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

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7587 MP3
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Hautbois - Music Minus One Collection
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Partitions Hautbois 2 Hautbois et Quatuor à cordes Johann Sebastian Bach
Bach, Johann Sebastian: Aria: "Die Seele ruht in Jesu Händen" for Oboes & Strings

Aria: "Die Seele ruht in Jesu Händen" for Oboes & Strings
BWV 127 No 3
Johann Sebastian Bach

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

2 Hautbois et Quatuor à cordes

Genre :


Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
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 2 Oboes and Strings (2 Violins, Viola & Cello).
Source / Web :MuseScore
Ajoutée par magataganm le 2014-11-05
Partition centrale :Herr Jesu Christ, wahr' Mensch und Gott, 127 (3 partitions)

Matériel & Partitions
Hautbois - Music Minus One Collection
Music Minus One est une collection de partitions avec CD qui vous donne l'opportunité de jouer accompagné par un orchestre ou un piano.

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Cette partition est associée à la collection de magataganm :
arrangements à vent
Liste des partitions :
› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Haubois et basson
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Hautbois, Cor anglais, Basson
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "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

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