This piece is simply unbelieveable. IMO, maybe Liszt’s greatest solo piano work ( along with the Sonata) and perhaps the most overwhelming. Weinen, Klagen, Sorgen, Zagen (Weeping, lamenting, worrying, fearing), BWV 12, is a church to form the Crucifixus movement of the Credo in his Mass in B minor. Franz Liszt based extended keyboard compositions on the same material. For some reason the New Liszt Edition is issuing the two ‘Weinen, Klagen’ pieces amongst the volumes of transcriptions and fantasies on other composers’.
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If you use and like Free-scores. The ninth repeat is similar to the first, but in more extreme harmonies.
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The voice enters with the same motif. Other recordings available for download. In other projects Wikimedia Commons.
The work is structured in seven movementsan instrumental Sinfoniaa choral passacagliaa recitative on a Bible quotation, three arias and, as the closing chorale, the last stanza from Samuel Rodigast ‘s hymn ” Was Gott tut, das ist wohlgetan ” Annotate this sheet music.
Bach was appointed Konzertmeister in Weimar in the spring ofa position that called for the performance of a church cantata each month.
Weinen, Klagen, Sorgen, Zagen He composed it in Weimar for Jubilatethe third Sunday after Easterand led the first performance on 22 April in the Schlosskirchethe court chapel of the Schloss in Weimar. The first choral movement, ” Weinen, Klagen, Ssorgen, Zagen ” Weeping, lamentation, worry, despair is in da capo form. Add Videos on this page Add a video related to this sheet music.
Bach repeats the beginning text four times, while the singular destination appears only once. listz
Added by giordaniello the BWVfor Pentecost. Connect to add to a playlist. Church cantatas by Johann Sebastian Bach compositions. The text, depicting the affliction that Christians have to pass, is assumed to have been written by Salomon Franckthe Weimar court poet who wrote most texts for Bach cantatas of the Weimar period. It is thus heard six times in different context, related to the repetitions of the passacaglia of movement 2.
Philippe Herreweghe Collegium Vocale Gent. Follow this composer Be informed by email for any addition or update of the sheet sorgeen and MP3 of this artist. From Wikipedia, the free encyclopedia. Be the first to write down a comment.
Weinen, Klagen, Sorgen, Zagen, BWV 12 – Wikipedia
Between Trinity and Advent: Audio and video players are included. Von Gott poetisch-musikalisch reden: Views Read Edit View history. Both works bear a dedication to Anton Rubinstein, and both are based on the same wonderful theme.
February Total duration: Movement 4 sees the suffering of Jesus as a consolation for the afflicted Christian, movement 5 voices a decision to follow Jesus even in suffering, movement 6 offers the consolation that it will be only a short time until all sadness is overcome, alluding to as in movement 4 Revelation 2: During the last aria, ” Sei getreu, alle Pein ” Be faithful, all pain the trumpet plays the chorale tune ” Jesu, meine Freude ” as a cantus firmus ;  Bach may have thought of the stanza “Weicht, ihr Trauergeister” Go away, mournful spirits.
Retrieved 11 August Retrieved 16 April The closing chorale, ” Was Gott tut, das ist wohlgetan ” What God does, is well done  is set for four parts, illuminated by an instrumental obbligato part.
Variationen über das Motiv von Bach, S.180 (Liszt, Franz)
Variazioni sopra il Basso Continuo del I mov. Don’t show me this message again. This service works with Youtube, Dailymotion. Church cantata by J. The Prelude of is a dignified and restrained piece with just one dramatic outburst, all within the framework of a passacaglia which unfolds 25 variations on the motif.
The Variations are not simply an expansion of the earlier piece, although there are a few fragments in common.
Bach first performed the cantata in the Weimar court chapel on 22 Aprilthen performed it in Leipzig in his first year as Thomaskantor on 30 April In German, sorrow is mentioned first, then the final Kingdom of Ssorgen. Bach reworked the first section of the first chorus to form the Crucifixus movement of the Credo in his Mass in B minor, the central movement of that work, three decades later.
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Kampf is sung as liszg melisma with a trill in measure 15, the preciousness of the jewel appears as a trill in the voice or the accompaniment.