Two Baroque Arias - MOECK

Two Baroque Arias

JOHANN SEBASTIAN BACH (1685–1750)

Schafe können sicher weiden

HENRY PURCELL (1659–1695)

Dido’s Lament

for recorder orchestraadapted by Sylvia Corinna Rosin

Edition Moeck 3358AAsoloATBGbSb/SATTBBGbSb

Two Baroque Arias

JOHANN SEBASTIAN BACH (1685–1750)

Schafe können sicher weidenfrom Cantata BWV 208

HENRY PURCELL (1659–1695)

Dido’s Lamentfrom Dido and Aeneas

Edition Moeck Nr. 3358

MOECK VERLAG CELLE

score and 7 parts

for recorder orchestra

adapted by Sylvia Corinna Rosin

Ob ambitionierte Laien oder professio-nelle Spieler: Immer häufiger finden sichmehrere oder sogar viele Blockflötistenzusammen, um ein größeres Block flö -ten ensemble oder ein Block flö ten or -ches ter zu gründen. In erster Linie ste-hen klang liche Gründe hinter demZusammen schluss, da das erweiterteKlangspek trum, die Vielzahl an mögli-chen Kombi nationen von z. T. sehr tie-fen wie auch sehr hohen Blockflötenund die damit verbundene Klangfülleeine neue Di mension im Block flö ten -spiel verspricht, die kleinere Be set zun -gen wie Trio, Quar tett oder Quintettnicht bieten können. In zweiter Liniedürften soziale Gründe eine Rolle dabeispielen, denn das Spiel in der großenGruppe zusammen mit Freunden undGleichgesinnten macht großen Spaß.

Der Moeck Verlag möchte Blockflöten -ensembles und Blockflötenorchesternmit seiner Reihe „The Recorder Orche -s tra“ hochwertige, passende und an -spre chende Literatur zur Verfügungstellen. Dabei handelt es sich überwie-gend um Originalkompositionen alterund neuer Musik, aber auch um Be ar -bei tungen von Jazz-Standards oderanderen Klassikern. Das Auf führungs -material wird praxisge recht gestaltet, indem immer eine Parti tur für den Di ri -genten oder Ensemble leiter zur Ver fü -gung gestellt wird.

Ein vollständiger Satz Einzelstimmenliegt der Partitur bei. Diese (legal er -wor benen) Stimmen können vom En -sem ble kopiert werden, um sich dasStück entsprechend der eigenen Be set -zungsmög lichkeiten einzurichten.

Amongst recorder players, regardless ifthey are keen amateurs or professionals,it is becoming more and more widespre-ad that several or many players willcome together in order to form a largerecorder ensemble or a recorder orche-stra. The main reason to join together isto gain more sound. The extendedsound spectrum and the great variety ofnew combinations ranging from partlyvery low to very high pitched recorders,along with the richness of tone that canbe produced, opens new horizons inrecorder playing that smaller groupssuch as trios, quartets or quintets cannotoffer. Social reasons will also play astrong role, since what could be morefun than playing together in a largegroup with friends and like-minded.

With their series “The RecorderOrches tra” Moeck publishers wouldlike to pro vide sheet music for recorderensembles and recorder orchestras thatis of high quality, suitable and attractive.The series contains mainly originalworks comprising old and new as wellas arrangements of jazz standards orother favourite classics. The performingmaterial is specially designed for practi-cal use, including a score for the con-ductor or ensemble leader and one com-plete set of parts.

These legally purchased parts may becopied by the ensemble to meet theirindividual re quirements.

Translation: J. Whybrow

Qu’il s’agisse d’amateurs ambitieux oude musiciens professionnels, de plus enplus souvent, plusieurs flûtistes, parfoismême en grand nombre, désirent fonderun ensemble, voire un orchestre de flû-tes à bec. Les raisons qui les y incitentsont tout d’abord d’ordre sonore, étant donné que le spectre des timbres et ladiversité des combinaisons possiblesentre les flûtes très graves et les trèsaiguës permettent d’obtenir un ensem-ble de sons qui confère au jeu de la flûteà bec une nouvelle dimension que desinstrumentations de petite taille tellesque trios, quatuors ou quintettes nepeuvent offrir. L’aspect social constituela seconde raison, car il faut bien direque jouer avec des amis et des amoureuxde la flûte à bec au sein d’un grand grou-pe est fort plaisant.

En proposant sa série intitulée «The Re -corder Orchestra», les éditions Moecksouhaitent mettre à la disposition desen sembles et des orchestres de flûtes àbec des œuvres qui leur conviennent etqui sont agréables à interpréter. Il s’agitlà avant tout de compositions originalesde musique ancienne et nouvelle, mais aussi d’arrangements de pièces stan-dards de jazz ou autres classiques. Lematériel est conçu de façon à être facileà utiliser, c’est à dire qu’il comprendtoujours une partition pour le chef d’or-chestre ou le responsable de l’ensemble.L’ensemble des différentes voix est éga-lement joint à la partition.

Ces partitions des différentes voix(acquises légalement) peuvent êtrephotocopiées par l’ensemble afin qu’ilpuisse adapter la pièce aux possibilitésde sa propre in stru mentation.

Traduction: A. Rabin-Weller

The Recorder Orchestra

The edition of Two Baroque Arias,combines two very well known sopra-

no arias which I have adapted for recorderorchestra: Schafe können sicher weiden isfrom the cantata Was mir behagt, ist nur diemuntre Jagd! (Hunting Cantata) BWV 208by Johann Sebastian Bach (1685–1750).Dido’s Lament forms the conclusion ofthe opera Dido and Aeneas by HenryPurcell (1659–1695).

Bach composed the Hunting Cantata forthe birthday celebrations of PrinceChristian of Saxony-Weissenfels, whoattempted to imitate the pomp of the SunKing at his own court. On 23rd February1713, after hunting, a table music (Tafel-Music) by Johann Sebastian Bach was per-formed as the culmination of the festivitieswhich had taken place over the course ofweeks. The Hunting Cantata is Bach’s ear-liest secular cantata to survive. The text isby the High Ecclesiastical Secretary inWeimar, Salomon Franck, whose poetrywas Bach’s preference for putting tomusic.

The aria is sung by a solo soprano accom-panied by two alto recorders and bassocontinuo. The tenor and alto (tutti) recor-ders play the vocal line; the bass, great bassand subbass take on the basso continuo.

Purcell’s first opera, Dido and Aeneas hadits premiere in London in 1689. He put atext by the English poet Nahum Tate tomusic, which is faithful to the correspon-ding episodes from Virgil’s Aeneid. Dido’slament – sung by a lamento bass – is theclimax of the opera and at the same timealso its conclusion. Dido dies of a brokenheart. In the following final chorus, thegods of love appear between the cloudsand strew roses on her grave.

Translation: A. Meyke

Sylvia Corinna Rosin2020

Le présent cahier intitulé Two BaroqueArias combine deux célèbres arias

pour soprano dont j’ai réalisé un arrange-ment pour orchestre de flûtes à bec : l’ariaSchafe können sicher weiden est tirée de lacantate Was mir behagt, ist nur die muntreJagd! (cantate de la chasse) BWV 208 écritepar Jean Sébastien Bach (1685–1750), tan-dis que la Lamentation de Didon est l’airfinal de l’opéra Didon et Enée composépar Henry Purcell (1659–1695).

Bach composa la cantate de la chasse àl’occasion de l’anniversaire du DucChristian von Sachsen-Weißenfels quiessayait de reproduire, dans la vie de saCour, la splendeur de celle du Roi Soleil.Le 23 février 1713, à la suite d’une partie dechasse, et pour couronner les festivités quise déroulaient depuis plusieurs semainesdéjà, Jean Sébastien Bach composa unemusique de table. Cette cantate de la chasseest la cantate profane la plus ancienne donton ait eu connaissance. Ses paroles ont étéécrites par Salomon Franck, originaire deWeimar, Secrétaire du haut consistoire deWeimar, et dont Bach mettait volontiersles textes en musique.

Deux flûtes à bec alto, une flûte sopranosolo et une basse continue sont les instru-ments intervenant dans l’aria. Dans la ver-sion pour orchestre de flûtes à bec, ce sontles flûtes ténor et alto (tutti) qui jouent lapartie chantée, tandis que la basse, la gran-de basse et la soubasse interprètent labasse continue.

Didon et Enée, le premier opéra quecomposa Purcell, fut présenté pour la

première fois à Londres en 1689. Purcellbasa sa composition sur un livret du poèteanglais Nahum Tate qui s’était fortementinspiré des épisodes correspondant tirésde l’Enéide de Virgile. La lamentation deDidon – portée par une basse obstinée –est non seulement l’apogée mais aussi lafin de l’opéra. Didon meurt, le cœur brisé.Dans le chœur final, les dieux de l’amourapparaissent aux cieux et répandent desroses sur son tombeau.

Traduction: A. Rabin-Weller

Das vorliegende Heft Two BaroqueArias vereint zwei sehr bekannte

Sopran-Arien, die ich für Blockflöten-orchester bearbeitet habe: Schafe könnensicher weiden stammt aus der KantateWas mir behagt, ist nur die muntre Jagd!(Jagdkantate) BWV 208 von JohannSebastian Bach (1685–1750). Dido’sLament bildet den Schluss der OperDido and Aeneas von Henry Purcell(1659–1695).

Bach schrieb die Jagdkantate anlässlichder Geburtstagsfeier des FürstenChristian von Sachsen-Weißenfels, der inseiner Hofhaltung die Pracht desSonnenkönigs nachzuahmen suchte. Am23. Februar 1713 fand nach einer Jagd alsHöhepunkt der bereits mehrere Wochenandauernden Festlichkeiten eine Tafel-Music von Johann Sebastian Bach statt.Die Jagdkantate ist Bachs früheste über-lieferte weltliche Kantate. Der Textstammt vom Weimarer Oberkonsisto-rialsekretär Salomon Franck, dessenDichtungen Bach bevorzugt vertonte.

Die Besetzung der Arie sieht nebeneinem Solo-Sopran zwei Altblockflötenund Basso continuo vor. In der Fassungfür Blockflötenorchester übernehmen dieTenor- und (Tutti-)Altflöten die Gesangs-stimme; Bass, Großbass und Subbass denBasso continuo.

Purcells erste Oper Dido and Aeneaswurde 1689 in London uraufgeführt.

Er schrieb sie auf einen Text des engli-schen Dichters Nahum Tate, der sichdarin eng an die entsprechendenEpisoden in Vergils Aeneis anlehnte.Didos Klagegesang – von einem Lamento-Bass getragen – ist der Höhepunkt undzugleich das Ende der Oper. Dido stirbtan gebrochenem Herzen. In dem folgen-den Schlusschor erscheinen Liebesgötterin den Wolken und bestreuen ihr Grabmit Rosen.

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Dido’s Lament: You can download the ad-libitum part for sub great bass notated intreble clef as a pdf file on:

www.noten-im-netz.de

Dido’s Lament: En option, la partitionpour sous-grande basse (clé de sol) peutêtre téléchargée au format Pdf sur le site:


Dido’s Lament: Die ad-libitum-Stimmeim Violinschlüssel für Sub-Großbass kannheruntergeladen werden unter:



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for recorder orchestraadapted by Sylvia Corinna Rosin Johann Sebastian Bach (1685–1750)

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© 2020 by Moeck Musikinstrumente + Verlag GmbH, CelleEdition Moeck Nr. 3358 · ISMN M-2006-3358-0

All rights reservedPrinted in Germany

© 2020 by Moeck Musikinstrumente + Verlag GmbH, Celle, Germany · Edition Moeck Nr. 3358 (Noteninfo)

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adapted by Sylvia Corinna RosinHenry Purcell (1659–1695)


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#wings ye Cu pids

ing wings ye

#wings ye Cu pids

ing wings ye

droop

With droop

droop

come, with

With droop

Cu pids come,

come, with

Cu pids come,

- - -

-

- - - - - - -

- - - - - -

- - - - -

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14


&&&ÊÊÊ?

bb

bb

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ing wings ye

# n,

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jCu pids come, And

J#pids come, And

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#Cu pids come,

J#pids come, And

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#Cu pids come,

Cu pids come,

- - - - -

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bb

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. ,scat ter ro ses,

Ó JAnd

# ,scat ter ro ses,

J #And scat ter

Ó JAnd

J #And scat ter

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scat ter, scat ter

nscat ter, scat ter,ro ses, scat ter

scat ter, scat ter,ro ses, scat ter

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ro ses on her#ro ses on her

j

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gen tle as her

ÓSoft, #

soft and gen tle

gen tle as her

#Soft, soft

#soft and gen tle

#Soft, soft

- - - - -

- - - - - -

- - - - -

- - - -

- - - - - -

- - - -

- - - -

- - - -


15


&&&ÊÊÊ?

bb

bb

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#soft and

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n n ,and gen tle,

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# . ngen tle as her. ngen tle as her

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. J Jhere your watch, keep. J

here your watch, keep. J Jhere your watch, keep

. J jhere your watch, keep. J

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. j jhere your watch, keep


- -

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nne ver, ne ver,

ne ver, ne .ver,

nne ver, ne ver,

ne ver, ne ver,

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ne ver, ne ver,

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jne ver part, andn # Jne ver part, andjne ver part, and






ne ver, ne ver,

ne ver, ne ver,

ne ver, ne ver,

ne ver, ne ver,

ne ver, ne ver,

ne ver, ne ver,

ne ver, ne ver,

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wUpart.wUpart.

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- - - - - - -

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16


MOECK MUSIKINSTRUMENTE + VERLAG GmbHPostfach 3131 • D-29231 Cellewww.moeck.com, ISMN M-2006-3358-0, Titelentwurf: Christoph Zehm

The Recorder OrchestraGlenn Miller: Moonlight Serenade (P. Leenhouts)

SAAATTBGb · P+St · Edition Moeck Nr. 3304Moritz Moszkowski: Spanish Dances, op. 12 no. 1 & 2 (S. C. Rosin)

SATTBGbSb · P+St · Edition Moeck Nr. 3330Leopold Mozart: Das vor Kälte zitternde und

schnatternde Frauenzimmer (I. Beutler) from Die musikalische Schlittenfahrt,SinoAATBBBSb · P+St · Edition Moeck Nr. 3329

Wolfgang Amadeus Mozart: Ave verum corpus (S. C. Rosin)SATB – TBGbSb · P+St · Edition Moeck Nr. 3342

– : Die Zauberflöte – Ouvertüre (F. Steinhöfel)2S 2A 4T 4B 2Gb Sb · P+St · Edition Moeck Nr. 3322

Johann Pachelbel: Kanon und Gigue (S. C. Rosin)SSSAAATTTBGbSb · P+St · Edition Moeck Nr. 3317

Hieronymus Praetorius: Two Antiphonal Christmas Chorals, 1622SSAT(A) – T(A)TBB · P+St · Edition Moeck Nr. 3308

Henry Purcell: Chacony (S. C. Rosin)SATBGbSb · P+St · Edition Moeck Nr. 3326

Pete Rose: Mega-RONY (2004)SSAATTBGbPerc. ad lib. · P+St · Edition Moeck Nr. 3306

Sylvia Corinna Rosin: Bear HeartSATBGbSb2Dr · P+St · Edition Moeck Nr. 3347

– : Dance of JoySSAATTBBGbGbSbSb · P+St · Edition Moeck Nr. 3349

– : Double PleasureSAATBGbSb · P+St · Edition Moeck Nr. 3335

– : Full HouseSinosoloSATBBGbSb · P+St · Edition Moeck Nr. 3345

– : Morning MistSsoloATBBSb · P+St · Edition Moeck Nr. 3344

– : RaindropsSinoSSSAATTBGbSb · P+St · Edition Moeck Nr. 3323

– : Singing WindSSsoloAATTBGbSb Tr · P+St · Edition Moeck Nr. 3357

– : Towards the SunSSsoloAATTBBGbSb · P+St · Edition Moeck Nr. 3355

Sylvia Corinna Rosin (arr.): God Rest You Merry, GentlemenSinoSATBGbSb · P+St · Edition Moeck Nr. 3314

– : Prelude and Fuge in C majorfrom Acht kleine Praeludien und Fugen formerly ascribed to J. S. BachSATBGbSb · P+St · Edition Moeck Nr. 3331

– : The River (Native American Song)SSAATBSb+Drum · P+St · Edition Moeck Nr. 3310

– : The SilverminesSinosoloSAT(T)BGbSb · P+St · Edition Moeck Nr. 3353

Franz Schubert: Ständchen (S. C. Rosin)S(solo)ATBGbSb · P+St · Edition Moeck Nr. 3338

Robert Schumann: Abendlied (S. C. Rosin)S(solo)ATBGbSb · P+St · Edition Moeck Nr. 3338

– : Romanze (I. Beutler) from Symphony No. 4SSAATTBBBGbSb · P+St · Edition Moeck Nr. 3321

Johann Strauß Sohn: Persischer Marsch (I. Beutler) SinoSSAATTTBBBGbSb · P+St · Edition Moeck Nr. 3354

Peter I. Tchaikovsky: Dance of the Swans (I. Beutler)from Swan Lake, op. 20SSAATTBBGbSb · P+St · Edition Moeck Nr. 3340

– : Ouverture miniature (D. Schnabel)from The Nutcracker Ballet, op. 71SinoSSAATTBBBGbTr · P+St · Edition Moeck Nr. 3318

Hans Joachim Teschner: Seaport Jump (2008) SAAATTTBGbSb · P+St · Edition Moeck Nr. 3309

– : Elbtraum (2008)SAAATTTBGbSb · P+St · Edition Moeck Nr. 3311

Hartmut Tripp: Der TreppenwitzSAATTBBGb · P+St · Edition Moeck Nr. 3325

Johann Sebastian Bach: Jesus bleibet meine Freude (S. C. Rosin)Chorale from Cantata BWV 147SATTBBGbSb · P+St · Edition Moeck Nr. 3332

– : Singet dem Herrn ein neues Lied (B. Spanhove)ATBGb ATBGb Sb · P+St · Edition Moeck Nr. 3351

– : 3 Chorale Preludes and Chorales (B. Spanhove)SATTBBGbSb · P+St · Edition Moeck Nr. 3334

Irmhild Beutler: Seemannsgarn SSAATTBBGbSb · P+St · Edition Moeck Nr. 3346

Irmhild Beutler (arr.): El Sol y La Luna (Andalusian Folksong) SSAATTBBGbSb+Tambourine · P+St · Edition Moeck Nr. 3343

– : Evening Rise (Native American Song) SAATTTBBGbSb · P+St · Edition Moeck Nr. 3352

– : La Gondoletta (Venetian Folksong) SinoSAATB(+Sb) · P+St · Edition Moeck Nr. 3312

– : Marche des Rois (Traditional) SinosoloSAATTBBGbSb · P+St · Edition Moeck Nr. 3348

– : Nachtschwärmerei (Spanish Folksong) GspSinoSAATBBGbSb · P+St · Edition Moeck Nr. 3315

Georges Bizet: Carmen – Entr’acte II (F. Steinhöfel)SAT5B4Gb3Sb Harp(ad lib.) · P+St · Edition Moeck Nr. 3319

Johannes Brahms: Hungarian Dance No. 5 (P. van der Meer/A. Deckmyn)SinoSATTBBBGbSb · P+St · Edition Moeck Nr. 3339

Marc-Antoine Charpentier: Prélude (S. C. Rosin) SSATBGbSb · P+St · Edition Moeck Nr. 3350

Edward Elgar: Salut d’amour (I. Beutler) SAATBBGbSb · P+St · Edition Moeck Nr. 3337

George Gershwin: Summertime (S. C. Rosin) from Porgy and BessSATBGb(Sb) · P+St · Edition Moeck Nr. 3320

– : Two Songs (S. C. Rosin)I Got Rhythm · Somebody Loves Me SinosoloATTBGbSb/SsoloA3T2BGbSb · P+St · Edition Moeck Nr. 3341

Edvard Grieg: Peer Gynt Suite No. I, op. 46 (H.-D. Michatz)recorder orchestra · P+St · Edition Moeck Nr. 3324

– : Solveig’s Song (H.-D. Michatz), from Peer Gynt Suite No. II, op. 55 S(Sino)SAATTTTBBGbSb · P+St · Edition Moeck Nr. 3328

Georg Friedrich Händel: Chaconne in C (I. Beutler)Theme and 11 Variations from HWV 443 and 484SinosoloSAATTBGbSb · P+St · Edition Moeck Nr. 3356

– : Pifa (S. C. Rosin)SATBGbSb · P+St · Edition Moeck Nr. 3350

– : Sarabande (S. C. Rosin)from Suite No. 4 in D minor for Cembalo (HWV 437)SinoSATB(Gb)(Sb) · P+St · Edition Moeck Nr. 3313

– : Two Arias (S. C. Rosin)Lascia ch’io pianga · Ombra mai fùSATBGbSb/SA(T)TBSb · P+St · Edition Moeck Nr. 3336

Engelbert Humperdinck: Abendsegen (I. Beutler)2S 4A 3T 4B Gb Sb · P+St · Edition Moeck Nr. 3327

Scott Joplin: Two Waltzes (I. Beutler)SinoSATBGbSb · P+St · Edition Moeck Nr. 3333

Pietro Lappi: La Negrona (Rauerij, 1608) Doppel chörige Canzone zu 8 StimmenSSS(A)T – S(A)ATGb(B) · P+St · Edition Moeck Nr. 3302

Paul Leenhouts: Ixi – Mixi – Dixi (1985) SAAATTB · P+St · Edition Moeck Nr. 3307

– : Juego de Galilei (1999) 4Sino 4A 4B 2Sb, Kontrabass oder Bassgitarre · P+StEdition Moeck Nr. 3303

J.-B. Lully: Marche pour la Cérémonie des Turcs (S. C. Rosin)SinoSSATBGbSb+Drum · P+St · Edition Moeck Nr. 3316

Matthias Maute: Ten Times Tenor (2004) für 10 Tenor blockflöten · P+St · Edition Moeck Nr. 3301

Felix Mendelssohn Bartholdy: Andante (H.-D. Michatz)from Symphony No. 4 (Italian) SSAAATTB/Gb/Sb · P+St · Edition Moeck Nr. 3305

Two Baroque Arias - MOECK

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Transcript of Two Baroque Arias - MOECK