Free-scores.com : Bach, Johann Sebastian - Aria: "Des Vaters Stimme ließ sich hören" for Clarinet Quartet (4 clarinettes (quatuor))

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CRITÈRES : Christ unser Herr zum Jordan kam, BWV 7 No. 4 (3) (Bach, Johann Sebastian)

CLARINETTE › Bach, Johann Sebastian

Aria: "Des Vaters Stimme ließ sich hören" for Clarinet Quartet
BWV 7 No. 4
Johann Sebastian Bach
4 clarinettes (quatuor)

VoirPDF : Aria: "Des Vaters Stimme ließ sich hören" (BWV 7 No. 4) for Clarinet Quartet (11 pages - 236.38 Ko)588x⬇

VoirPDF : Clarinette 1 (Partie séparée) (100.56 Ko)

VoirPDF : Clarinette 2 (Partie séparée) (99.9 Ko)

VoirPDF : Clarinette 3 (Partie séparée) (72.4 Ko)

VoirPDF : Bass Clarinette (Partie séparée) (91.28 Ko)

MP3 (91.28 Ko)171x⬇ 1017x

Vidéo :

Compositeur	Bach, Johann Sebastian (1685 - 1750)
Instrumentation	4 clarinettes (quatuor)
Partition centrale	Christ unser Herr zum Jordan kam (3 partitions)
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 11 Mai 2013
Johann Sebastian Bach (1685 – 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Mass in B minor, the The Well-Tempered Clavier, his cantatas, chorales, partitas, Passions, and...(+) Johann Sebastian Bach (1685 – 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Mass in B minor, the The Well-Tempered Clavier, his cantatas, chorales, partitas, Passions, and organ works. His music is revered for its intellectual depth, technical command, and artistic beauty. Bach composed the cantata (BWV 7) for St. John's Day in Leipzig as the third cantata of his second annual cycle, which began about two weeks before with O Ewigkeit, du Donnerwort, for the First Sunday after Trinity. The prescribed readings for the Sunday were from the Book of Isaiah, "the voice of a preacher in the desert" (Isaiah 40:1–5), and from the Gospel of Luke, the birth of John the Baptist and the Benedictus of Zechariah (Luke 1:57–80). The cantata is based on Martin Luther's chorale for baptism in seven stanzas Christ unser Herr zum Jordan kam. The words are used unchanged in movements 1 and 7. An unknown poet transcribed the ideas of stanzas 2–6 to a sequence of as many recitatives and arias. He did not refer to the Gospel that relates to the birth of the baptist, or to the baptism of Jesus. The reference to the command to baptise is set as an expressive arioso. Bach increased the number of accompanying instruments for the arias, from only continuo to two violins, in the last to two oboes d'amore and the strings. Although the forth (4) Aria "Des Vaters Stimme ließ sich hören" ("The Father's voice can be heard") was originally composed for tenor, two solo violins and continuo, I created this arrangement for Clarinet Quartet (3 Bb Clarinets & Bass Clarinet).

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