edited by Ann Knipschild [vce,2fl,bc(pno)]
60 pages | 23 x 30,5 cm | 235 g | ISMN: 979-0-004-48834-8 | Saddle Stitch
|Wohl euch, ihr ausgewaehlten Seelen BWV 34/3|
|Komm, du suesse Todesstunde BWV 161/1|
|Nur durch Lieb und durch Erbarmen BWV 164/3|
Johann Sebastian Bach’s cantata O ewiges Feuer, O Ursprung der Liebe, BWV 34, was written for Whitsunday, 1735, in Leipzig. Its title (English translation: “O eternal flame, o source of love”) is very fitting for this celebration of Pentecost. Bach adapted this sacred cantata from a wedding cantata (1726) but did not use flutes in the earlier work. The alto aria “Wohl euch, ihr auserwählten Seelen” specifies the instrumentation of two transverse flutes, two violins, viola, alto and continuo. For much of this aria, the two muted violin parts double both flute parts down one octave. The piano reduction provided in this edition includes the violin parts when they are not doubling the flutes, and the viola part where feasible.
Komm, du süße Todesstunde, BWV 161, was composed in Weimar and first performed in 1715 for the sixteenth Sunday after Trinity. It was revised later in Leipzig. The earlier version’s opening alto aria (same text as cantata title) features two recorders while the revised cantata uses two transverse flutes and a additional soprano singing a cantus firmus. The edition is based on the earlier work and contains parts for two flutes, alto and continuo. While the two original Flauto dolce parts were notated in the French G clef, the modern treble clef is used here for convenience. Throughout the aria, Bach uses phrases of the chorale melody, “Herzlich tut mich verlangen”, with instructions for this melody to be played using the sesquialtera solo stop of the organ. In this edition, the chorale melody is incorporated into the continuo part and is indicated by brackets.
“Nur durch Lieb und durch Erbarmen” is the third movement from Bach’s cantata Ihr, die ihr euch von Christo nennet, BWV 164, written for the thirteenth Sunday after Trinity. As the Gospel for that day contains the Parable of the Good Samaritan, the text of this aria is quite appropriate (“Only through love and through pity do we become like God himself”). The instrumentation is for two transverse flutes, alto and continuo.
In this edition, basic continuo realizations are provided and may be supplemented by the keyboardist. Articulations, dynamics and ornaments may be added in the appropriate style of the baroque period as well.
Auburn, Spring 2004