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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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You've selected:
Bach: Four Duets for Oboe d
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Bach: Four Duets for Oboe d'Amore & Cello
Cello,Instrumental Duet,Oboe d'Amore - Level 3 - Digital Download SKU: A0.552749 Co…
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Cello,Instrumental Duet,Oboe d'Amore - Level 3 - Digital Download SKU: A0.552749 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Christmas,Easter,Wedding. 43 pages. Jmsgu3 #4979489. Published by jmsgu3 (A0.552749). Four Duets BWV 802, 803, 804 & 805Duration ca 12:00, Score: 20 pages.
$38.95
34.98 €
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Johann Sebastian Bach
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Bach: Four Duets for Oboe d'Amore & Cello
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jmsgu3
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SheetMusicPlus
Duet from Cantata Number BWW 140.6 transribed for Recorder Quartet
Recorder Quartet
Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.903300 By K…
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Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.903300 By Keith Terrett. By Johann Sebastian Bach. Arranged by Keith Terrett. Baroque,Classical,Praise & Worship. 15 pages. Keith Terrett #509473. Published by Keith Terrett (A0.903300). A transcription of J.S. Bach's Duet from Cantata Number BWW 140.6 transribed for Recorder Quartet consisting of two Alto's, Tenor & Bass Recorder. The sixth movement, Mein Freund ist mein! (My Friend is mine!), is another duet for soprano and bass with obbligato oboe. This duet, like the third movement, is a love duet between the soprano Soul and the bass Jesus.Gardiner notes that Bach uses the means of contemporary operatic love-duets in his use of chains of suspensions and parallel thirds and sixths. Dürr describes it as giving expression to the joy of the united pair, showing a relaxed mood in artistic intensity. Wachet auf, ruft uns die Stimme ('Awake, calls the voice to us'),[1] BWV 140, also known as Sleepers Wake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731. Bach composed this cantata to complete his second annual cycle of chorale cantatas, begun in 1724. The cantata is based on the hymn in three stanzas Wachet auf, ruft uns die Stimme (1599) by Philipp Nicolai, which covers the prescribed reading for the Sunday, the parable of the Ten Virgins. The text and tune of the three stanzas of the hymn appears unchanged in three of seven movements (1, 4 and 7). An unknown author supplied additional poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Song of Songs. Bach structured the cantata in seven movements, setting the first stanza as a chorale fantasia, the second stanza in the central movement in the style of a chorale prelude, and the third stanza as a four-part chorale. He set the new texts as dramatic recitatives and love-duets, similar to contemporary opera. Bach scored the work for three vocal soloists (soprano, tenor and bass), a four-part choir and a Baroque instrumental ensemble consisting of a horn (to reinforce the soprano), two oboes, taille, violino piccolo, strings and basso continuo including bassoon. Bach used the central movement of the cantata as the basis for the first of his Schübler Chorales, BWV 645. Bach scholar Alfred Dürr notes that the cantata is an expression of Christian mysticism in art, while William G. Whittaker calls it a cantata without weaknesses, without a dull bar, technically, emotionally and spiritually of the highest order, its sheer perfection and its boundless imagination rouse one's wonder time and time again.
$10.00
8.98 €
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Recorder Quartet
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Keith Terrett
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Duet from Cantata Number BWW 140.6 transribed for Recorder Quartet
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Keith Terrett
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SheetMusicPlus
I Had Much Grief
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.88…
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download 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
7.13 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Johann Sebastian Bach
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I Had Much Grief
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Luis Anjos Teixeira
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SheetMusicPlus
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