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

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Partitions Orchestre Vents & Orchestre Cordes Johann Sebastian Bach
Bach, Johann Sebastian: Chorus: "Lobet den Herrn in seinen Taten" for Brass & Strings

Chorus: "Lobet den Herrn in seinen Taten" for Brass & Strings
BWV 225 No 3
Johann Sebastian Bach




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

Vents & Orchestre Cordes

  1 autre version
Genre :

Baroque

Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Singet dem Herrn ein neues Lied (Sing unto the Lord a new song), BWV 225 is a motet by Johann Sebastian Bach. It was first performed in Leipzig around (probably) 1727. The text of the three-movement motet is in German: after Psalm 149:1–3 for its first movement, the third stanza of "Nun lob, mein Seel, den Herren" (a 1530 hymn after Psalm 103 by Johann Gramann) for the second movement, and after Psalm 150:2 and 6 for its third movement.

This eight-voice motet may have been composed to provide choral exercises for his students. The motet's biblical text would have been suited to that purpose. The final four-part fugue is titled "Alles was Odem hat" ("All that have voice, praise the Lord!").

Six of Bach's motets (BWV 225-230) survive, all from his time in Leipzig. These are long works, far longer than the Renaissance ancestor of this genre. Four, including Singet dem Herrn, were written for double chorus without instrumental accompaniment, although in Bach's day he sometimes doubled the voices with instruments for additional support. (Instrumental parts in Bach's hand do survive, but Bach himself indicated that he preferred to use them only as a "crutch.")

Singet dem Herrn was likely written in 1727 for the Leipzig city and university festival celebrating the birthday of King August, who visited the town after having survived a grave illness. There is, however, a good deal of dispute over the original intention for the work,a well as for the actual date of origin. Handwriting analysis (by Alfred Dürr) reveals that the work clearly comes from 1726 or 1727. The watermark on the paper, however, is consistent with those seen on Bach's Cöthen instrumental music, which makes scholars wonder whether Bach actually wrote the work earlier, or whether the paper was simply left over from an earlier time.

Scholar Steven Daw places the work in late 1727. Daw believes that Bach wrote Singet dem Herrn for a memorial service for the Queen of Poland. Awfully cheerful piece for such an occasion? Yes, but consider the circumstances of her life: she spent the last thirty years of her life in exile from the Polish court after she, unlike her husband, refused to renounce Lutheranism for Roman Catholicism. She was seen by many German Protestants - Bach included - as a Lutheran martyr. Bach's use of a chorale tune (the actual source is unknown) may be the hint here, as well as his insistent repetition of the words "Wohl dem, der sich nur steif und fest auf dich und deine Huld verlässt" (happy the man who firmly and steadfastly puts his trust in You and in Your grace). Is this a message for the congregation to follow the queen's lead? Of course, we might still see this as Bach's personal message. Whether the motet was written in celebration of the King's recover, the Queen's steadfast belief in the Lord, or some other even unknown to modern audiences, Bach's own unflappable faith is evident in that text, and throughout the entire motet.

The text for Singet dem Herrn is derived from Psalm 149, Psalm 150, and Johann Gramann's hymn "Nun lob, mein Seel, den Herren"Robert Marshall writes that it is ""certain" that this motet was one heard by Wolfgang Amadeus Mozart when he visited Leipzig's Thomasschule in 1789. Johann Friedrich Rochlitz, who graduated from the Thomasschule and remained in Leipzig to study theology in 1789, reported ten years later that Johann Friedrich Doles (a student of Bach, who through 1789 was cantor of the Thomasschule and director of the Thomanerchor) "surprised Mozart with a performance of the double-choir motet Singet dem Herrn ein neues Lied by Sebastian Bach.... he was told that the school possessed a complete collection of his motets and preserved them as a sort of sacred relic. 'That's the spirit! That's fine!' [Mozart] cried. 'Let's see them!' There was, however, no score... so he had the parts given to him, and ... sat himself down with the parts all around him.." Rochlitz also reports that Mozart requested a copy, and "valued it very highly...".

The motet in 3 movements is scored for two four-part choirs (Soprano, Alto, Tenor & Bass)

Source: Wikipedia (https://en.wikipedia.org/wiki/Singet_dem_Herrn_ein_neu es_Lied,_BWV_225) and Bach.org (http://www.bach.org/bwv225.php).

I created this arrangement of the closing Chorus: "Lobet den Herrn in seinen Taten" (Praise the Lord in His works) for Brass (Bb Trumpet, Flugelhorn, French Horn & Euphonium) & Strings (2 Violins, Viola & 2 Cello).
Source / Web :MuseScore
Ajoutée par magataganm le 2016-03-26
Partition centrale :Singet dem Herrn ein neues Lied, 225 (4 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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