 | Bach, Johann Sebastian - Prelude: "Wir glauben all' an einen Gott" for Brass Quintet BWV 740 Quintette de Cuivres : 2 Trompettes, 1 Cor, 1 Trombone, 1 Tuba |
VoirPDF : Prelude: "Wir glauben all' an einen Gott" (BWV 740) for Brass Quintet (8 pages - 162.71 Ko)459x⬇ VoirPDF : Tuba (64.16 Ko) VoirPDF : Trompette Sib (68.09 Ko) VoirPDF : Flugelhorn (63.06 Ko) VoirPDF : (64.22 Ko) VoirPDF : Trombone (66.65 Ko) VoirPDF : Conducteur complet (113.92 Ko) MP3 : Prelude: "Wir glauben all' an einen Gott" (BWV 740) for Brass Quintet 56x⬇ 1109x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Quintette de Cuivres : 2 Trompettes, 1 Cor, 1 Trombone, 1 Tuba1 autre version | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 06 Nov 2016 As organist at Weimar, Johann Sebastian Bach was charged with providing a harmonic underpinning for the singing of Lutheran chorale tunes chosen for each day. Bach wrote out many of these harmonizations, in part as instruction for younger composers (they are still used for this purpose). A derivation of this practice, Bach's conception of the organ chorale, as manifested in the chorale preludes, dates from 1713 -1714, about the time he became familiar with Vivaldi's concertos. Bach's Orgelbüchlein (Little Organ Book) contains chorale preludes for the church year written during the composer's service at Weimar (1708 - 1717). In about 1713, Bach began assembling the Orgel-Büchlein, and his earliest entries seem to be Her Christ, der ein'ge Gottes-Sohn, BWV 601, In dulci jubilo, BWV 608, Christ ist erstanden, BWV 627, and Heut' triumphieret Gottes Sohn, BWV 630. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. Bach's Orgelbüchlein was essentially complete by 1716. Only the fragment O Traurigkeit and the chorale prelude, Helft mir Gottes Güte preisen, BWV 613, were added later. "Complete" is used with some reservation here, because Bach originally projected 164 pieces but completed fewer than 50. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes. The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text. In the early 1740s Bach assembled a number of chorale preludes, possibly with the intention of publishing them as a set. These Achtzehn Choräle (Eighteen Chorales) BWV 651 - 668 were almost certainly written before 1723 and revised later. The Fantasia super Komm, heiliger Geist, BWV 651 is an especially impressive, extended elaboration of the chorale melody, which is in the pedal. The tune is treated in a less ornate fashion in the next prelude of the set (BWV 652). The highly convoluted Von Gott will ich nicht lassen, BWV 658 also contains the chorale melody in the pedal. The six Schübler chorales (BWV 645 - 650) are derived from Bach's cantatas and contain one of his most popular chorale preludes, on the melody Wachet auf, ruft uns die Stimme, BWV 645. The third part of Bach's Clavier-Übung, published in Leipzig in 1739, contains 21 chorale preludes (not all appear in every publication), many of which are for manuals only. Nine of these are meant for use during the Mass, while the others are for the catechism. Among the most impressive is Kyrie, Gott heiliger Geist, BWV 671, which is in five voices with the chorale melody in the pedal. More complex is the first of two preludes on Aus tiefer Not schrei ich zu dir, BWV 686, which is in six parts, including two pedal parts. Although the authorship of this work is in question, one can surmise that if Bach did compose it, he probably did so in the early years of the eighteenth century. For one thing, he wrote another setting of this chorale theme for organ during this time, the BWV 1098, which was discovered in the so-called Neumeister collection in 1985. That work is generally dated to the years 1700-1708. Of course, Bach also did two additional ones for the 1739 Deutsche Orgelmess, but this BWV 740 rendition has less in common with the composer's later style. Like the Neumeister effort, this one begins in a somewhat somber manner, though the mood is light here and dreamy, imparting a contemplative sense. Most of the writing of the main thematic materials is in the upper ranges and conveys a somewhat fragile ethereality. The contrapuntal activity, while well-crafted, is not as subtle as that in many other Bach keyboard works, despite the five-part writing here (two voices in the pedals). Still, this five-minute work is a fine effort whose complexity and other features suggest that Bach could well be the composer. Source: Allmusic (http://www.allmusic.com/composition/wir-glauben-all-an -einen-gott-iv-chorale-prelude-for-organ-by-j-l-krebs-n ot-jsb-bwv-740-mc0002379185). Although originally written for Pipe Organ, I created this Interpretation of the Chorale Prelude (BWV 740) "Wir glauben all an einen Gott" (We all believe in one true God) for Brass Quintet (Bb Trumpet, Flugelhorn, French Horn, Trombone, Euphonium & F Tuba). Partition centrale : | Autres chorals et préludes (91 partitions) | | |||
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