic, especially in the restless continuo. John Eliot Gardiner quotes W. G. Whittaker: Bach’s "righteous indignation at the enemies of his faith was never expressed more fiercely than in this aria". Movement 3 presents the recitative in the alternating voices alto and tenor, but the ornamented chorale as a duet. The chorale melody switches also, given to the voice which enters, whereas the other one continues its recitative by accompanying material. Movement 6 combines the two stanzas from different chorales in a four-part setting.
The cantata i six movemets is scored for alto, tenor, and bass soloists, a four-part choir, trumpet, two oboes, two violins, viola and basso continuo.
Source: Wikipedia (https://en.wikipedia.org/wiki/Erhalt_uns,_Herr,_bei_deinem_Wort,_BWV_126).
I created this arrangement of the first Aria "Sende deine Macht von oben" (Send Your power from above) for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon).
GUITAR
KEYBOARD
STUDIO
PA
LIGHT
DEEJAY
MIC
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