 | Bach, Johann Sebastian - Aria: "Mein alles in allem, mein ewiges Gut" for Guitar & Strings BWV 22 No 4 Guitare et Quatuor à Cordes |
VoirPDF : Aria: "Mein alles in allem, mein ewiges Gut" (BWV 22 No 4) for Guitar & Strings (5 pages - 171 Ko)344x⬇ MP3 : Aria: "Mein alles in allem, mein ewiges Gut" (BWV 22 No 4) for Guitar & Strings 86x⬇ 670x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Guitare et Quatuor à Cordes | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 01 Déc 2015 Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself), BWV 22,[a] is a church cantata by Johann Sebastian Bach composed for Quinquagesima, the last Sunday before Lent. Bach composed it as an audition piece for the position of Thomaskantor in Leipzig and first performed it there on 7 February 1723. The work, which is in five movements, begins with a scene from the Gospel reading in which Jesus predicts his suffering in Jerusalem. The unknown poet of the cantata text took the scene as a starting point for a sequence of aria, recitative, and aria, in which the contemporary Christian takes the place of the disciples, who do not understand what Jesus is telling them about the events soon to unfold, but follow him nevertheless. The closing chorale is a stanza from Elisabeth Cruciger's hymn "Herr Christ, der einig Gotts Sohn". The music is scored for three vocal soloists, a four-part choir, oboe, strings and continuo. The work shows that Bach had mastered the composition of a dramatic scene, an expressive aria with obbligato oboe, a recitative with strings, an exuberant dance, and a chorale in the style of his predecessor in the position as Thomaskantor, Johann Kuhnau. Bach directed the first performance of the cantata during a church service, together with another audition piece, Du wahrer Gott und Davids Sohn, BWV 23. He performed the cantata again on the last Sunday before Lent a year later, after he had taken up office. The cantata shows elements which became standards for Bach's Leipzig cantatas and even the Passions, including a "frame of biblical text and chorale around the operatic forms of aria and recitative", "the fugal setting of biblical words" and "the biblical narrative ... as a dramatic scena". The cantata has five movements and is scored for three vocal soloists (an alto (A), tenor (T) and bass (B)), a four-part choir (SATB), and for a Baroque orchestra of an oboe (Ob), two violins (Vl), viola (Va) and basso continuo. The duration is given as c.?20 minutes. Source: Wikipedia (https://en.wikipedia.org/wiki/Jesus_nahm_zu_sich_die_Z w%C3%B6lfe,_BWV_22). In this, the second aria, again with strings, is a dance-like movement in free da capo form, A B A'. The unusually long text, of four lines for the A section and two for the B section, results in Bach's solution to repeat the end of the first line (my eternal good) after all text of A, and then after the middle section B repeat only the first line as A', thus ending A and A' the same way. In this modified repeat, the voice holds a long note on the word Friede ("peace"), after which the same theme appears in the orchestra and again in the continuo. The musicologist Tadashi Isoyama notes the passepied character of the music, reminiscent of secular Köthen cantatas. Mincham describes: "Bach's expression of the joy of union with Christ can often seem quite worldly and uninhibited", and summarises: "The 3/8 time signature, symmetrical phrasing and rapid string skirls combine to create a sense of a dance of abandonment.". I created this arrangement of the second Aria, "Mein alles in allem, mein ewiges Gut" (My all in all, my eternal good) for Classical (Acoustic) Guitar & Strings (2 Violins, Viola & Cello). Partition centrale : | Jesus nahm zu sich die Zwölfe (15 partitions) | | |||
