Free-scores.com : Bach, Johann Sebastian - Aria: "Gelobet sei der Herr, mein Gott, der ewig lebet" for Oboe, Violin & Cello (Hautbois, Violon, Violoncelle et Piano)

CRITÈRES : Gelobet sei der Herr, mein Gott, BWV 129 No 4 (10) (Bach, Johann Sebastian)

Aria: "Gelobet sei der Herr, mein Gott, der ewig lebet" for Oboe, Violin & Cello
BWV 129 No 4
Johann Sebastian Bach
Hautbois, Violon, Violoncelle et Piano

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VoirPDF : Aria: "Gelobet sei der Herr, mein Gott, der ewig lebet" (BWV 129 No 4) for Oboe, Violin & Cello (5 pages - 153.25 Ko)612x⬇

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Compositeur	Bach, Johann Sebastian (1685 - 1750)
Instrumentation	Hautbois, Violon, Violoncelle et Piano
Partition centrale	Gelobet sei der Herr, mein Gott (10 partitions)
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 15 Nov 2014
Gelobet sei der Herr, mein Gott (Praised be the Lord, my God), BWV 129, is a church cantata by Johann Sebastian Bach. Bach composed the chorale cantata in Leipzig for Trinity Sunday and possibly first performed it on 16 June 1726. It is a general praise of the Trinity, without a reference to a specific gospel reading. Addressing God the Creator, the Saviour and the Comforter, it could be used for other occasions such as Reformation Day. The cantata is festively scored and ends in a chorale fanta...(+) Gelobet sei der Herr, mein Gott (Praised be the Lord, my God), BWV 129, is a church cantata by Johann Sebastian Bach. Bach composed the chorale cantata in Leipzig for Trinity Sunday and possibly first performed it on 16 June 1726. It is a general praise of the Trinity, without a reference to a specific gospel reading. Addressing God the Creator, the Saviour and the Comforter, it could be used for other occasions such as Reformation Day. The cantata is festively scored and ends in a chorale fantasia, like the Christmas Oratorio. It is the conclusion of Bach's second annual cycle of cantatas, containing chorale cantatas. Bach composed the cantata in Leipzig for Trinity Sunday, the earliest in 1726. In his second year Bach had composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday, but for Easter had returned to cantatas on more varied texts, possibly because he lost his librettist. Later Bach composed again chorale cantatas to complete his second annual cycle. This cantata is one of the completing works. It is based entirely on the unchanged words on the chorale Gelobet sei der Herr, mein Gott (1665) by Johann Olearius and celebrates the Trinity in five stanzas. The prescribed readings for the Sunday were from the Epistle to the Romans, reflecting "depth of wisdom" (Romans 11:33–36), and from the Gospel of John, the meeting of Jesus and Nicodemus (John 3:1–15). Unlike most chorale cantatas of 1724/25, but similar to the early Christ lag in Todes Banden, BWV 4 and Lobe den Herren, den mächtigen König der Ehren, BWV 137, also composed after the second cantata cycle, Bach left the chorale text unchanged, thus without a reference to the readings. Although originally scored for three soloists, soprano, alto and bass, a four-part choir, three trumpets, timpani, flauto traverso, two oboes, oboe d'amore, two violins, viola, and basso continuo, I created this arrangement for Oboe, Violin & Cello.