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--INSTRUMENTS--
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I Had Much Grief
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Luis Anjos Teixeira
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I Had Much Grief
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Luis Anjos Teixeira
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.889444 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,C...
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.889444 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. Score and parts. 12 pages. Luis Anjos Teixeira #5297057. Published by Luis Anjos Teixeira (A0.889444). I Had Much Grief, Cantata BWV 21. „Ich hatte viel Bekümmernis, BWV 21. „Sinfonia This work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as „e per ogni tempo „and for all times, indicating that due to its general theme, the cantata is suited for any occasion. With its distinctive gesture of descent and the plaintive lines of the oboe and violin, the Sinfonia, held in dark minor, sets a tone of pain that is characteristic of the cantata. With its emotional depth and formal wealth, the cantata I had much grief is almost a solitaire in Bach's church music. Performed in Weimar in 1714 and later rearranged several times, it is also suitable as a compositional business card due to its high standards and its shape, which is representative of various types of sentences, and could therefore be related to Bach's application. Bach performed the cantata on 17 June 1714, as his fourth work in a series of monthly cantatas for the Weimar court which came with his promotion to concert master. The Work was transposed to D minor during the Köthen years, and used in November 1720 for a performance in Hamburg to apply for the position as organist at St. Jacobi. As Thomaskantor in Leipzig, Bach performed the cantata again on his third Sunday in office on 13 June 1723. For this performance, he also changed the instrumentation, adding „for example four trombones to double the voices in the fifth stanza of the hymn. This version was used in several revivals during Bach's lifetime and is mostly performed today. From the plaintive sinfonia to the arias and duets touching in their pain and charm to the speaking rhythmic psalm and chorus choirs, a development arc spans that transforms suffering and grief into consolation and trust and culminates in an apotheosis reminiscent of Handel of the victorious lamb, Hardly ever has Bach put the process of a relentless self-questioning and spiritual healing as convincingly as here. This arrangement of the sinfonia is intended for modern instruments. The original score was translated into modern music literature standards thus simplifying the approach and helping to understand the legacy of baroque music in our modern times. A few embellishments and interpretation symbols where added thus mostly shortening the length of some notes. Some „fortes and „pianos are also included. The arrangement is absolutely faithful to Bach`s versions, not adding or omitting any notes from the original sources. P.S.- The score was written on Finale. The sound file was produced with samplers from Garritan, merely as an audio support for the presentation of the score. Thank you very much for taking your time to read this text and to listen to the file. I hope you enjoy the music. Musically Yours, „e per ogni tempo „and for all times Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzeneggerschen, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All The Love and Compassion. Luis Anjos Teixeira Timeless Life, Love Forever
$7.94
Holst: Masters in this Hall (3 Carols H.133) - wind quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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FACILE
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Noël
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Contemporain
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Gustav Holst
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Ray Thompson
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Holst: Masters in this Hall
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RayThompsonMusic
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 2 - SKU: A0.1209582 Composed by Gustav Holst. Arranged by Ray Thompson. Chri...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 2 - SKU: A0.1209582 Composed by Gustav Holst. Arranged by Ray Thompson. Christmas. 9 pages. RayThompsonMusic #807733. Published by RayThompsonMusic (A0.1209582). This is my arrangement of Gustav Holst's arrangement.It is arranged for wind quintetThe French composer Marin Marais composed the tune as a dance for his opera Alcyone of 1706, with the title Marche pour les Matelots.The tune was subsequently included in Raoul Auger Feuillet's 1706 Recueil de contredansealong with a longways proper dance, La Matelotte, which Feuillet had himself written to go with the tune.In 1710 John Essex (d. 1744) published an English translation of Feuillet's work called, For the Further Improvement of Dancing, in which the dance is given as The Female Saylor.The words were written around 1860 while William Morris, then 26, was working as an apprentice in the office of the architect, Edmund Street, presumably under the persuasion of his fellow students who at that time had a taste for part-song. It became known as the Christmas Carol Masters in This Hall (alternative title: Nowell, Sing We Clear) Gustav Holst incorporated the carol into his work Three Carols H133 (1916–17) along with Christmas Song: On this Day and I Saw Three Ships. Holst wrote the Three Carols for amateurs singing in his Thaxted festivals.You can check out my arrangemet of this and other Marin Marais compositions here.
$14.95
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