Bach, Johann Sebastian Johann Sebastian Bach
Allemagne Allemagne
(1685 - 1750)
8 218 partitions
8 758 MP3 1987 MIDI

› Bach, Johann Sebastian 1
› Magatagan, Mike 3

Ses partitions:

Objets cadeaux
Bach, Johann Sebastian

"Depuis 20 ans nous fournissons un service libre et légal de téléchargement de partitions gratuites.

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

A propos / Témoignages de membres

Partitions Cor Cor et Harpe Johann Sebastian Bach
Bach, Johann Sebastian: Aria:

Aria: "Meinen Jesum laß ich nicht" for Horn & Harp
BWV 98 No 5
Johann Sebastian Bach

Prévisualisation :

Niveau :
Applaudir :
Télécharger PDF : Aria: "Meinen Jesum laß ich nicht" (BWV 98 No 5) for Horn & Harp (6 pages - 156.01 Ko)
VoirTélécharger PDF : French Cor Part (69.7 Ko)
VoirTélécharger PDF : Harpe Part (133.11 Ko)
Connectez-vous gratuitement
et participez à la communauté :

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

Télécharger MP3 : Audio principal (9.34 Mo)89x 304x
Aria: Meinen Jesum laß ich nicht for Horn & Harp
Télécharger MP3 (8.65 Mo) : (par Magatagan, Mike)70x 107x
Aria: Meinen Jesum laß ich nicht for Horn & Harp
Télécharger MP3 (8.58 Mo) : (par Magatagan, Mike)55x 71x

Compositeur :Johann Sebastian BachJohann Sebastian Bach (1685 - 1750)
Instrumentation :

Cor et Harpe

Genre :


Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Was Gott tut, das ist wohlgetan (What God does is well done), BWV 98, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the 21st Sunday after Trinity and first performed it on 10 November 1726.

In his fourth year in Leipzig, Bach wrote the cantata for the 21st Sunday after Trinity and first performed it on 10 November 1726. It is regarded as part of his third annual cycle of cantatas. The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians, "take unto you the whole armour of God" (Ephesians 6:10–17), and from the Gospel of John, the healing of the nobleman's son (John 4:46–54). The cantata opens with the first stanza of the chorale, "Was Gott tut, das ist wohlgetan" (1674) by Samuel Rodigast, but it is not a chorale cantata in the strict sense of Bach's second annual cycle, cantatas on the stanzas of one chorale. He had then treated the same chorale completely in Was Gott tut, das ist wohlgetan, BWV 99 (1724), and would do it later once more in Was Gott tut, das ist wohlgetan, BWV 100 (1732).

The text of the chorale concentrates on trust in God, whereas the two cantatas previously composed for the occasion, Ich glaube, lieber Herr, hilf meinem Unglauben, BWV 109, and Aus tiefer Not schrei ich zu dir, BWV 38, both started from doubt and distress. The unknown poet refers to general ideas from the gospel. He stresses that a prayer for salvation will be granted, in movement 4 according to Matthew 7:7, "knock, and it shall be opened unto you", and he continues in movement 5, paraphrasing Jacob in Genesis 32:26, "I will not let you go, except you bless me". This final movement is not a chorale, although its text begins like one, Christian Keymann's "Meinen Jesum laß ich nicht" (1658).

The cantata is scored like chamber music, especially compared to the chorale cantatas on the same chorale with a melody by Severus Gastorius. In the opening chorus, the mostly homophonic setting of the voices, with the oboes playing colla parte, is complemented by strings dominated by the first violin as an obbligato instrument rather than an independent orchestral concerto. The final line is in free polyphony, extended even during the long last note of the tune. All voices have extended melismas on the word "walten" (govern), stressing that God is "ultimately in control". Strings and voices alternate in the bar form's two Stollen, but are united for the Abgesang.

Both recitatives are secco. The first aria is accompanied by an obbligato oboe. The first two measures of its theme are derived from the chorale tune. The ritornello is repeated after a first vocal section, "cease weeping and remain patient", and a second time, concluding a different vocal section, which renders "God's resoluteness" in a stream of triplets in the voice. The second aria is the final movement, dominated by the violins in unison in a similar structure as the first, two vocal sections framed by repeats of a ritornello. Bach hints at the regular closing chorale by beginning the vocal part with an embellished version of the first line of the hymn "Meinen Jesum laß ich nicht" on a melody by Andreas Hammerschmidt on the same words as the cantata text. The first line appears in four of five entries of the voice.

Although originally scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, two oboes, taille (tenor oboe), two violins, viola, and basso continuo, I created this arrangement for French Horn & Concert (Pedal) Harp.
Source / Web :MuseScore
Ajoutée par magataganm, 28 Fév 2015
Partition centrale :Was Gott tut, das ist wohlgetan, 98 (4 partitions)
0 commentaire


Cette partition est associée à la collection de magataganm :
arrangements pour harpe
arrangements pour harpe
Collection des arrangements pour harpe
Liste des partitions :
› Élégie pour harpe - Harpe
› Étude "La Source" pour harpe - Harpe
› "3 Salve Regina" for Oboe & Harp - Hautbois, harpe
› "A Carousel's Last Song" for Harp - Harpe
› "Adelita" for Harp - Harpe
› "Aeolian Harp Étude" in Ab Major for Harp
› "Alléluia" Duet Harpe - 2 Harpes (Duo)
› "Allemande" for Harp - Harpe
› "Allemande" from the Suite in E-Minor for Harp - Harpe
› "An Emigrant's Daughter" for Oboes & Harp - Hautbois, harpe