-

SELECTIONS

From

Bach's Cantatas

For

Alto, Tenor and Bass Trombone

Arranged by

Bob Reifsnyder

MUSIC for the

BAROQUE BONE SQUAD

VOLUME ONE

@201.7
 About the Composer

The three great innovators of the 17th century, Monteverdi(1 567 -1643), Giovanni
Gabrieli (1556?-161,2) and Corelli (1653-1713) can easily be paired with the
three masters of the 1Bth, Handel [1685-\759), Bach (1685-1,750J and Vivaldi
(1678-1741). The circumstances of the connections, however, differ greatly. From
the operas of Monteverdi to the operas of Handel, there are two complete
generations of composers, highlighted by the careers of Francesco Cavalli [1602-
1676) and Allessandro Scarlatti (1660-1725), both of whom were quite famous
during their lifetimes. From the sacred concertos of Gabrieli to the cantatas of
Bach, there are also two generations of composers, represented most vividly by
the careers of Heinrich Schutz [1585-1672), a celebrated student of Gabrieli and
Dietrich Buxtehude (1,637-1"707), a much lesser known composer. In contrast,
Corelli was not only alive, but in the prime of his career when Vivaldi started his
own creative output. Like Vivaldi, Handel's Trio Sonata collections (Op. 2 and Op.
5) also owe much to Corelli, but they were at least equally if not more influenced
by the "French Overture" style of |ean-Baptiste Lully (1632-1687). The Trio
Sonatas of Georg Philipp Telemann [1681-1,767) are influenced somewhat by
Corelli, but they are much more varied, interesting and musical than those of
Vivaldi, most likely because he wrote in the medium for a much longer period and
benefitted greatly from hearing them performed frequently. Bach only wrote Trio
Sonatas for organ, but he was certainly the master of the texture, using it
frequently in almost all of his sacred compositions. Even the b minor Mass has
arias scored for solo voice, one obligatto instrument and basso continuo. His use
of the texture in early cantatas shows the influence of Buxtehude, with the upper
instrument sometimes doubling the bass. Later in his career, though, his mastery
of counterpoint has made independence the key feature, much to the delight of
any three musicians fortunate enough to perform this music.

About the arranger

Bob Reifsnyder, a graduate of Interlochen Arts Academy, has two degrees from Juilliard and a
Doctorate from Indiana University. As a trombone teacher, he has served on the faculties of the
fuilliard Pre-College Division, Indiana University, Indiana State University, and Ithaca College.
As a professional trombonist, he has been a member of the West Point band, the National
0rchestra of New York, the Spoleto Festival orchestra, Goldman Band, Ringling Brothers, the
German orchestras of Bielefeld, Kaiserslautern and Solingen, Terre Haute Symphony, Tri-Cities
Opera, Cayuga Chamber Orchestra, Manitowoc Symphony and the Wisconsin Philharmonic. As
a gig musician, he has appeared with the Metropolitan Opera, the orchestras of Wuppertal and
Dusseldorf in Germany, L'0rchestre de Ia Suisse Romande, Chamber Orchestra of Lausanne,
Fort Wayne Philharmonic, Syracuse Symphony, Binghamton Pops, Ithaca Opera, the Wisconsin
orchestras of Sheboygan, Oshkosh, Green Bay and the Fox Valley Symphony,
 Notes for this arrangement

1,. Performance- Bach only wrote trio sonatas for organ, but his cantatas contain a wealth
of material that uses that texture. Obviously, there is no continuo instrument in these
arrangements, which makes them "skeletal" by nature. Nevertheless, public performance
is highly encouraged; Bach was a genius in creating music where all parts exist
independently AND as vital harmonic units in relation to the whole composition. The
continuo part adds to the perfection that is already in place, but doesn't subtract from the
sublimity when absent.

2. Clef reading- These arrangements will hopefully serve as advanced clef practice for
those playing the first and second parts. It is unfortunate that clef reading skills don't
seem to be a priority for many contemporary trombone teachers, but the ability to
transpose at sight remains a prerequisite for becoming an excellent professional
musician. Please keep in mind that the first time one has to ask a conductor for a
transposed part is likely the last time one will perform with that ensemblel

3. Scoring- Unlike the trio sonatas of Corelli, Handel, Telemann and Vivaldi which
complete this collection, these works are all vocal arias or duets written in "trio sonata
texture". As a result, only very rarely are notes from one voice exchanged with another, a
technique that occurs regularly in later volumes. One will notice frequent key changes
from the original, however, to keep them in a workable range for trombones.

4. Range- The basic range of these transcriptions is slightly more than three octaves (low C
to high D). These arrangements are also quite suitable for performance by a viola,
trombone and cello, which offers a wonderful chamber music experience for a
trombonist.

5. Tempi- All tempi are suggestions, not requirements. They are based on three tenets of
Baroque performance:
A, triple tempi are faster than duple tempi
B. music with quarter and half notes as the fastest value have faster tempi
C. music with eighth and sixteenth notes as the fastest value have slower tempi

6. Dynamics- 0nly three dynamic levels are used in these arrangements (mf,mp,p) and
they are also suggestions as well. If one wants to expand the dynamic range a bit, there is
certainly no issue with using "f,mp,pp" instead. The use of dynamics here is almost
always an indication of the relative importance of the three independent lines.

7. Breathing- There are no breath marks in these transcriptions; that is perhaps the most
personal decision a trombonist ever makes. There are, however, notes left out in
extended passages that would be impossible to perform on a trombone, hopefully in the
most appropriate locations.
'Aflf#mErfullet ihr Himmlischen, Gottlichen Flammen"
J.S. Bach
from CantataBwv 1
Bob Reifsnyder
Allegro J = 80
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2 Aria " Erfullet ihr Himmlischen. Gottlichen Flammen"

39

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51
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Aria " Erfullet ihr Himmlischen, Gottlichen Flammen"

6J

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This page intentionally left blank
 I

Bass Trombone
Aria- "Tilg, O Gott, die Ehren""
J.S. Bach
from Carrta1,a BWV 2
Bob Reifsnyder
Andante ) =70

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Aria- "Tilg, O Gott, die Ehren""

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Bassrromo"'h.ria-
"Den Tod Niemand zwlngen konnt"
J.S. Bach
from Carrtah BWV 4
Bob Reifsnyder
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 t

Bass Trombone
Aria-"Jesus Christus Gottes Sohn
J.S. Bach
from CantataBwv4
Bob Reifsnyder
J=80

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Allegro
28
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JJ

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2 Aria-"Jesus Christus Gottes Sohn

37

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42
Bass Trombone
Duet- "So feiern wir das hohe Fest"
from CantataBwv4 J.S. Bach
Bob Reifsnyder
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'Bigie'S3'e dich, du Gottliche Quelle" from CantataBwvs
Part A (Da Capo aria) J.S. Bach

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2 "Ergiesse dich, du Gottliche Quelle" from Cantata BWV5

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59

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65
 .Bass Tromhone
rgi"d33d"fli'6h reichlich,du Gottliche Quelle" from Cantata BV\
Part B (Da Capo aria) J.S. Bach
Bob Reifsnyder
) =70

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28

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This page intentionally left blank
Bass Trombone
Aria- "Hoch gelobter Gottes Sohn"
from CantataBwv6 J.S. Bach
Bob Reifsnyder
J=loO

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 Aria- "Hoch gelobter Gottes Sohn" J

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This page intentionally left blank
Bass Trombone
Choral- "Ach bleibt be uns"
from Cantata BWV 6 J.S. Bach
Bob Reifsnyder
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2 Choral- "Ach bleibt be uns"

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"u" "oHfia- "Ach, bleibe doch, mein liebstes Leberl"
from Cantata BWV 11 J.S. Bach
Bob Reifsnyder
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u""AfiH3'"Ach
lege das Sodom der sundlichen Glieder"
from Cantata BWV 48 J.S. Bach
Bob Reifsnyder
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2 Aria- "Ach lege das Sodom der sundlichen Glieder"

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Bassrrnfi?iUlich
wird mein Joch" from Cantata BWV 56
Part A (Da Capo aria) J.S. Bach
Bob Reifsnyder
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2 "Endlich wird mein Joch" from Cantata BWV 56

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BassrrRp?iUlich
wird mein Joch" from Cantata BWV 56
Part B (Da Capo ana) J.S. Bach
Bob Reifsnyder
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This page intentionally left blank
Bass Trombone
"Die Welt, mit allen Konigreichen"
J.S. Bach
Aria from Carfiata MWV 59
Bob Reifsnyder
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""'ffiSt?e'ite, siege starker Held" from Cantata BWY 62

J.S. Bach
Part B (Da Capo aria)
Bob Reifsnyder
J=80
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This page intentionally left blank
Bass rromoooKomm,komm,mein Herze steht dir offen"
J.S. Bach
Aria from Cantata BWV74
Bob Reifsnyder
) =70
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2 "Komm,komm,mein Herze steht dir offen"

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Bass Trom
et "Wir eilen mit schwachen Schrittell"
Part A (Da Capo arra) from Cantata BWV78 r'S' Bach
Bob Reifsnvder
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2 Duet "Wir eilen mit schwachen Schritten"

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50
Bass rromooDuet-
"Wir eilen mit schwachen Schrittetl"
Part B (Da Capo aria) from BWV78 J.S. Bach
Bob Reifsnyder
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10

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15

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Bass rromoo'o'Das
Blut so meine Schuld durchstreicht"
Aria from Cantata BWV78 J.S. Bach
Bob Reifsnyder
J.=so

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12

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30

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36

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11

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2 "Das Blut so meine Schuld durchstreicht"

p nw
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53

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p nw
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mf
nry
63

70

+
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Bass Trombone
"Ich will auf den Herren schauelt"
Aria from Cantata BWV93 J.S. Bach
Bob Reifsnyder
J=80

nw
5

4.
9

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14

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1B

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22

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-
26
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30

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2 "lch will auf den Herren schauen"

35

mp
10

mf
Bass Trombone
"Handle nicht nach deinen Rechten"
Aria from Cantata BWV1 0 1 J.S. Bach
Bob Reifsnyder
J=80

nw
6

12

a+z
mp

18

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30

nw nw nw

37

nry

4)

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@
2 "Handle nicht nach deinen Rechten"

49

nw p
57

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mp nry

64

nw
71

P+

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77

83

I
1.+,
mf

89
 I

Bassrromo*Lass,
o Welt, mich aus Verachtung" Part A
Da Capo aria from Cantata BWV123 ,* _'.,?;,T".1
J=oo

nw
5

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10

lL I -

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11

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nw

l8
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22

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nw nw

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30

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 I

2 "Lass, o Welt, mich aus Verachtung" Part A

Adagio
31

nw nw
a tempo
39

f.+ 4 I

mf
Bass rromo*LasS,
o Welt, mich aus Verachtung" Part B
Da Capo afia from Cantata BWV123 J.S. Bach
Bob Reifsnyder
J=60

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4

O
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nw

E*tz
nry

t2

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l6
1

1-
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tnf

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This page intentionally left blank
Bass Trombone
"Zronhort die Wachter singen"
Choral from Carrta1aBwvl 40 J.S. Bach
Bob Reifsnyder
) =70

nw p nry

- -| (

11

,-
p
16

a-
p nry p
2t

---+,
nw p np
27

32

p
37

l_lL
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 I

.',
"Zionhort die Wachter singen"

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nw

48

p nry

5i II---l-

nw
p nw

58

63

ta.
p
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6B

nw mf
73
Bass Trombone
"Ich will nach dem Himmel zu"
Aria from Cantata BWV146 J.S. Bach
Bob Reifsnyder
J=60

a------t-

mp

l:_ffi_ -a+,
p
10

nw ? nry

15

r*"- _a

mp p
19

fi- --d1- -/-

nw p nry

23

nw

27

--------
p
mp
32

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nw p
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2 "Ich will nach dem Himmel zu"

36

rF- U l-
a------l- -+- L
p nw p
11

++_
nw p
45

p -- nw

50

-a+z

<1

rnf
Bassrrombonelllch
will nach dem Himmel zLL" (Part B)
Da Capo Aria from Cantata BWV146 J.S. Bach
Bob Reifsnyder
J=60

P+

p p
nw
5

-a

--a-a*-z -J*=
nw

o
This page intentionally left blank
Bassrrombone
"Bereite dir, Jesu, noch ttzo die Bahn"
Aria from Cantata BWV147 J.S. Bach
Bob Reifsnyder
J=60

nry

--4_. l1+-a
nw

+-----, 1- -+
nw

ll

p nw
nw
18

rD-
nry
p ntp
22
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1 -a-

p nw

27

--- -#
nry nry

31

-1-1- -a+z

p p

o
2 "Bereite dir, Jesu, noch itzo die Bahn"

35

-l- 4+z +
p
39

mp

4)

ry- ___r+1,
-a+--
mp

17

--a-
mf
Bass Trombone
"Doch bin und bleibe ich vergnugt"
Aria from Cantata BWV150 J.S. Bach
Bob Reifsnyder
) =70

nry
mf
I

mf mp

ts+
rnf nry mf

tl

mf mf

--1-
mf nw

t7

mf nry

21

,tnf
nw