 | Bach, Johann Sebastian - Sinfonia: "Nun ist das Heil und die Kraft" for Orchestra BWV 50 Vents & Orchestre Cordes |
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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, 03 Aoû 2015 Nun ist das Heil und die Kraft (Now is [come] salvation and strength), BWV 50, is a choral movement long attributed to Johann Sebastian Bach and assumed to be part of a lost cantata. The work was likely composed in 1723 but the date of its first performance is unknown. American Bach scholar William H. Scheide suggested that the work was written for a Michaelmas celebration. However, the exact dates of composition and first performance are unknown. The work has fascinated Bach scholars because of questions about its provenance. No autograph sources exist, and the earliest copies extant do not mention Bach's name. In 1982, Scheide argued that the existing version (for double choir) is an arrangement by an unknown hand of a lost original for five voices by J. S. Bach. His argument was based on irregularities in BWV 50's part-writing, which are highly unlike the writing of Bach. In 2000, the American performer and scholar Joshua Rifkin argued that a more plausible solution of this puzzle is that the author of BWV 50 was not Bach at all, but an unknown (but highly gifted) composer of the era. The suggestion is controversial. The title is from Revelation 12:10: "Now is the salvation and the power and the kingdom and the might of our God and of His Christ come, since he is cast down who accused them day and night before God." Like other cantatas for Michaelmas, it features texture layering from the lowest range to the highest, and a contrapuntal representation of "battles and massing armies". It is in two distinct sections and uses fugal techniques. The movement begins with a "strong declaration in unharmonized octaves", pairing the low strings with the bass voice of the first choir. A rhythmic shift creates a "floating, turn-around feeling" before the tenor line enters, followed by alto and soprano. As this choir shifts into rhythmic counterpoint, the second choir, trumpet, and oboes enter. The movement also incorporates call-and-response, military-like tattoos, and an inversion of the previous order of thematic entry. The final twelve bars adopt a chromatic style not heard earlier in the piece. The piece is written for an unusually large orchestra. The score involves two four-part choirs, three trumpets, timpani, three oboes, two violins, viola, and basso continuo. Source: Wikipedia (https://en.wikipedia.org/wiki/Nun_ist_das_Heil_und_die _Kraft,_BWV_50). I created this arrangement for Modern Orchestra consisting of Trumpets (Bb Piccolo Trumpet, Bb Trumpet & Flugelhorn) Flutes, Oboes, Bb Clarinets, French Horn, Bassoon, Timpani and Strings (4 Violins, 2 Violas & 2 Cellos). Partition centrale : | Nun ist das Heil und die Kraft (2 partitions) | | |||
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