 | Bach, Johann Sebastian - Aria: "Auch die harte Kreuzesreise" for Flute, Oboe, Horn & Cello BWV 123 No 3 Flute, Hautbois, Cor et Violoncelle |
VoirPDF : Aria: "Auch die harte Kreuzesreise" (BWV 123 No 3) for Flute, Oboe, Horn & Cello (4 pages - 218.2 Ko)334x⬇ MP3 : Aria: "Auch die harte Kreuzesreise" (BWV 123 No 3) for Flute, Oboe, Horn & Cello 35x⬇ 394x
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| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Flute, Hautbois, Cor et Violoncelle | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 06 Aoû 2015 Bach wrote the chorale cantata in his second year in Leipzig for the First Sunday after Epiphany. A year earlier, on the same occasion, Bach had reflected Mein liebster Jesus ist verloren, BWV 154, from the point of view of a person who had lost Jesus. This cantata text is based on the chorale in six stanzas by Christian Keymann (1658). The text of the hymn begins, as in the former work, with an idea close to the gospel: the Christian does not want to let go of Jesus, as his parents had wished not to lose their 12-year-old boy, but then the chorale pursues the thought of being united with Jesus after death. An unknown poet kept the first and the last stanza, and paraphrased the inner stanzas to a sequence of as many recitatives and arias. Bach first performed the cantata on 7 January 1725, one day after Liebster Immanuel, Herzog der Frommen, BWV 123, for Epiphany. In the opening chorus the soprano and the horn present line by line the cantus firmus, a melody by Andreas Hammerschmidt, who collaborated with Keymann on chorales. The lower voices are set mostly in homophony, while the orchestra plays its own themes in introduction, interludes and accompaniment. The character of the movement is a minuet, and the oboe d'amore takes a virtuosic concertante leading part. The phrase "klettenweis an ihm zu kleben" (cling to him like a burr) is illustrated by all three lower voices holding a note for three measures as if clinging to it. John Eliot Gardiner notes the "gentle, almost naïve tone of voice to reflect the submissive character of the text". A short secco recitative leads to a tenor aria, which is accompanied by the oboe, while the strings play "a persistent four-note drumming" to express "Furcht und Schrecken" (fear and terror). Alfred Dürr compares these repetitions to similar figures in the alto recitative "Warum wollt ihr erschrecken", movement 49 of Bach's Christmas Oratorio, Part V. In another secco recitative the term "nach vollbrachtem Lauf" (after my completed course) is pictured by a scale spanning an octave. A duet of soprano and alto, only accompanied by the continuo, moves like a dance in simple periods of four measures. The cantata is closed by the final stanza in a four-part setting. The cantata in six movements is scored for three vocal soloists (alto, tenor, and bass), a four-part choir, two flauto traverso, two oboes d'amore, two violins, viola, and basso continuo. Source: Wikipedia (https://en.wikipedia.org/wiki/Liebster_Immanuel,_Herzo g_der_Frommen,_BWV...). I created this arrangement of the first Aria: "Auch die harte Kreuzesreise" (Even the harsh journey of the Cross) for Flute, Oboe, French Horn & Cello. Partition centrale : | Liebster Immanuel, Herzog der Frommen (5 partitions) | | |||
