 | Bach, Johann Sebastian - Aria: "Gloria Patri et Filio et Spiritui Sancto" for Woodwind Trio & Strings BWV 191 No 2 Vents & Orchestre Cordes |
VoirPDF : Aria: "Gloria Patri et Filio et Spiritui Sancto" (BWV 191 No 2) for Woodwind Trio & Strings (9 pages - 208.63 Ko)1 261x⬇ MP3 (208.63 Ko)166x⬇ 1003x
| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||
| Partition centrale : | Gloria in excelsis Deo (4 partitions) | ||
| Instrumentation : | Vents & Orchestre Cordes2 autres versions | ||
| Genre : | Baroque | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 19 Mar 2014 Gloria in excelsis Deo (Glory to God in the Highest), BWV 191, is a church cantata written by the German Baroque composer Johann Sebastian Bach, and the only one of his church cantatas set to a Latin text. He composed the Christmas cantata in Leipzig probably in 1745 to celebrate the end of the Second Silesian War on Christmas Day. The composition's three movements all derive from the Gloria of an earlier Missa written by Bach in 1733, which the composer would later use as the Gloria of his Mass in B minor. Gloria in excelsis Deo was written in Leipzig for Christmas Day, as indicated by the heading on the manuscript in Bach's own handwriting, "J.J. Festo Nativit: Xsti." (Jesu Juva Festo Nativitatis Christi -- Celebration for the birth of Christ), to be sung around the sermon. Recent archival and manuscript evidence suggest the cantata was first performed not in 1743, but in 1745 at a special Christmas Day service to celebrate the Peace of Dresden, which brought to an end the hardships imposed on the region by the Second Silesian War. Its only link to Christmas is the opening chorus on Luke (Luke 2:14), to be performed before the sermon. The other two movements after the sermon (marked "post orationem") divide the general words of the Doxology in a duet Gloria Patri et Filio et Spiritui sancto (corresponding to the Domine Deus, the central piece of the Gloria of the Mass in B minor) and a final chorus Sicut erat in principio (corresponding to Cum sancto spiritu of the Gloria). The final movement may contain ripieno markings (to accompany the chorus) similar to the ripieni found in Unser Mund sei voll Lachens, BWV 110, which was also a nativity cantata. Although originally scored for soprano and tenor soloists and an unusual five-part choir (with a dual soprano part), three trumpets, timpani, two flauto traverso, two oboes, two violins, viola, and basso continuo, I created this arrangement for Woodwind Trio (Flute, Oboe & English Horn) and Strings (2 Violins, Viola & Cello). | |||
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