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

6891 Partitions
7581 MP3
1346 MIDI





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Partitions Hautbois Hautbois, Cor anglais, Basson Johann Sebastian Bach
Bach, Johann Sebastian: "Quoniam tu Solus Sanctus" from the Mass in G Major for Double-Reed Trio

"Quoniam tu Solus Sanctus" from the Mass in G Major for Double-Reed Trio
BWV 236 No. 5
Johann Sebastian Bach




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EcouterTélécharger MP3 : "Quoniam tu Solus Sanctus" from the Mass in G Major (BWV 236 No. 5) for Double-Reed Trio 24x 132x VoirTélécharger PDF : "Quoniam tu Solus Sanctus" from the Mass in G Major (BWV 236 No. 5) for Double-Reed Trio (3 pages - 126.92 Ko)114x
 

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

Hautbois, Cor anglais, Basson

Genre :

Baroque

Arrangeur :
Editeur :
Johann Sebastian BachMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Between 1737 and 1748 Johann Sebastian Bach wrote at least five Masses, four of which survive in their entirety. (The C Minor Mass exists only as a fragment.) These are known as the Missa brevis (plural is Missae brevis), meaning brief Masses or Lutheran Masses, in contrast to the Mass in B Minor, Bach's only Latin work following the complete Catholic Mass structure. But none of these Masses gets much attention in either Bach scholarship or performances, suffering first from being in the shadow of the Mass in B Minor - called by Georg Nägeli one of the "greatest musical works of art of all times and all peoples" - and second by the fact that each of these four Masses are "parody" works. A parody work is one based on preexisting music. Parody Masses were common in the Renaissance, whereby a composer would create a new musical work out of old material. Normally, that "old material" was a chant or popular song, some musical element that would be recognizable to the choir and congregation. For two famous examples, see Josquin's Missa pange lingua (based on the chant "Pange lingua", still used today in the Catholic Church), or Machaut's Missa l'homme armé (which is based on a popular song).

Bach's Masses, however, are parodies of his own work. In modern times, we tend to think of the word "parody" in terms of comedy; but the original use of the word in music had no such connotations. In fact, parody was a common technique that was often a form of flattery - if your work proved to be the source of the parody, then your music had to be fairly well known, perhaps even well respected. In the present case, Bach's Mass in G Major is largely based on his own earlier cantatas:

- The "Kyrie Eleison" is derived from Cantata 179
- the opening movement of the "Gloria in Excelsis" comes from Cantata 79
- the "Gratias agimus tibi" movement is derived from Cantata 138
- continuing in the Gloria, the movement "Domine Deus" also comes from Cantata 79
- "Quoniam tu solus sanctus" comes, like the Kyrie, from Cantata 179
- the final movement of the Gloria, "Cum Sancto Spiritu", originates from Cantata 17

Source: Bach.org (http://www.bach.org/bwv236.php).

I created this arrangement of the "Qui tollis peccata mundi" (You who take away the sin of the world) for Double-Reed Trio (Oboe, English Horn & Bassoon).
Source / Web :MuseScore
Ajoutée par magataganm le 2016-08-15
Partition centrale :Prélude et Fugue en La majeur, 536 (4 partitions)


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Cette partition est associée à la collection de magataganm :
bois
bois
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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