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

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Bach, Johann Sebastian: Aria: "Ich will den Kreuzstab gerne tragen" for Horn & Strings

Aria: "Ich will den Kreuzstab gerne tragen" for Horn & Strings
BWV 56 No 1
Johann Sebastian Bach

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

Cor, Quatuor à cordes

Genre :


Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Ich will den Kreuzstab gerne tragen ("I will the cross-staff gladly carry" or "I will gladly carry the Cross"), BWV 56, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig for the 19th Sunday after Trinity. It is regarded as part of his third annual cycle of cantatas. The original score has Bach's handwritten comment "Cantata à Voce Sola e Stromenti" (Cantata for solo voice and instruments). This is one of the few examples in which Bach uses the generic musical term cantata in his own writing. Bach first performed the cantata on 27 October 1726. One week before, he had also concluded a solo cantata by a chorale, the cantata for alto Gott soll allein mein Herze haben, BWV 169.

The opening aria is in bar form AAB, with two stollen (A) followed by an abgesang (B). The first stollen starts off with a ritornello for full orchestra, anticipating in counterpoint the rising and then falling motif of the bass soloist, mounting to an anguished augmented second marking the word Kreuzstab (Cross), followed by descending sighing figures signalling the bearing of the cross. After the entry of the soloist, with its long and highly expressive melismatic lines, the three groups of strings and oboes accompany in counterpoint and echoing responses drawn from motifs of the opening ritornello. The ritornello is then taken up in the second stollen, but with significant variations because of the differing text: "It leads me after my torments to God in the Promised Land". After a repeat of the opening ritornello, the final abgesang illustrates the words, "There at last I will lay my sorrow in the grave, there my Savior himself will wipe away my tears." Highly charged declamatory triplets, dramatically spanning the whole bass register, are responded to by sighing motifs in the accompaniment. A reprise of the orchestral ritornello brings the aria to a close.

In the second movement, the undulation of the sea is depicted in the accompaniment by flowing semiquavers in the violoncello over repeated quavers in the basso continuo. The joyous third movement is a da capo aria, illustrating the passage from Isaiah. It is a lively concertante duet for solo oboe, bass soloist and basso continuo, full of elaborate coloraturas in the solo parts. The fourth movement starts as a declamatory recitative for bass with sustained string accompaniment which after seven bars changes time signature from 4/4 to 3/4, resuming a simplified and becalmed version of the second half of the abgesang from the first movement.

The third movement expresses the joy at being united with the Saviour; the text comes from Isaiah 40:31: "Those that wait upon the Lord shall gain new strength so that they mount up with wings like an eagle, so that they run and do not grow weary."

This joy is coupled with a yearning for death, a theme that is present until the very end of the work. The concluding chorale is the sixth verse of Johann Franck's hymn "Du, o schönes Weltgebäude" (1653). Before the chorale, the final lines of the opening aria taken from Revelation 7:17 are heard once more; this unusual device appears several times in the third cycle of cantatas.
The final four part chorale, with the orchestra doubling the vocal parts, is an inspired masterpiece. Based on a melody by Crüger from 1646, it takes as metaphor a ship being brought safely to port, marking the end of the metaphorical journey in the cantata. Bach introduces dramatic syncopation for each declamation in "Come, O Death, you brother of sleep"; and it is only at the end of the penultimate line that torment and dissonance are transformed into glory and harmony, echoing the words "Denn durch dich komm ich herein / zu dem schönsten Jesulein" (for through you I will come to my loveliest little Jesus. ).

The cantata is scored for bass, a four-part choir only in the closing chorale, two oboes, taille or oboe da caccia, two violins, viola, cello, and basso continuo. Except for the obbligato oboe in movement 3, the three oboes double the violins and viola colla parte.

Source: Wikipedia ( erne_tragen,_BWV_56).

I created this arrangement of the Opening Aria "Ich will den Kreuzstab gerne tragen" (I will gladly carry the Cross) for French horn & Strings (2 Violins, Viola & Cello).
Source / Web :MuseScore
Ajoutée par magataganm le 2015-08-01
Partition centrale :Ich will den Kreuzstab gerne tragen, 56 (6 partitions)

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Cette partition est associée à la collection de magataganm :
Viola Arrangements

Liste des partitions :
› "Joy to the World" for String Quartet
› 'Élégie' for Viola & Harp - Alto et Harpe
› "Élégie" from "6 Études pour la Main Gauche" for String Quartet
› "3 Chants Sacrés" for Viola & Piano
› "Ach bleib bei uns, Herr Jesu Christ" for Viola
› "Albinoni's Adagio" for Viola & Harp - Alto et Harpe
› "Album leaf" from Lyric Pieces for String Quartet
› "Album" for String Quartet
› "All They That See Him Laugh Him to Scorn" for Horn & Strings
› "All Through the Night" for Violin, Viola & Harp

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