 | Bach, Johann Sebastian - Aria: "Kreuz und Kronen sind verbunden" for Flute, Oboe & Cello BWV 12 No 4 Flûte, Hautbois, Violoncelle (trio) |
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Flûte, Hautbois, Violoncelle (trio) | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 15 Avr 2017 Weinen, Klagen, Sorgen, Zagen (Weeping, lamenting, worrying, fearing), BWV 12 is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Jubilate, the third Sunday after Easter, and led the first performance on 22 April 1714 in the Schlosskirche, the court chapel of the Schloss in Weimar. Bach was appointed Konzertmeister in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed Weinen, Klagen, Sorgen, Zagen as the second cantata in the series, on a text probably written by court poet Salomon Franck. The work is structured in seven movements, an instrumental Sinfonia, a choral passacaglia, a recitative on a Bible quotation, three arias and, as the closing chorale, the last stanza from Samuel Rodigast's hymn "Was Gott tut, das ist wohlgetan" (1674). The cantata is scored for three vocal soloists, a four-part choir, trumpet, oboe, bassoon, two violins, two violas, and basso continuo. Bach performed the cantata again in his first year as homaskantor – director of church music – in Leipzig, on 30 April 1724. He reworked the first section of the first chorus to form the Crucifixus movement of the Credo in his Mass in B minor. Franz Liszt based extended keyboard compositions on the same material. The cantata in seven movements is scored for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir SATB, trumpet (Tr), oboe (Ob), bassoon (Fg), two violins (Vl), two violas (Va) and basso continuo (Bc). Source: Wikipedia (https://en.wikipedia.org/wiki/Weinen,_Klagen,_Sorgen,_ Zagen,_BWV_12). The first of three arias, "Kreuz und Krone sind verbunden" (Cross and crown are bound together), reflects the conflicting motifs of "Kreuz und Krone" (cross and crown) and "Kampf und Kleinod" (conflict and jewel). The aria for alto voice and an oboe which almost always present, is in da capo form, ABA. A ritornello frames part A, but also accompanies the vocal entry. It is thus heard six times in different context, related to the repetitions of the passacaglia of movement 2. The music illustrates the union of the four contrasting elements (all beginning with K): Kampf is sung as a melisma with a trill in measure 15, the preciousness of the jewel appears as a trill in the voice or the accompaniment. The text is also repeated in the middle section, as Bach was still experimenting with the da capo form. I created this arrangement of the first Aria: "Kreuz und Krone sind verbunden" (Cross and crown are bound together) for Flute, Oboe & Cello. Partition centrale : | Weinen, Klagen, Sorgen, Zagen (49 partitions) | | |||
