COR ANGLAISBach, Johann Sebastian
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Bach, Johann Sebastian: Aria: "Ich lasse dich nicht, du segnest mich denn" for English Horns & Strings
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Bach, Johann Sebastian - Aria: "Ich lasse dich nicht, du segnest mich denn" for English Horns & Strings
BWV 157 No 1


VoirPDF : Aria: "Ich lasse dich nicht, du segnest mich denn" (BWV 157 No 1) for English Horns & Strings (6 pages - 173.02 Ko)378x
MP3 (173.02 Ko)77x 234x
MP3
Vidéo :
Compositeur :
Johann Sebastian Bach
Bach, Johann Sebastian (1685 - 1750)
Instrumentation :

cor anglais et orchestre de cordes

Genre :

Baroque

Arrangeur :
Johann Sebastian Bach
Magatagan, Mike (1960 - )
Editeur :Magatagan, Mike
Droit d'auteur :Public Domain
Ajoutée par magataganm, 06 Aoû 2014

Ich lasse dich nicht, du segnest mich denn (I will not let you go, except you bless me), BWV 157, is a church cantata by Johann Sebastian Bach. It was composed in Leipzig in 1727 and first performed on February 6, 1727 in Pomßen.<br> <br> The work is a solo cantata for the Feast of the Purification of Mary. It was likely intended as a funeral cantata for Johann Christian von Ponickau, a Saxon chamberlain. The work was first performed on February 6, 1727 in Pomßen, and likely performed again the following year in Leipzig. However, the primary surviving score dates from 1755 and parts from the 1760s, copied by Christian Friedrich Penzel.<br> <br> The prescribed readings for the feast day were from the book of Malachi, "the Lord will come to his temple" (Malachi 3:1–4), and from the Gospel of Luke, the purification of Mary and the Presentation of Jesus at the Temple, including Simeon's canticle Nunc dimittis (Luke 2:22–32). The idea from Simeon's canticle to depart in peace has often been used as an image for the death of a Christian. The librettist for the work was Picander, who included a quotation from Genesis (Genesis 32:26–32) in movement 1 and the last stanza of the hymn "Meinen Jesum lass ich nicht" by Christian Keymann in movement 5.<br> <br> The opening movement sets only a single line: the title of the cantata. The movement has an eight-measure ritornello that opens, ends, and bisects the movement; it features a prominent imitative motif.<br> <br> The second movement is a tenor aria accompanied by continuo and obbligato oboe d'amore, which perform a long ritornello serving much the same structural function as in the first movement. Craig Smith suggests that this is "perhaps the single most difficult tenor aria in the whole repertoire", with "wild and extremely ornate melismas".<br> <br> The tenor recitative is scored for strings and continuo. It recalls some of the motivic material from the first movement.<br> <br> The fourth movement combines elements of aria, recitative, and arioso. It opens with a ritornello of violin, flute and continuo. Structurally, the movement completes most of a da capo aria before a recitative episode interrupts the reprise of the A section. The music moves between aria and recitative twice more before a final aria section ends the movement.<br> <br> The cantata ends with a four-part setting of the chorale with a conjunct melody and active continuo line.<br> <br> Although the work was scored for tenor and bass vocal soloists, four-part choir, flute, oboe, oboe d'amore, two violins, viola, and basso continuo, I created this arrangement for English Horn duet and Strings (2 Violins, Viola & Cello).
Source / Web :MuseScore
Partition centrale :Ich lasse dich nicht, du segnest mich denn! (5 partitions)
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