 | Bach, Johann Sebastian - Chorus: "Glorie, Lob, Ehr und Herrlichkeit" for Winds & Strings BWV 106 No 4 Vents & Orchestre Cordes |
VoirPDF : Chorus: "Glorie, Lob, Ehr und Herrlichkeit" (BWV 106 No 4) for Winds & Strings (7 pages - 174.67 Ko)349x⬇ MP3 (174.67 Ko)125x⬇ 398x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Vents & Orchestre Cordes | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 07 Fév 2015 Born on March 21, 1685, in Eisenach, Thuringia, Germany, Johann Sebastian Bach had a prestigious musical lineage and took on various organist positions during the early 18th century, creating famous compositions like "Toccata and Fugue in D minor." Some of his best-known compositions are the "Mass in B Minor," the "Brandenburg Concertos" and "The Well-Tempered Clavier." Bach died in Leipzig, Germany, on July 28, 1750. Today, he is considered one of the greatest Western composers of all time. There can be little doubt that this is the best known and most admired of Bach's earliest cantatas. It could be argued that in later years Bach's art became a great deal more mature, but it hardly grew more profound. It is one of those art works that stands at the crossroads of time, seeming to look both forward and backwards. In the latter instance it is highly sectional, with little in the way of the extended, developed movements of the later years, it is lightly orchestrated, begins with a short introductory sinfonia and it draws principally upon chorales and biblical references with the minimum of added text. On the other hand, it is created from structural elements which operate across and unite movements, the writing is highly idiomatic and the musical architecture derives principally from the essence of the text. It is a work of such depth and intensity that one can scarcely avoid speculating that the deceased for whose internment it was composed, had some personal connection with the twenty-two year old composer. Or perhaps it simply struck a chord that reminded him of the death of his own parents, scarcely more than a dozen years previously. But whatever the personal impact the occasion might have had on him, there is no disputing the depth and profundity which the emerging composer managed to elicit from the minimal lines of conventional text. The segmented nature of this work makes it seem more complex than it really is. It falls into four basic movements thus: sinfonia, chorus (with solos), aria (becoming a duet) and closing chorale. The longest and most complex of the two hybrid movements is the second. The cantata finishes with a chorale, but not in the plain four-part setting we might have expected. The recorders return, echoing the earlier movements and evoking a sense of structural completeness; indeed even the figurations which dominate their writing remind us of the opening sinfonia. The first five phrases of the chorale melody are set in four-part harmony, very much as we would expect to find closing a Bach cantata, although not without a few embellishments. The modest instrumental group provides a six-bar introduction and separates the phrases which give honour and praise to each of the Father the Son and the Holy Spirit; and that might well have been that. But Bach takes the final phrase----through Jesus Christ, amen----and extends it semi-fugally to create what some might call a coda. But such terminology is misleading. This section comprises over thirty of the fifty-one bar movement; the amen to Christ has become the major focus of the piece! Bach did something similar at the end of the second movement of C 4 (vol 2, chapter 42) where the final chorale phrase was extended to create the rolling hallelujahs. Clearly he may well have had C 106 in mind when he composed it, for the principle is the same. But in C 106 when the instruments enter they too have their turn at declaiming and emphasising the chorale phrase, firstly in crotchets (from bar 35) and later in augmented minims (from bar 43). The movement ends in a wash of semi-quavers and flowing counterpoint, the musical embodiment of honour and praise of the Lord. Although originally written for Flutes (2), Viola da Gambas (2), Chorus (SATB) and Basso Continuo, I created this arrangement for Woodwinds (Flute, Oboe, Bb Clarinet & Bassoon) & Strings (2 Violins, Viola & Cello). Partition centrale : | Gottes Zeit ist die allerbeste Zeit (17 partitions) | | |||
