Hypothetically considering this as a cornetto part involved working out the Chorton and Kammerton transposition that would now be necessary, since there is no such thing as a Hz cornetto the wide spread of the finger holes would be unbearable on an instrument of that size. Works that required a cornetto in the 18th Century often had the cornetto pitched a tone higher than the general pitch standard. For the sake of argument, that would mean cornetto in Hz and the orchestra playing at Hz with the cornetto parts being transposed to fit in.
In completing this task for BWV 24, I soon proved to myself that this piece was certainly not a cornetto part but no one was suggesting that it was.
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When transposed for the Hz cornetto, it would have been in the key of F minor. Not ideal. However, with Hz, Hz and Hz cornetti at my disposal, I decided that I would play it on my straight cornetto in Hz in order for it to be in the most user-friendly key.
This worked well. I think of it more as a performance direction than any specific indication of instrument type. Click here to see the original 'Clarino' part on the Bach Digital website.
Ein ungefärbt Gemüte, BWV 24
The part in this instance is not simply a doubling of the chorale tune, although it does do that as well. The chorale continues to alternate in this way between these two musical functions. All of these low-register passages are in the harmonic series - and the arpeggios are in F major, so this may suggest that the instrument was pitched in F.
Indeed, when it is transposed into F the whole chorale the melody as well as the accompaniment makes perfect sense within the harmonic series and it is perfectly playable without using a slide. This is precisely what I did, using the horn a copy of the originals made by Georg Friedrich Steinmez that I had a small hand in making with Graham Nicholson. With only a few movements between playing the cornetto and the horn, it was quite an extreme instrument change.
Two amazing Bach Cantatas at Bach Vespers at 5.
- It Could Happen To Your Child;
- I Should Care;
- You Cant Save Them All.
- Notated Music, /, Bach, Johann Sebastian | Library of Congress.
- Nebula - C Instruments?
Hear Emily Atkinson soprano and trumpeter Russell Gilmour trumpetruss. The key to an understanding of this cantata lies within the two recitatives that abut the central chorus. The central chorus expresses the simple and unambiguous golden rule: do unto other as you would wish them do unto you. Alto aria. The opening alto aria states unequivocally that an uncorrupted spirit of respectable German virtuousness endears us to both God and Man.
This should guide us throughout our lives in everything that we do.
Russell Gilmour | Journal
The forces may be constrained strings and continuo only but Bach had demonstrated right from the start that large groups of musicians were not necessary for the expression of musical profundity. The voice enters with a more serene melodic line suggesting, perhaps, something of the tranquillity associated with unsophisticated decorum. It then takes up the repeated note motive from bar The most obvious moment of word painting comes with the melisma bars on Handel—-our daily transactions.
People are busy; perhaps too busy to heed the word of God, and the music makes the point with admirable succinctness. The long note on stehn—-stand, stay or remain, bars —suggests a rooted foundation of appropriate faith and attitude upon which we may build. The movement may appear to be in ternary form with a reworked A section from bar But the two motives described above continue to suffuse the texture. A point of particular subtlety relates to the obbligato theme. Bach requires all the upper strings to combine and play it in unison.
Thus the essentially optimistic spirit of the movement is moderated by the sombre and shaded tone quality of the obbligato line. An oboe or flute, an octave higher, would have produced a very different expressive effect. Tenor recitative. But although the secco tenor recitative informs us that honesty is a gift from God which many humans lack simply because they do not request it, the bulk of the movement is a sermonising rant directed at the unworthy—-do not make enemies of your neighbours, set aside falsity and cunning and strive for a peaceful nature.
Moments of word painting occur in bar 12 where the rising scale suggests the ascent to holy virtue, and melodic and harmonic dislocations occur in bars 16 and 17 at the mention of deceit, falseness and cunning. The final key line of text is stated three times, possibly with symbolic intention. Bach frequently constructs his shorter cantatas around a central keystone movement which has consequential significance. Often it is an aria or a chorus, occasionally a recitative. The chorus here adds nothing new to the text; its single line quoted above emerging from the conclusion of the preceding recitative.
Two things are, however, significant about this chorus, the first being the strength of the musical message apart from the closing chorale, this is the only movement which utilises the full instrumental and choral forces, including a commanding solo trumpet. This is quite possibly an allusion to, and illustration of the idea first introduced in the opening aria i.
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Much is happening in the musical texture where, particularly at the beginning and end, rolling semi-quavers are seldom absent from the contrapuntal lines. The text has given Bach little specific in the way of inspirational images so he seems to have solved the problem by representing ceaseless activity through constant musical movement.
The chorus has two sections, each of which carries the same brief text. The first bars makes initial use of antiphonal gestures between choir and orchestra but they then merge to form a rich and commanding texture. The second section is faster, and the continuing activity is maintained by streams of quavers. The concept is fugal with the singers now solo i.
https://bewinverctreach.tk Each entry is accompanied by a countersubject, marked by a fragmented rhythm first heard in the basses underpinning the tenors. Subject tenors above CS basses. The initial semi-quaver motives are again heard in the coda, now faster than at the beginning and creating a sense of breathless urgency. Bass recitative. In the bass recitative the melodramatic overstatement of the devilishly dishonest is, perhaps, typical of its time and Bach was doubtless right to introduce an element of restraint into his setting.
The voice is accompanied by upper strings and continuo although the former appear to add little more than emphasis, mainly on the strong beats of the bars. There is, however, a tempered flourish bar 18 to suggest the universality of the pestilence that infects much of humanity. It ends, predictably, with a prayer that God protect us from them. As in the first recitative, the ending is in the form of a melodic arioso. Each phrase begins with a rising interval as though reaching up towards the throne of the Lord. The singer is gently nudged along by the quaver bass line but here the harmonies are logical and firmly rooted, in contrast to the more disjunctive progression of the opening four bars.