Free-scores.com : Bach, Johann Sebastian - Aria: "Wie starb die Heldin so vergnügt" for Clarinet Quartet (4 clarinettes (quatuor))

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CRITÈRES : Lass, Fürstin, lass noch einen Strahl, BWV 198 No 5 (8) (Bach, Johann Sebastian)

CLARINETTE › Bach, Johann Sebastian

Aria: "Wie starb die Heldin so vergnügt" for Clarinet Quartet
BWV 198 No 5
Johann Sebastian Bach
4 clarinettes (quatuor)

VoirPDF : Aria: "Wie starb die Heldin so vergnügt" (BWV 198 No 5) for Clarinet Quartet (7 pages - 221.41 Ko)605x⬇

MP3 : Audio principal (221.41 Ko)118x⬇ 873x

Aria: Wie starb die Heldin so vergnügt for Clarinet Quartet

MP3 (5.86 Mo) : (par Magatagan, Michael)51x⬇ 107x

Compositeur	Bach, Johann Sebastian (1685 - 1750)
Instrumentation	4 clarinettes (quatuor)
Partition centrale	Lass, Fürstin, lass noch einen Strahl (8 partitions)
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - )
Droit d'auteur	Public Domain
	Ajoutée par magataganm, 02 Mar 2014
"Laß, Fürstin, laß noch einen Strahl" (Let, Princess, let still one more glance) is a secular cantata as a funeral ode by Johann Sebastian Bach, first performed on 17 October 1727. In Wolfgang Schmieder's catalogue of Bach's works it is BWV 198. Bach composed the cantata at the request of the University of Leipzig as a funeral ode for Christiane Eberhardine, wife of August II the Strong, and first performed on 17 October 1727 in the Universitätskirche. The text was written by Johan...(+) "Laß, Fürstin, laß noch einen Strahl" (Let, Princess, let still one more glance) is a secular cantata as a funeral ode by Johann Sebastian Bach, first performed on 17 October 1727. In Wolfgang Schmieder's catalogue of Bach's works it is BWV 198. Bach composed the cantata at the request of the University of Leipzig as a funeral ode for Christiane Eberhardine, wife of August II the Strong, and first performed on 17 October 1727 in the Universitätskirche. The text was written by Johann Christoph Gottsched, professor of philosophy and poetry. Divided into 11 movements, the first seven preceded the funeral oration. Set in the Italian style with recitatives and arias, for four soloists, four-part choir, two flutes, two oboes d'amore, two violins, viola, two violas da gamba, two lutes and basso continuo. Bach himself directed from the harpsichord. The text is purely secular, proclaiming how the kingdom is in shock over the princess' death, how magnificent she was, and how sadly she will be missed. Sacred elements pertaining to salvation and the afterlife are absent. Bach, however, as was his custom, included a cryptic reference to salvation in the music. The first movement of the second section Der Ewigkeit saphirnes Haus ("Eternity's sapphiric house"), which was performed following the oration, contains underlying elements of the first movement of the cantata BWV 56, Ich will den Kreuzstab gerne tragen ("I want to bear the cross") which Bach had composed one year earlier. The measures 70--75 contain a direct quote (played by the oboe) of the bass solo voice in measures 91--98 from BWV 56 where the text is Der führet mich nach meinen Plagen zu Gott, in das gelobte Land ("which leads me to God in the promised land after all my tribulation"). Bach later borrowed from the cantata for his Markus-Passion and for Klagt, Kinder, klagt es aller Welt, BWV 244a, another funeral ode written in 1729. Although originally composed for Choir (SATB) and orchestra, I created this arrangement for Clarinet Quartet (3 Bb Clarinets & Bass Clarinet).

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