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The two final numbers from Bach's cantata #146 set for 14 piece brass 4-4-4-euph-1:

The Tenor/Bass duet Wie will ich mich freuen has one of the tenor trombones and the bass trombone as soloists.

The final chorale has the soloists joining in as tutti third and bass bones. Not that this implies anything about which of the tenor trombonists should be the soloist.

The English title for the duet is My Spirit Be Joyful. Which makes many of you recall a very active bass line. I have given the written line to the euphonium, where a compensated instrument will be able to handle the range down to C concert. Parts in bass clef concert and in Bb treble clef.

The thorough bass style implies the bass line being played an octave down also especially with works including an ensemble beyond a string trio or quartet. So the tuba gets the bass line taken an octave down. Parts in bass clef and in BBb treble clef.

Depending on players and instruments available speedy playing down to concert CC may be inconvenient. Not ideal, but possibly saving some situations, are the parts avoiding the range below low E in bass clef part and below low written F# in the BBb part respectively. There also is a treble clef part directed towards the compensated Eb tuba avoiding the range below written low D#.

There are trills in the solo parts which trombonists will find troublesome even if applying the F valve. In the baroque style trills are speedily repeated appoggiaturas, so I have given the soloists slower appoggiaturas and given the trills to the horn section. The desired effect is tension, and there will be tension.

The full score plus all parts in several clefs and pitches for trombones, euph, and tuba may be found here for a free download:

http://launch.groups.yahoo.com/group/Yo ... %20freuen/

The parts for horns and trumpets will be uploaded as soon as possible. Players from orchestral, concert band, and brass band reading traditions all will find relevant parts.

Klaus

From all of us- thanks for doing this!

Upload completed.

Introduction:


Johann Sebastian Bach
Wie will ich mich freuen
(My Spirit be Joyful)
Duet for tenor and bass from the cantata #146
Wir Müssen durch viel Trübsal in das Reich Gottes eingehen
Addendum: The final chorale Ach, ich habe schon erblicket
Setting for tenor and bass trombones as soloists within a 14-piece brass choir by Klaus Smedegaard Bjerre 2013

Bach’s cantata #146 is well described in the literature and on the web. The present duet and chorale are the last two numbers of the cantata.

This duet is known by brass players from a physically very taxing setting for brass quintet, where the tenor and bass solo lines are played an octave up by the two trumpets. This present setting has the solo lines in the original octave played by one of the ensemble’s tenor trombones and by its bass trombone. The tenor soloist fills the function of the 3rd trombone in the chorale. This is no implicit indication of which of the 3 tenor trombones should fill the solo spot. The two tutti trombone parts have their own challenges, so the ensemble or the section is free to choose their tenor soloist.

Though the trumpets and horns have a good deal of unison playing within their respective sections, all parts must be manned as each part has unique notes not present in other parts. The trumpet section unisons may, depending on specific players and on the repertory of a given concert, be used to give the 1st chair player a few more rests.

The euphonium has been given the original basso continuo line, which fits the range of a compensated 4-valve instrument. The tuba in accordance with baroque performance practices has been given the same line an octave down. While this poses no problems for expert players with fully equipped contrabass tubas, real life ensemble constellations may have tubas in pitches and with a number of valves making the fast low range playing inconvenient. Hence the tuba part has been provided in a number of modified variants allowing some of the more standard instrument types to get the most out of the tuba part. Fast passages have not been broken, but have been taken up an octave in their entireties. However the effects of some octave leaps have been lost in the modifications. These leaps still are present in the euphonium part, which should not be modified at all.

According to baroque practices some of the notes, which a period harpsichordist or lute player would have filled in, have been given to especially the 2nd trombone. The bare bass line of the middle part of the trio section has been given some supporting chord notes in the horns and in the tutti trombones. These notes should be played discretely.

This present arranger has worked quite a bit with baroque music, which is reflected in the notation. The dynamics support the shifting needs of the tutti and solo passages. The articulations support a lighter playing style. And as the rhythmic structure is that of a baroque dance, there are no tempo variations like ritardandos at all. A steady tempo was most important for the dancers not to stumble. In triple meters the baroque way of slowing the tempo towards the harmonic and formal cornerstones was about doubling the length of the beats in the bars leading to the big chords, so that two ¾ bars were read as one 3/2 bar, a hemiola. This edition reflects this phenomenon by turning the bars in question into three 2/4 bars for easier reading. As Bach in subtle ways offsets some of the hemiolas between the parts, this edition could be said to not give the hemiolas an entirely consistent treatment. So it be, if only you get the idea of a steady pulse.

Bach wants trills from the soloists, which trombonists will not find convenient even if applying their F valves. In the baroque style trills are speedily repeated appoggiaturas, so here the soloists have been given slower appoggiaturas and the trills have been given to the horn section. The desired effect is tension, and there will be tension.

The transpositions and clefs in the score have been chosen to keep as many notes as possible within the staff lines. The score calls for orchestral brasses plus euphonium. As seen in the parts’ folders the many transposition and clef variants allow for players out of concert and brass band traditions also. The potential permutations are too many to list, but a performance in a brass band environment might have an Eb cornet and three Bb cornets in the trumpet section, a flugelhorn, two Eb altos, and a Bb baritone in the horn section, the tenor trombones playing their dedicated parts, a baritone soloing with the bass trombone, and a euphonium playing the bass line along with an Eb or a BBb bass. If smaller musical environments fill some of the parts with clarinets to get full ensembles, they will operate along the lines I have followed myself when I taught.

Korsør - June 3rd - 2013

Now, is there anyway we can get at these scores, etc., without becoming a member of yet another online group? That would surely be nice.

If you had it your way, there would be no files to have.

I have been a contributor to the Icking Archives and to the IMSLP, when they took over the hosting of the Icking Archives. Some of my material uploaded there has surfaced on an American site providing material for clarinet players. I was not asked, whether I would accept that secondary distribution (I had said no). Those Americans even had the bad taste of placing their logo prominently on my material. Some of my material also has surfaced on a Chinese site. Again without anybody asking me.

Even if the IMSLP security were OK, their modus operandi is too sluggish for me. IMSLP guards itself very much against being sued on copyright issues. Hence they have a very tight review of all uploads. Corrected files have to undergo the full procedure even if they just are meant to replace files with whatever minor error of a musical or a graphic nature. Doesn't work with my spontaneous way of working. If I don't feel like writing, then I don't write. If an idea grabs my attention I may work quite intensely with it.

The weak spot of a one-man operation like mine is the proofing process. Even if I have some good procedures, errors may slip through. But then an arrangement may play itself in my ears some time after being uploaded and I sometimes become aware of potential errors, which then are checked immediately. If corrections are needed I upload them at once, which is the way I want it to be.

Yahoo offers a free and secure environments for my project. Even if I could afford renting commercial server space, you wouldn't get easier access, as I would ask for a copy of your genome plus the phone number of your younger sister.

If you don't want to join my download groups, the true reason is that you don't really want my arrangements and teaching/practicing material.

Which I find perfectly acceptable.

Whereas any secondary distribution between bands, schools, or single musicians of my files is not acceptable (of course an ensemble or a choir may distribute parts to their members).

Klaus