 | Bach, Johann Sebastian - Prelude: "Vom Himmel hoch da komm'ich her" for Flute & Strings BWV 700 Flûte et quintette à cordes |
VoirPDF : Prelude: "Vom Himmel hoch da komm'ich her" (BWV 700) for Flute & Strings (3 pages - 108.2 Ko)233x⬇ MP3 : Prelude: "Vom Himmel hoch da komm'ich her" (BWV 700) for Flute & Strings 37x⬇ 303x
| Compositeur : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Flûte et quintette à cordes | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 25 Oct 2016 Johann Sebastian Bach was a member of a family that had for generations been occupied in music. His sons were to continue the tradition, providing the foundation of a new style of music that prevailed in the later part of the eighteenth century. Johann Sebastian Bach himself represented the end of an age, the culmination of the Baroque in a magnificent synthesis of Italian melodic invention, French rhythmic dance forms and German contrapuntal mastery. Born in Eisenach in 1685, Bach was educated largely by his eldest brother, after the early death of his parents. At the age of eighteen he embarked on his career as a musician, serving first as a court musician at Weimar, before appointment as organist at Arnstadt. Four years later he moved to Mühlhausen as organist and the following year became organist and chamber musician to Duke Wilhelm Ernst of Weimar. Securing his release with difficulty, in 1717 he was appointed Kapellmeister to Prince Leopold of Anhalt-Cöthen and remained at Cöthen until 1723, when he moved to Leipzig as Cantor at the School of St.Thomas, with responsibility for the music of the five principal city churches. Bach was to remain in Leipzig until his death in 1750. As a craftsman obliged to fulfil the terms of his employment, Bach provided music suited to his various appointments. It was natural that his earlier work as an organist and something of an expert on the construction of organs, should result in music for that instrument. At Cöthen, where the Pietist leanings of the court made church music unnecessary, he provided a quantity of instrumental music for the court orchestra and its players. In Leipzig he began by composing series of cantatas for the church year, later turning his attention to instrumental music for the Collegium musicum of the University, and to the collection and ordering of his own compositions. The so-called Kirnberger Collection (BWV 690-713), a title now generally ignored in recent editions, is a collection of music by Bach copied by or for his pupil Johann Philipp Kirnberger. The latter was born in Saalfeld in 1721 and educated in Coburg and Cotha, before, in 1739, travelling to Leipzig for lessons in composition and performance with Bach. After a period spent in Poland, he returned to Dresden, moving then to Berlin as a violinist in the Prussian royal service. In 1754 he entered the service of Prince Heinrich of Prussia and four years later that of Princess Anna Amalia, remaining in this last position until his death in Berlin in 1783. Kirnberger had the highest regard for Bach, and did his utmost to bring about the posthumous publication of the latter's four-part chorale settings. This is another chorale prelude that was a part of the Kirnberger Collection. Johann Philipp Kirnberger (1721 -- 1783) began collecting Bach manuscripts after the composer's death and amassed a significant number. This one, "Vom Himmel hoch, da komm ich her" (From Heaven Above to Earth I Come), is a bright, stately piece originally written during the earlier years of Bach's career when his style was still evolving. That observation in no way is meant to demean this work: it is a well-crafted setting of the chorale theme and imaginatively captures the spirit of its text. The theme to this chorale, written by Valentin Schumann and Martin Luther in 1539, is quite the same in its latter half as the one to the famous "Ein feste Burg." Like many Bach chorale preludes, this one begins modestly, single notes stating a chorale theme that grows into larger sonorities as it proceeds and sprouts contrapuntal lines. The pedal enters several times to proclaim the theme in husky roaring tones. Throughout the work, the mood is joyous and triumphant and the ending is glorious, the similarity to the "Ein feste Burg" most noticeable here in the big pedal sonorities. Source: Allmusic (http://www.allmusic.com/composition/vom-himmel-hoch-da -komm-ich-her-ii-chorale-prelude-for-organ-bwv-700-bc-k 156-mc0002371946). Although originally written for Pipe Organ, I created this Interpretation of the Fughetta (BWV 700) "Vom Himmel hoch, da komm ich her" (From Heaven Above to Earth I Come) for Flute & Strings (Violin, Viola, Cello & Bass). Partition centrale : | Chorals et préludes « Kirnberger » (58 partitions) | | |||
