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Ich freue mich in dir (I rejoice in you), BWV 133, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1724 for the Third Day of Christmas and first performed it on 27 December 1724. The chorale cantata is based on the hymn by Caspar Ziegler (1697). Bach wrote the chorale cantata in his second year in Leipzig for the Third Day of Christmas as part of his second annual cycle. The prescribed readings for the feast day were from the Epistle to the Hebrews, Christ is higher than the angels, (Hebrews 1:1–14) and the prologue of the Gospel of John, also called Hymn to the Word (John 1:1–14). The cantata is based on the chorale in four stanzas Ich freue mich in dir (1697) by Caspar Ziegler. It is one of the newest of the chorales which served as a base for the second annual cycle, whereas Bach otherwise preferred the beloved hymns of poets such as Martin Luther and Paul Gerhardt. The unknown poet of the cantata text kept the first and the last stanza, and paraphrased the inner stanzas closely to a sequence of recitative and aria. The text has no reference to the readings nor to the feast of John the Evangelist. It expresses the intimate joy of the individual believer about the presence of God in the Jesus child. Bach first performed the cantata on 27 December 1724. Bach's successor Johann Friedrich Doles performed the cantata after Bach's death. The chorale is sung on a variant of a melody of O Gott, du frommer Gott. This melody was probably new to Bach who noted it in the score of the Sanctus, which he also composed for Christmas in 1724 and later made part of his Mass in B minor. The cornetto plays the cantus firmus with the soprano, the oboes play with violin II and viola, whereas violin 1 "shines above the rest". The lower voices are set mostly in homophony, with the exception of expressing "Der große Gottessohn" (the great son of God). John Eliot Gardiner summarizes: "I find it hard to imagine music that conveys more persuasively the essence, the exuberance and the sheer exhilaration of Christmas than the opening chorus of BWV 133". While Bach's Weimar cantata Christen, ätzet diesen Tag, BWV 63, expressed a communal joy in two choral movements and two duets, a sequence of four movements for a single voice reflects the joy of the individual believer. The alto aria is accompanied by the two oboi d'amore, the soprano aria by the strings, changing from an even time in the outer sections to a siciliano in the middle section. The tenor recitative is marked adagio twice, once to stress "Der allerhöchste Gotte kehrt selber bei uns ein" (Almighty God Himself here visits us), finally to quote from the chorale in both words and music "Wird er ein kleines Kind und heißt mein Jesulein" (He has become a little child and is called my little Jesus). The cantata is closed by a four-part setting of the last chorale stanza. Although scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett to double the chorale melody, two oboes d'amore, two violins, viola, and basso continuo, I created a French Horn Solo part and made this arrangement for French Horn & Strings (2 Violins, Viola & Cello). Sheet music made with MuseScore - https://musescore.com/mike_magatagan/...

Ruaidri Dall Ó Catháin (fl. late 16th/early 17th century) was an Irish harper and composer. As with many medieval and early modern Irish musicians, Ruaidri was blind (hence his nickname, Ruaidri "Dall", blind Ruaidri). Captain Francis O'Neill exhibits some uncertainty concerning his lifetime, stating he was born in 1646 but died in 1653. All that can be said is that he was alive during the first half of the 17th century. "Give Me Your Hand" (Tabhair dom do Lámh in Irish) is a tune from the early 17th century by Ruaidri Dáll Ó Catháin (c.1570-c.1650), perhaps in honour of a lady. It is one of the most widely recorded pieces of Irish and Scottish traditional music. This tune, revived by Seán Ó Riada, was originally a composition of the blind Derry harpist Ruaidri Dáll Ó Catháin. He wrote it while in Scotland, where he had a disagreement with a Lady Eglington. He composed the tune for her when she apologized. The tune is sometimes claimed to be written by the famous harpist [O'Carolan], who lived some years later. However there is no reference in the Bunting collection of O Carolan’s music. Nor should Ruaidhrí 'Dall' Ó Catháin be confused with another blind poet at around the same time, Rory 'Dall' Morrison. I created this arrangement for Celtic or Concert (Pedal) Harp. Sheet music made with MuseScore - https://musescore.com

Jakob Ludwig Felix Mendelssohn Bartholdy (1809 – 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early romantic period. Mendelssohn wrote symphonies, concertos, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the overture The Hebrides, his mature Violin Concerto, and his String Octet. His Songs Without Words are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-evaluated. He is now among the most popular composers of the romantic era. The eight volumes of Songs Without Words, each consisting of six "songs" (Lieder), were written at various points throughout Mendelssohn's life, and were published separately. The piano became increasingly popular in Europe during the early nineteenth century, when it became a standard item in many middle-class households. The pieces are within the grasp of pianists of various abilities and this undoubtedly contributed to their popularity. This great popularity has caused many critics to under-rate their musical value. He composed Book 4 (Opus 53) between 1839–41 The first song is "On the Seashore" (Andante con moto). Suitably it opens with sempre tenuto e legato. Each of the melody notes should be given their full value. Mendelssohn is given the opportunity to show off his talent with being able to supply the perfect undertones with the main body of melody lines. "On the Seashore" provides a clear, tender, and concise style that is typical with Mendelssohn. "Clouds" (Allegro non troppo) is also known as "The Fleecy Clouds". Thought to have been written for his sister Fanny as Mendelssohn truly thought that his music would speak in larger volumes than his words. Compare this song with Book Three No. 3, and there appears to be some common resemblance. The piece is impulsive and is very much influenced by Schumann. "Agitation" (Presto Agitato). Not until the Ninth measure is the subject of this piece loudly apparent. There lies the effective monotony that is prevalent throughout this song. In measure 69, he inserts additional notes on the weaker beat with the left hand. "Sadness of Soul" (Adagio) is expressive, but perhaps overly sentimental. It is a prime example of a cantabile (singing) style of playing. The song is very similar to his composition of "On wings of Son" op.34 No. 2. The use of the sustain pedal adds an ingenious third hand. "Folk Dance" (Allegro con Fuoco) is certainly his best out of this book. As the term "Fuoco" is implied, it is to be played with fire and passion. Felix composes with this fury, and has an almost patriotic march. Basically, this song has been elaborated on from the forth song in book One. This has none of Mendelssohn's usual traits of politeness and gentle mannerisms, but is attacked with more aggression and roughness. "Flight" (Molto allegro vivace). Instead of using cadence forms as was used in No. 5, Mendelssohn's use of chromatic seconds give the listener a sense of being caught up in a hurricane. Later in the piece, it presents a pure display of raw technical power. The piece builds, until the last few measures dwindle down to a surprising diminuendo. The book on a whole is certainly worth mentioning. Mendelssohn shrugs off his polite way of being, and occasionally opts to be somewhat more aggressive. The piece contrasts in mood, showing that even this composer can be found in his own kind of personal tug of war, and leave the comfort that is his nature. Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for Piano, I created this Interpretation of the "Clouds" from "Lieder ohne Worte" (Op. 53 No. 2) for Flute & Classical Guitar. Sheet music made with MuseScore - https://musescore.com

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Allemande from the French Suite No. 2 in C Minor (BWV 813 No. 1) for Viola & Classical Guitar.

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Allemande from the French Suite No. 2 in C Minor (BWV 813 No. 1) for Viola & Classical Guitar.

This is one of Schubert's three settings of Shakespeare texts from July 1826, the other two being Ständchen ("Hark, Hark, the Lark"), D. 889, and Trinklied ("Come, thou monarch of the vine"), D. 888. The composer was at the height of his powers, producing in the same year such masterpieces as the Symphony No. 9 in C major ("Great"), the String Quartet No. 15, and the four songs from Goethe's Wilhelm Meister, D. 877. The text of this song is taken from Act Four, Scene Two, of Shakespeare's The Two Gentlemen of Verona as translated by Eduard von Bauernfeld. While Schubert had set many songs from the works of Matthisson, Goethe, Kosegarten, Schiller, and others, his interest in Shakespeare came late; not surprisingly, all three of the Shakespeare songs are of high quality. This song was first published in 1828, and the edition in which it appeared was dedicated to Maria Pachler, a patron of the composer who lived in Graz. "An Sylvia" is a wonderful example of Schubert's adaptive approach to song writing. At this point in his career -- only months from the composition of Winterriese, and a mere two years from death -- the composer had explored nearly every approach to text setting available to him, at times pushing the boundaries of harmony, declamation, and musical form well beyond previously established limits. Yet here he created a simple strophic song -- one that, in its basic materials and form, is practically indistinguishable from even his earliest works. Its elegant and self-possessed nature is perfectly suited to Shakespeare's subtle wit and poetic meter; it needed nothing more adventurous to bring out these qualities. The dialogue between the two "gentleman," who are extolling the virtues of young Sylvia, comes to life in the simple arch shaped melodies, and the structure of Schubert's verses is such that their repetition is welcome -- in this way it is reminiscent of several entries from his earlier Die schöne Müllerin. Source: AllMusic (https://www.allmusic.com/composition/...) Although originally created for Solo Piano, I created this arrangement of "An Sylvia" (Op. 106 No. 4 D.891) for Oboe & Strings (2 Violins, Viola & Cello).

Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt. The second surviving son of J.S. Bach, Carl Philipp Emanuel was the most innovative and idiosyncratic member of an extremely talented musical family. His music, unlike that of his father or that of the master he influenced, Haydn, did not define an era so much as reveal a deeply personal response to the musical conventions of his time. C.P.E. Bach could play his father's technically demanding keyboard pieces at sight by the time he was seven. Also an exceptional student in areas other than music, he enrolled at the University of Leipzig in 1731 to study law, then transferred to the University of Frankfurt an der Oder. He graduated in 1734, but remained in that backwater town giving keyboard lessons, involving himself in public concerts, and learning the composer's craft The Trio Sonata in D Minor (BWV 1036) has been questioned as to it's authorship but scholars believe that it was composed in 1731, when C.P.E. Bach was around 17 years old and revised in 1747, when Bach was around 33. Source: Allmusic(http://www.allmusic.com/composition/t...). Although originally written for 2 Violins & continuo, I created this Arrangement of the Trio Sonata in D Minor (BWV 1036) for Solo Pipe Organ (2 Manuals w/o Pedals).

Tomás Luis de Victoria (1548 – 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer as well as a Catholic priest. However, he preferred the life of a composer to that of a performer. Victoria was born in Sanchidrián in the province of Ávila, Castile around 1548 and died in 1611. Victoria's family can be traced back for generations. Not only are the names of the members in his immediate family known, but even the occupation of his grandfather. Victoria was the seventh of nine children born to Francisco Luis de Victoria and Francisca Suárez de la Concha. His mother was of converso descent. After his father's death in 1557, his uncle, Juan Luis, became his guardian. He was a choirboy in Ávila Cathedral. Cathedral records state that his uncle, Juan Luis, presented Victoria's Liber Primus to the Church while reminding them that Victoria had been brought up in the Ávila Cathedral. Because he was such an accomplished organist, many believe that he began studying the keyboard at an early age from a teacher in Ávila. Victoria most likely began studying "the classics" at St. Giles's, a boys' school in Ávila. This school was praised by St.Teresa of Avila and other highly regarded people of music. He was a master at overlapping and dividing choirs with multiple parts with a gradual decreasing of rhythmic distance throughout. Not only does Victoria incorporate intricate parts for the voices, but the organ is almost treated like a soloist in many of his choral pieces. Victoria did not begin the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire. Victoria reissued works that had been published previously, and included new revisions in each new issue. Victoria published his first book of motets in 1572. In 1585 he wrote his Officium Hebdomadae Sanctae, a collection which included 37 pieces that are part of the Holy Week celebrations in the Catholic liturgy, including the eighteen motets of the Tenebrae Responsories. Stylistically, his music shuns the elaborate counterpoint of many of his contemporaries, preferring simple line and homophonic textures, yet seeking rhythmic variety and sometimes including intense and surprising contrasts. His melodic writing and use of dissonance is more free than that of Palestrina; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths (for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, succurre). Victoria sometimes uses dramatic word-painting, of a kind usually found only in madrigals. Some of his sacred music uses instruments (a practice which is not uncommon in Spanish sacred music of the 16th century), and he also wrote polychoral works for more than one spatially separated group of singers, in the style of the composers of the Venetian school who were working at St. Mark's in Venice. The mass (Latin: missa), a form of sacred musical composition, is a choral composition that sets the invariable portions of the Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism) to music. Most masses are settings of the liturgy in Latin, the liturgical sacred language of the Catholic Church's Roman liturgy, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there are many masses (often called "communion services") written in English for the Church of England. Musical masses take their name from the Catholic liturgy called "the mass" as well. Masses can be a cappella, that is, without an independent accompaniment, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. Source: Wikipedia (https://en.wikipedia.org/wiki/Tom%C3%... ). Although originally created for Double Choir (SSAATTBB), I created this Interpretation of the "Missa Alma redemptoris" (Loving Mother of our Saviour) for Winds (Flute, Oboe, English Horn, & Bassoon) & Strings (2 Violins, Viola & Cello).

Far from the troubled, coarse libertine that has become an archetype of the Romantic composer, Felix Mendelssohn was something of an anomaly among his contemporaries. His own situation -- one largely of domestic tranquility and unhindered career fulfillment -- stands in stark contrast to the personal Sturm und Drang familiar to his peers. Mendelssohn was the only musical prodigy of the 19th century whose stature could rival that of Mozart. Still, his parents resisted any entrepreneurial impulses and spared young Felix the strange, grueling lifestyle that was the lot of many child prodigies. He and his sister Fanny were given piano lessons, and he also studied violin, and both joined the Berlin Singakademie. The eminent German musicologist and Lieder scholar Karl Schumann once famously described Mendelssohn's Lieder ohne Worte (Songs without words) as not simply "Pillars of the piano repertoire," but rather as "a household possession, as widespread in Germany as the Grimm brothers' fairy tales, Ludwig Richter's pictures, or Uhland's poetry ... and no less beloved in Victorian England." But these works were an absolutely typical Germanic reaction to the world of Romantic miniaturism, and especially, the growing interest among composers to encapsulate the mood of the moment in a keyboard gem. While it has become fashionable in critical circles to denigrate Mendelssohn's fragile sensibilities as little more than the manifestation of a kind of upper-class dilettantism, in his own way, he was actually far ahead of the field when it came to recognizing the future direction that music, especially the keyboard miniature, would take. In this regard, Mendelssohn anticipated the new expressive directions to be pursued by Schumann (whose wife, Clara, did much to popularize the Songs in the concert hall) and Liszt. Of the six Lieder ohne Worte of the fifth volume, Op. 62, no fewer than three pieces were given descriptive titles. Interestingly, Goethe (along with von Schiller the central figure of the German Romantic literary movement) had written "music begins where words end." No doubt, however, he would have been among the first to agree that the sombre mood of Op. 62 No. 3 in E minor "Trauermarsch" (Funeral March) needs no semantic prop to convey its sorrowful message. No. 5 in A minor is one of three Lieder to have the title "Venezianisches Gondollied" (Venetian Gondola Song). The concluding Lied ohne Worte of the Op. 62 group is one of the most famous of all piano miniatures. This is the A major "Frühlingslied" or "Spring Song." The remaining untitled pieces are Op. 62 No. 1 in G (Andante espressivo), No. 2 in B flat (Allegro con fuoco), and No. 4 in G (Allegro con anima). Finally, while these beguiling, some would say simplistic, pieces have sometimes been slighted as representative of the worst kind of Romantic kitsch, the critic Joan Chissell rightly reminds us that "without all these pieces, how much poorer our understanding would have been of the impressionable heart behind the master-craftsman's façade." Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for Piano, I created this Interpretation of the "Funeral March" from "Lieder ohne Worte" (Op. 62 No. 3) for Flute & Strings (2 Violins, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

An essentially self-taught musician, Johann Joachim Raff (Lachen, Schwyz 1822 - Frankfurt am Main 1882) was lauded in his homeland as a master of contemporary musical techniques. One of several forgotten Romantic composers whose works found a performance renaissance near the twentieth century's end, Joachim Raff was the son of a German organist from Württemberg. The family had modest resources, and Raff's only formal education consisted of teacher-training studies at a Jesuit school. But he was determined on a musical career and taught himself the essentials of composition. Raff eventually sent some of his piano music to Mendelssohn, who recommended them for publication. Encouraged, the young composer moved to Zurich, continuing to teach himself from treatises. In 1845 Liszt played a concert in Basle, and, in a journey reminiscent of Bach's supposed pilgrimage to hear Buxtehude a century and a half before, Raff walked all the way there to hear it. He met Liszt and showed him some of his music; the great virtuoso-composer took Raff back to Germany and got him a job in a music shop in Cologne. However, Raff also became a critic, and his writings so antagonized certain local personalities that he was forced to leave the city. He settled in Stuttgart, where he formed a lifelong friendship with the conductor Hans von Bülow. In 1846 he finally met Mendelssohn and made plans to study with him. However, Mendelssohn died in November of that year. Once again Liszt came to the rescue, finding a job for Raff in Hamburg as a representative of his publisher's firm, Schuberth. When Liszt gained a position as kapellmeister in Weimar, he hired Raff as an assistant. Like most composers, Liszt found the mundane part of the job, like making fair copies of the music to send to printers and extracting parts, to be tedious and uncreative, and he was happy to be able to delegate it to an employee; in addition, Raff orchestrated some of Liszt's early symphonic poems (some of which Liszt revised in later years when he was more skilled at orchestration). In 1856 Raff gave up that position and moved to Wiesbaden to give piano lessons and compose. Raff had closely studied music of past eras, and as a result he saw his mission as one of reconciliation between the latest developments in music and the techniques of the past. Thus, many of his works combine Baroque counterpoint and Classical forms with his own generation's interest in program music. In 1877 Raff was appointed director of the Hoch Conservatory, and held the post until his death. He taught composition; among his pupils was the American, Edward MacDowell. Raff's music was very highly regarded during his lifetime, a judgment that has not been seconded by history. Some commentators of the time ranked him with Wagner and Brahms. His music is well crafted, with brilliant orchestration and strong melodies; in fact, its entertaining qualities, it is now clear, damaged the music's durability by resembling too closely the salon music of the time. He was highly prolific, writing eleven symphonies (most of which have programs), and numerous other symphonic works and concertos. He wrote six operas, four of which have never been performed, and a huge amount of piano and chamber music. Source: AllMusic (https://www.allmusic.com/artist/joach...). Although originally composed for Violin & Piano, I created this Arrangement of the "Bewegt, mit elegischem Pathos" movement from the Sonata in E Minor (Op. 73 No. 1 Mvt. 1) for Flute & Strings (2 Violins, Viola & Cello).

The English Suites, BWV 806–811, are a set of six suites written by the German composer Johann Sebastian Bach for harpsichord and generally thought to be the earliest of his 19 suites for keyboard, the others being the six French Suites, BWV 812–817, the six Partitas, BWV 825-830 and the Overture in the French style, BWV 831. These six suites for keyboard are thought to be the earliest set that Bach composed. Originally, their date of composition was thought to have been between 1718 and 1720, but more recent research suggests that the composition was likely earlier, around 1715, while the composer was living in Weimar. Bach's English Suites display less affinity with Baroque English keyboard style than do the French Suites to French Baroque keyboard style; the name "English" is thought to date back to a claim made by the 19th-century Bach biographer Johann Nikolaus Forkel that these works might have been composed for an English nobleman, but no evidence has emerged to substantiate this claim. It has also been suggested that the name is a tribute to Charles Dieupart, whose fame was greatest in England, and on whose Six Suittes de clavessin Bach's English Suites were in part based. Surface characteristics of the English Suites strongly resemble those of Bach's French Suites and Partitas, particularly in the sequential dance-movement structural organization and treatment of ornamentation. These suites also resemble the Baroque French keyboard suite typified by the generation of composers including Jean-Henri d'Anglebert, and the dance-suite tradition of French lutenists that preceded it. In the English Suites especially, Bach's affinity with French lute music is demonstrated by his inclusion of a prelude for each suite, departing from an earlier tradition of German derivations of French suite (those of Johann Jakob Froberger and Georg Boehm are examples), which saw a relatively strict progression of the dance movements (Allemande, Courante, Sarabande and Gigue) and which did not typically feature a Prelude. Unlike the unmeasured preludes of French lute or keyboard style, however, Bach's preludes in the English Suites are composed in strict meter. Source: Wikipedia (https://en.wikipedia.org/wiki/English...)). Although originally written for Harpsichord. I created this arrangement of the Gigue from the English Suite No. 3 in G Minor (BWV 808 No. 6) for String Trio (Violin, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

SVUMC Kevin Buck Performance (9-22-2018)

The Goldberg Variations (BWV 988) is a work written for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer. Rather unusually for Bach's works, the Goldberg Variations were published in his own lifetime, in 1741. The publisher was Bach's friend Balthasar Schmid of Nuremberg. Schmid printed the work by making engraved copper plates (rather than using movable type); thus the notes of the first edition are in Schmid's own handwriting. It is difficult to believe that Bach would have published a commissioned work without any dedication to either Keyserlingk or Goldberg, which makes the story doubtful, along with the fact that Goldberg was only 14 at the time. Goldberg, however, was a renowned prodigy, and there are links between Bach and Keyserlingk. Bach may have given Keyserlingk a copy of the printed edition and received a reward for it. The aria which is the subject of the variations is an original creation, an elegantly serene sarabande which contains everything Bach needs for a vast universe of variation. Do not listen for that exquisite tune in the variations, however. Only some unifying cadential phrasing survives Bach’s transformations, which are based on the aria’s architecture and harmonic pattern, particularly the bass line, making the Goldberg Variations a sort of mega passacaglia or chaconne. As András Schiff wrote in the liner notes for his live recording of the “Goldberg” Variations: “ ‘Aller guten Dinge sind drei’ – All good things are three, thus the 30 variations are divided into ten groups of three. Each group contains a brilliant virtuoso toccata-like piece, a gentle and elegant character piece, and a strictly polyphonic canon. The canons are presented in a sequence of increasing intervals, starting with the canon in unison up until the canon in ninths. In place of the canon in tenths we have a quodlibet (what pleases), which combines fragments of two folk songs with the ground bass. The tonality remains G major for the most part, with shadows of tonic minor in three variations (Nos. 15, 21, & 25).” -John Henken The work consists of an aria (sarabande) in 3/4 time, and features a heavily ornamented melody followed by 30 variations. Source: Wikipedia (https://en.wikipedia.org/wiki/Goldber...) Although originally written for Harpsichord. I created this Arrangement of the Goldberg Variations (BWV 988) for Organ (2 Manuals w/o Pedals).

As organist at Weimar, Johann Sebastian Bach was charged with providing a harmonic underpinning for the singing of Lutheran chorale tunes chosen for each day. Bach wrote out many of these harmonizations, in part as instruction for younger composers (they are still used for this purpose). A derivation of this practice, Bach's conception of the organ chorale, as manifested in the chorale preludes, dates from 1713 -1714, about the time he became familiar with Vivaldi's concertos. Bach's Orgelbüchlein (Little Organ Book) contains chorale preludes for the church year written during the composer's service at Weimar (1708 - 1717). In about 1713, Bach began assembling the Orgel-Büchlein, and his earliest entries seem to be Her Christ, der ein'ge Gottes-Sohn, BWV 601, In dulci jubilo, BWV 608, Christ ist erstanden, BWV 627, and Heut' triumphieret Gottes Sohn, BWV 630. These were very original compositions, highly expressive miniatures based on a chorale melody, supported with refined counterpoint, and featuring highly condensed motivic writing. Bach's Orgelbüchlein was essentially complete by 1716. Only the fragment O Traurigkeit and the chorale prelude, Helft mir Gottes Güte preisen, BWV 613, were added later. "Complete" is used with some reservation here, because Bach originally projected 164 pieces but completed fewer than 50. In Bach's manuscript, pages with finished pieces alternate with blank ones intended for other chorale preludes. The later pieces differ from Bach's earlier chorale elaborations, in that they contain only one statement of the melody and are intended to demonstrate how to accompany a chorale with contrapuntally proper figurations that support the meaning of the text. This is one of Bach's large-scale chorale preludes, having both a sizeable scope and substantial length. Lasting about ten minutes, "Herr Gott, dich loben wir" (Lord God, we praise You) features a relatively terse theme and a cantus firmus in the upper register appearing throughout the work. This effort is the Germanic counterpart to the Te Deum and is one of Bach's more challenging compositions for organists, not so much because of technical considerations, but primarily owing to interpretive ones. In the wrong hands, the work can sound repetitive and lacking in color, leaving its audience bored. Good organists capture Bach's subtle developmental and motivic workings and his masterful sense for atmosphere. The work opens with the theme presented in a fairly straightforward and somber manner. Brief pauses at the ends of phrases give the music a sort of stop-and-start gait. Soon the pacing exhibits more animation and while the music retains its hesitant movement forward, it develops a more emphatic and more epic manner as if Bach has converted what seemed a limp into a steady proud stride. Textures gradually fatten, too, and the work takes on a more epic demeanor coupled with a growing sense of expectation. Bach makes the music sprout new motives and subtle contrapuntal ideas, in the end producing a work whose subtle nuances and expressive depth will reward the patient listener Source: Allmusic (http://www.allmusic.com/composition/h...). Although originally written for Pipe Organ, I created this Interpretation of the Chorale Prelude (BWV 725) "Herr Gott, dich loben wir" (Lord God, we praise You) for Wind Quintet (Flute, Oboe, English Horn, French Horn & Bassoon). Sheet music made with MuseScore - https://musescore.com

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Sarabande from the French Suite No. 1 in D Minor (BWV 812 No. 3) for Oboe & String Trio (Violin, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

Giovanni Domenico Rognoni Taeggio (? - before 1626) was an Italian composer from the Renaissance period. He was an organist in Milan ca. 1605, and ducal maestro di cappellathere from 1619. His publications include instrumental canzonas, some polychoral, madrigals in up to eight parts and a setting of the Ambrosian-rite Requiem. He was the son of Riccardo Rognoni and brother of Francesco Rognoni Taeggio, both prominent Italian composers and musicians. He was active in Milan, but had connections with royalty from as far abroad as Archduke Charles of Austria, and King Sigismund III Vasa of Poland. Rognoni was a Papal Knight and hereditary Palatine Count. He published both collections of his works and treatises. His most famous work was Selva de varii passaggi, on both vocal and violin technique, and on how to ornament. Canzonas are strictly instrumental works whose height of popularity was from around 1584 until the mid 17th century. The instrumental term canzona changed genders from the masculine canzon, and many are given simple feminine-gendered titles, such as "La Bevilacqua" (Canale), "La Capriola" (Maschera), "La Spiritata" (Gabrieli), etc. Many start with a simple dactylic rhythm characteristic of the earlier French vocal chansons (a semibreve followed by two minims), though the term was fluid in the period, and many pieces now called ricercars were published in books of canzonas. A frequent term used from the earliest publications was "canzoni per sonare" or "canzoni da sonare" ("songs to be played"). Another term occasionally used (for instance, by Banchieri) is "canzon alla francesce" ("French-type song"). Eventually the form morphed into the "canzona sonata" (a played song), followed by the mid-baroque "sonata" (something simply "played"). Source: Wikipedia (https://en.wikipedia.org/wiki/Giovann... ). Although originally created for four period instruments, I created this Arrangement of the Canzona in G Major (La Binama) for

Ich freue mich in dir (I rejoice in you), BWV 133, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1724 for the Third Day of Christmas and first performed it on 27 December 1724. The chorale cantata is based on the hymn by Caspar Ziegler (1697). Bach wrote the chorale cantata in his second year in Leipzig for the Third Day of Christmas as part of his second annual cycle. The prescribed readings for the feast day were from the Epistle to the Hebrews, Christ is higher than the angels, (Hebrews 1:1–14) and the prologue of the Gospel of John, also called Hymn to the Word (John 1:1–14). The cantata is based on the chorale in four stanzas Ich freue mich in dir (1697) by Caspar Ziegler. It is one of the newest of the chorales which served as a base for the second annual cycle, whereas Bach otherwise preferred the beloved hymns of poets such as Martin Luther and Paul Gerhardt. The unknown poet of the cantata text kept the first and the last stanza, and paraphrased the inner stanzas closely to a sequence of recitative and aria. The text has no reference to the readings nor to the feast of John the Evangelist. It expresses the intimate joy of the individual believer about the presence of God in the Jesus child. Bach first performed the cantata on 27 December 1724. Bach's successor Johann Friedrich Doles performed the cantata after Bach's death. The chorale is sung on a variant of a melody of O Gott, du frommer Gott. This melody was probably new to Bach who noted it in the score of the Sanctus, which he also composed for Christmas in 1724 and later made part of his Mass in B minor. The cornetto plays the cantus firmus with the soprano, the oboes play with violin II and viola, whereas violin 1 "shines above the rest". The lower voices are set mostly in homophony, with the exception of expressing "Der große Gottessohn" (the great son of God). John Eliot Gardiner summarizes: "I find it hard to imagine music that conveys more persuasively the essence, the exuberance and the sheer exhilaration of Christmas than the opening chorus of BWV 133". While Bach's Weimar cantata Christen, ätzet diesen Tag, BWV 63, expressed a communal joy in two choral movements and two duets, a sequence of four movements for a single voice reflects the joy of the individual believer. The alto aria is accompanied by the two oboi d'amore, the soprano aria by the strings, changing from an even time in the outer sections to a siciliano in the middle section. The tenor recitative is marked adagio twice, once to stress "Der allerhöchste Gotte kehrt selber bei uns ein" (Almighty God Himself here visits us), finally to quote from the chorale in both words and music "Wird er ein kleines Kind und heißt mein Jesulein" (He has become a little child and is called my little Jesus). The cantata is closed by a four-part setting of the last chorale stanza. Although scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett to double the chorale melody, two oboes d'amore, two violins, viola, and basso continuo, I created a French Horn Solo part and made this arrangement for French Horn & Strings (2 Violins, Viola & Cello). Sheet music made with MuseScore - https://musescore.com/mike_magatagan/...

Ruaidri Dall Ó Catháin (fl. late 16th/early 17th century) was an Irish harper and composer. As with many medieval and early modern Irish musicians, Ruaidri was blind (hence his nickname, Ruaidri "Dall", blind Ruaidri). Captain Francis O'Neill exhibits some uncertainty concerning his lifetime, stating he was born in 1646 but died in 1653. All that can be said is that he was alive during the first half of the 17th century. "Give Me Your Hand" (Tabhair dom do Lámh in Irish) is a tune from the early 17th century by Ruaidri Dáll Ó Catháin (c.1570-c.1650), perhaps in honour of a lady. It is one of the most widely recorded pieces of Irish and Scottish traditional music. This tune, revived by Seán Ó Riada, was originally a composition of the blind Derry harpist Ruaidri Dáll Ó Catháin. He wrote it while in Scotland, where he had a disagreement with a Lady Eglington. He composed the tune for her when she apologized. The tune is sometimes claimed to be written by the famous harpist [O'Carolan], who lived some years later. However there is no reference in the Bunting collection of O Carolan’s music. Nor should Ruaidhrí 'Dall' Ó Catháin be confused with another blind poet at around the same time, Rory 'Dall' Morrison. I created this arrangement for Celtic or Concert (Pedal) Harp. Sheet music made with MuseScore - https://musescore.com

Jakob Ludwig Felix Mendelssohn Bartholdy (1809 – 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early romantic period. Mendelssohn wrote symphonies, concertos, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the overture The Hebrides, his mature Violin Concerto, and his String Octet. His Songs Without Words are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-evaluated. He is now among the most popular composers of the romantic era. The eight volumes of Songs Without Words, each consisting of six "songs" (Lieder), were written at various points throughout Mendelssohn's life, and were published separately. The piano became increasingly popular in Europe during the early nineteenth century, when it became a standard item in many middle-class households. The pieces are within the grasp of pianists of various abilities and this undoubtedly contributed to their popularity. This great popularity has caused many critics to under-rate their musical value. He composed Book 4 (Opus 53) between 1839–41 The first song is "On the Seashore" (Andante con moto). Suitably it opens with sempre tenuto e legato. Each of the melody notes should be given their full value. Mendelssohn is given the opportunity to show off his talent with being able to supply the perfect undertones with the main body of melody lines. "On the Seashore" provides a clear, tender, and concise style that is typical with Mendelssohn. "Clouds" (Allegro non troppo) is also known as "The Fleecy Clouds". Thought to have been written for his sister Fanny as Mendelssohn truly thought that his music would speak in larger volumes than his words. Compare this song with Book Three No. 3, and there appears to be some common resemblance. The piece is impulsive and is very much influenced by Schumann. "Agitation" (Presto Agitato). Not until the Ninth measure is the subject of this piece loudly apparent. There lies the effective monotony that is prevalent throughout this song. In measure 69, he inserts additional notes on the weaker beat with the left hand. "Sadness of Soul" (Adagio) is expressive, but perhaps overly sentimental. It is a prime example of a cantabile (singing) style of playing. The song is very similar to his composition of "On wings of Son" op.34 No. 2. The use of the sustain pedal adds an ingenious third hand. "Folk Dance" (Allegro con Fuoco) is certainly his best out of this book. As the term "Fuoco" is implied, it is to be played with fire and passion. Felix composes with this fury, and has an almost patriotic march. Basically, this song has been elaborated on from the forth song in book One. This has none of Mendelssohn's usual traits of politeness and gentle mannerisms, but is attacked with more aggression and roughness. "Flight" (Molto allegro vivace). Instead of using cadence forms as was used in No. 5, Mendelssohn's use of chromatic seconds give the listener a sense of being caught up in a hurricane. Later in the piece, it presents a pure display of raw technical power. The piece builds, until the last few measures dwindle down to a surprising diminuendo. The book on a whole is certainly worth mentioning. Mendelssohn shrugs off his polite way of being, and occasionally opts to be somewhat more aggressive. The piece contrasts in mood, showing that even this composer can be found in his own kind of personal tug of war, and leave the comfort that is his nature. Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for Piano, I created this Interpretation of the "Clouds" from "Lieder ohne Worte" (Op. 53 No. 2) for Flute & Classical Guitar. Sheet music made with MuseScore - https://musescore.com

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites. Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious. Source: Wikipedia (https://en.wikipedia.org/wiki/French_...)). Although originally written for Harpsichord. I created this Arrangement of the Allemande from the French Suite No. 2 in C Minor (BWV 813 No. 1) for Viola & Classical Guitar.