Arranged by Peter Billam for Recorders - pjb.com.au · Choralvorspiele Johannes Brahms Opus 122,...

Choralvorspiele

Johannes Brahms

Opus 122, for Organ, 1896

with earlier settings by Isaac, Bach and Praetorius

Arranged by Peter Billam for Recorders

© Peter J Billam, 1996

This score is offered under theCreative Commons Attribution 4.0 International

licence; seecreativecommons.org

This edition 17 February 2014.

www.pjb.com.au

Three Chorale Preludes by Johannes Brahms

and earlier settings by Isaac, Bach and Praetorius

The three chorale preludes come from Johannes Brahms’ last work, ElevenChorale Preludes for Organ, Op. 122, composed in 1896.In a chorale prelude,the composer takes a known hymn tune and weaves sev eral contrapuntal voicesaround it. The audience would be expected to recognise the hymn tune on whichit is based, and to know the text that it referred to; this edition therefore includessettings of the tunes to which the preludes refer.

The Lutheran approach to popular songs was more sophisticated than that of theCalvinists; instead of forbidding them outright, they wrote religious words to fitthe tunes, and forbade the singing of the old words. Thusthe earlier songInnsbruck, ich muß dich lassen(Innsbruck, I must leave you) by Heinrich Isaacbecame the hymn O Welt, ich muss dich lassen(O world, I must leave you) with newwords by Johannes Hesse. In this form, it was harmonised ten seperate times byJ. S. Bach; the version offered here has three descant voices.

O wie selig seid ihr doch, ihr Frommenwas written as a hymn by Johann Crüger in1649 to words by Simon Dach; again, this harmonisation is by Bach. The text andmelody of the carolEs ist ein Ros entsprungenare from the sixteenth century; thisfamous setting is by Michael Praetorius.

Brahms’Eleven Chorale Preludes Op 122, the culmination of his lifetime study ofearly music, were his farewell to his craft and art.They were written at Ischl, hiscountry retreat, shortly after the death of Clara Schumann, and shortly before hisown death of liver cancer. Six of them were transcribed for piano by Busoni in1902. Number3, O Welt, ich muss dich lassen, spacious and serene, is reminiscentof the last movement of theDeutsches Requiem. Number 6,O wie selig seid ihrdoch, which also refers toSelig sind die Toten in the Requiem, is an paradisialunbroken pastoral 12/8.The appeal of the tender number 8,Es ist ein Rosentsprungen, is more harmonic.

These pieces let us marvel at the depth and the unity of this unbroken traditionwhich spans already from Isaac through Bach and Brahms to Busoni, almost fivehundred years.

Peter J Billam

Innsbruck, ich muss dich lassenHeinrich Isaac (1450−1517) Arranged for ATBB recorders

Arranged and typeset 1998 Peter Billam

8

8

Inns − bruck, ich muss dich las − − sen, ich fahr da −

− − hin mein Stras

8

8

insen de Land da −frem − hin

mein Freud ist

8

8

− mir ge − nom men die ich nit weiss be − kom −

− men, wo ich

8

8

in E − − − − lend− − bin.

Free from www.pjb.com.au !

Text: Johannes Hesse Harmonisation: J. S. Bach, BWV 97

O Welt, ich muss dich lassen

Transcribed for sSA−SATB recorders: Peter Billam, June 1998

844

844

44

844

O

44

44

844

Welt, ich muss dich las − − sen, ich fahr da − hin mein Stras − − sen ins

88

8

e − wig Va − ter −

8

land; mein Geist will ich auf − ge − − ben, da −

88

8

− zu mein Leib und

8

Le − − ben setz’ gnae − − dig in Got − tes Hand.


O wie selig seid ihr dochHarmonisation: J. S. Bach, BWV 405 Melody: Johann Crüger, 1649

Text Simon Dach; Transcribed for SATB recorders, Peter Billam, 1998

844

se − ligO wie

44

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844

doch, ihrseid ihr men,− From dendurch die ihr

8

zu ge −Gott Tod

8

men ! − kom seid ent −Ihr gen− gan

8

ler − dieNot, al

8

halt ge −uns noch gen.− fan


Es ist ein Ros entsprungenMichael Praetorius (1571 − 1621) Arranged for ATBB recorders

Arranged and typeset 1999 by Peter J Billam.

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Es

44

844

844

Ros ent −ist ein − gensprun ei − neraus zel− Wur

wiezart,

8

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Altenuns die gen,− sun Jessevon diekam

undArt

8

8

Blümleinhat ein mit −bracht kaltenten im

− terWin

8

8

zu derwohl − benhal Nacht.


Nr. 3 O Welt, ich muss dich lassenArranged for SATBG RecordersJohannes Brahms

Arranged and Typeset 1996 by Peter J Billam.

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8 J. Brahms, O Welt, ich muss dich lassen, arranged for SATBG Recorders


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9J. Brahms, O Welt, ich muss dich lassen, arranged for SATBG Recorders


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Nr. 6 O wie selig seid ihr dochJohannes Brahms Arranged for SATBG Recorders


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11J. Brahms, O wie selig seid ihr doch, arranged for SATB Recorders

Arranged for SATB Recorders 1996 (c) Peter J Billam.

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Nr. 8 Es ist ein Ros’ entsprungenArranged for SATB RecordersJohannes Brahms


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14 Chorale Preludes Op 122, Johannes Brahms

Soprano Recorder



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O wie selig seid ihr doch, ihr Frommen

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15Soprano Recorder part, Choralvorspiele, Johannes Brahms


Es ist ein Ros’ entsprungen

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16 Choralvorspiele, Johannes BrahmsAlto Recorder



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17Alto Recorder part, O wie selig seid ihr doch, Johannes Brahms


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18 Choralvorspiele, Johannes BrahmsTenor Recorder



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19Tenor Recorder part, O wie selig seid ihr doch, Johannes Brahms


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20 Johannes BrahmsBass Recorder



42

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21Bass Recorder part, O wie selig seid ihr doch, Johannes Brahms


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22 Choralvorspiele, Johannes Brahms



Great Bass (C) part8

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Part for Contrabass (F) recorder or ’Cello or Gamba

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ccBY

Peter Billam was born in London in 1948, studied piano, and lived in Switzerland from 1973 to1983, where he studied composition, classical guitar, flute and voice, worked as Musical Directorof the Théâtre Populaire Romand, and as recording engineer, record producer and computerprogrammer. He moved to Tasmania in 1983, lectured in composition at the Conservatorium,conducted recorder ensembles and choirs, studied recorder, voice and harpsichord.He foundedwww.pjb.com.au, becoming the first composer to sell scores on-line, with on-line delivery,taking scores from Composer to Performer in one immediate step.Www.pjb.com.auoffers a newapproach to music publishing. These pieces arewritten to be read, made to be played !

Compositions at www.pjb.com.auinclude:Five Short Pieces, guitar, 1979;Divisions on an ItalianGround, flute and guitar, 1980;De ProfundisandNacht, on poems by Lama Anagarika Govinda, voice andpiano, 1980;Fünf Bagatellen, piano, 1980;Five Rounds, choir, 1986; Go Forth and Multiply, choir, 1986;Three Violin Duets, 1987; Fable, for piano, 1987;To Erich Jantsch, SAATTB recorders, 1988;A Suite ofCurves, trombone (or horn) and piano, 1990;Two Recorder Duets, alto recorders, or other melodyinstruments, 1991;Tr ombone Quintet, trombone, flute, piano, bass, and percussion, 1994;Three Songs, onpoems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and piano (only the first and third of these areavailable), 1994; Piano Study, piano, 1994;Four Dances, various ensembles including recorder quartet,string quartet, 1995;The Poet in the Clouds, on a poem by S. T. Coleridge,SATB choir, 1995;Tr es Casidasdel Diván del Tamarit, on poems by Federico García Lorca, voice and piano, 1997;Three Suites, for thesolo line, piano, and piano and a solo line, 2000;Die Zeiten, on poems by Kästner, Bachman and Jünger,choir (only the second and third of these are available), 2000;Three Duetsfor flutes, 2001;For Four Handsforpiano four hands, 2002;Three Preludesfor piano, 2003;Second Solo Suitefor flute, violin, viola or cello,2003;Guitar Duetfor two guitars, 2006;We Who Mournfor choir, 2007; Trio With Guitar for guitar andtwo clarinets or two recorders or two violas, 2008;Canonsfor two- and four-hand piano, 2009;Flute Trio,2012;Ke yboard Studies, 2013.

Arrangements include: By J. S. Bach:Trio BWV 655, piano and flute;Vor deinen Thron BWV 668,piano;Fugue in F minor BWV 689, SATB recorders;Four Duets BWV 802-5, keyboard;Flute Sonata BWV1031transposed into G major for alto recorder and keyboard;Flute Sonata BWV 1032completed by PeterBillam for flute and keyboard, also in C major for alto recorder, and in G major for descant;Ricercare a 3,from the Musikalisches Opferfor keyboard; Ricercare a 6, for sSATBG recorders, or strings, or twokeyboards;Fuga Canonica in Epidiapentefor keyboard and melody instrument; from theArt of Fugue:Contrapuncti 1, 4 and9 for keyboard, andContrapunctus 14as completed by D. F. Tovey, for keyboard, orfor SATB recorders, or for strings;Passacaglia and Fugue in cfor piano four hands;Chorales with Descantfor melody instrument and piano;Cello Suites I, II and III for flute or alto recorder, Forty Chorales forpiano,Der Geist hilftfor SATB-SATB recorders. By Johannes Brahms:Fugue in Ab minor for organ, forSATB recorders and gamba, in A minor;Choralvorspiele for organplus settings by Isaac, Bach, Praetorius,recorders. John Carr, Divisions on an Italian Ground, flute or recorder and guitar. By G. F. Händel:Concerto Grosso in A minorop 6 no 4, harpsichord and recorders;Recorder Sonata in Bbno 5, in G fortenor recorder and keyboard. Claudio Monteverdi, Ecco Mormorar l’Onde, SSATB recorders.By ArnoldSchoenberg:Verklärte Nacht for piano. By Franz Schubert:Four Songs, voice and guitar;Dances,recorders and guitar, Dances, piano 4 hands.Scriabin, Two Preludes op.67; Five Preludes op.74, piano.Telemann, Twelve Flute Fantasias, recorder. John Wilbye, Draw on sweet Night, SSATTB recorders, andfor flute choir. Twelve Italian Songs, voice and guitar;Fourteen Folk Dance Tunes, recorder and guitar;Bushband Dances, violin, piano accordeon and banjo;Easy Classical Pieces, Bb trumpet and piano.

These pieces are under theCreative Commons Attribution 4.0licence. Very briefly:

• You may copy and redistribute the material in any medium or format.

• You may transform and build upon the material for any purpose.

• You must give appropriate credit, and indicate if changes were made.

Feel free to visit. . . www.pjb.com.au

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