This collection features 7 arrangements for brass quintet of works by J.S. Bach, Brahms, and Buxtehude. All are perfect for playing in litrugical settings with your quintet. It's a collection you NEED in your library.
Genre: Brass Quintet | # of Players: 5
Level: Medium | Duration: 18:00
C Trumpet 1 (optional B-flat Trumpet)
C Trumpet 2 (optional B-flat Trumpet)
F Horn (optional Flugelhorn)
Wir glauben all’ an einen Gott, Schopfer (We All Believe In One God, Creator) – J.S. Bach
The chorale prelude Wir glauben all’ an einen Gott, Schopfer (BMV 680) comes from the third book of Johann Sebastian Bach’s celebrated Clavier-Ubung. Florid writing abounds in this four-part fugue primarily based on the opening line of this hymn by Luther. This arrangement would be an excellent addition to a brass quintet concert and would also serve as a Prelude or Postlude on most Festival Days found on the church calendar.
In Dir Ist Freude (In Thee Is Gladness) – J.S. Bach
The organ chorale In Dir Ist Freude (BMV 615) may be the most famous and joyful composition in the Orgelbuchlein – (“Little Organ Book”) – by Johann Sebastian Bach. The Orgelbuchlein is considered the pinnacle of chorale writing for the organ and is widely regarded as one of Bach’s greatest artistic triumphs. Easter Sunday is the perfect church celebration to include this virtuosic brass quintet arrangement of In Dir Ist Freude.
Adagio from Concerto in A Minor After Vivaldi – J.S. Bach (BWV 593)
Johann Sebastian Bach’s respect for the Italian style led to him transcribing three organ concertos based on instrumental concertos by the great Antonio Vivaldi. This beautiful Adagio for organ is based on the middle movement of Vivaldi’s Op.3, No.8 for 2 violins and basso continuo (RV 522). The Concerto is in A Minor but the Adagio is in D Minor. In this brass quintet arrangement of Bach’s organ work the tuba will play an octave lower than the trombone on the accompanying figure as if adding a larger pipe on the organ. Use of the smaller trumpets will enhance the cantabile melody that soars throughout the movement.
Herzliebster Jesu (Ah, Holy Jesus, How Hast Thou Offended) – Johannes Brahms
The Eleven Chorale Preludes (Opus 122) were the final works by Brahms composed the year before his death. Many believe these works represent the composer’s innermost thoughts about death while also saying goodbye to earthly life. Herzliebster Jesu is typically performed on Good Friday. The two trumpet parts can be played on flugelhorns adding to the darkness of the music.
Herzlich tut mich erfreuen (My Heart Abounds with Pleasure) – Johannes Brahms
The chorale prelude found its ultimate expression and craftsman in the numerous works by Johann Sebastian Bach. Brahms' Eleven Chorale Preludes (Opus 122) were his final compositions and, in some ways, pay homage to the great Baroque composer. A number of the Brahms chorale preludes were composed following the death of his dear friend Clara Schumann and only one year preceding his own death in 1897. They were published posthumously in 1902. Herzlich tut mich erfreuen is a work that can be performed during much of the church calendar year. It is a wonderful opportunity for a brass quintet to achieve remarkable artistic heights.
Erhalt uns Herr bei deinem Wort (Lord, Keep us Steadfast in Thy Word) – Dietrich Buxtehude
Dietrich Buxtehude was, without question, one of the key German organists and composers in the middle of the Baroque era. The organ music of Bach was unquestionably influenced by the craftsmanship of Buxtehude. It was Bach, after all, that traveled a great distance by foot to hear Buxtehude play the organ. The general style of Buxtehude’s contrapuntal nature reached its apex in the music of Johann Sebastien Bach. Erhalt uns Herr bei deinem Wort is an excellent example of the highly developed contrapuntal style that permeates the music of Buxtehude.
Christ Lag In Todesbanden (Christ Jesus Lay in Death’s Strong Bonds) - J.S. Bach
The Orgelbuchlein (Little Organ Book) is the result of Johann Sebastian Bach’s tenure as organist at Weimar (1708-1717). Harmonization of the Lutheran chorale tunes created unique compositions featuring ingenious motivic writing and highly developed counterpoint. Christ Lag In Todesbanden (BWV 625) is the perfect Easter Sunday piece with the chorale tune set in the two trumpet parts. The genius of the great Baroque composer is evident in the underpinning voices of the rest of the brass quintet.