23584595
Sinfonia
23584595
23584595
23584595
Copyright Material for Preview Only - Sheet Music Plus
Double Flute Quartet (5 Fls, 2 Afls (or 2 Fls), Bfl) - Grade 6 to 8
SKU: WN.B017
From Christmas Oratorio, BWV 248. Composed by Johann Sebastian Bach. Arranged by Mel Orriss. Flutets series. Score and parts. 12 pages. Wonderful Winds #B017. Published by Wonderful Winds (WN.B017).
ISBN 9790570745470.
This radiant Sinfonia opens Part 2 of Bach’s Christmas Oratorio (1734) — the only cantata in the cycle without an opening chorus. Instead, Bach lets the orchestra speak, capturing the moment heaven and earth briefly become one. It’s the sole instrumental movement in the entire Oratorio, and a rare example of Bach’s use of purely orchestral writing in his sacred works.
Scored for strings, continuo, two flutes, and a remarkable quartet of oboes (two oboes d’amore and two oboes da caccia), the music is built on contrasts: strings, long associated with angels, play the gentle rocking rhythm of the siciliano, while the reed instruments — evoking shepherds — sustain bourdon-like tones in a rustic pastorale. The result is a soft yet richly textured soundscape, full of warmth and wonder.
In this arrangement, we’ve added two alto flutes to deepen the resonance of the ‘reed’ group. Both alto parts may be played on C flutes if preferred, and all options are included. For added spatial magic, we suggest separating the ‘orchestra’ (three top flutes and bass flute) from the ‘oboe’ quartet (two flutes and two alto flutes) in performance.
Double Flute Quartet (5 Fls, 2 Afls (or 2 Fls), Bfl) - Grade 6 to 8
SKU: WN.B017
From Christmas Oratorio, BWV 248. Composed by Johann Sebastian Bach. Arranged by Mel Orriss. Flutets series. Score and parts. 12 pages. Wonderful Winds #B017. Published by Wonderful Winds (WN.B017).
ISBN 9790570745470.
This radiant Sinfonia opens Part 2 of Bach’s Christmas Oratorio (1734) — the only cantata in the cycle without an opening chorus. Instead, Bach lets the orchestra speak, capturing the moment heaven and earth briefly become one. It’s the sole instrumental movement in the entire Oratorio, and a rare example of Bach’s use of purely orchestral writing in his sacred works.
Scored for strings, continuo, two flutes, and a remarkable quartet of oboes (two oboes d’amore and two oboes da caccia), the music is built on contrasts: strings, long associated with angels, play the gentle rocking rhythm of the siciliano, while the reed instruments — evoking shepherds — sustain bourdon-like tones in a rustic pastorale. The result is a soft yet richly textured soundscape, full of warmth and wonder.
In this arrangement, we’ve added two alto flutes to deepen the resonance of the ‘reed’ group. Both alto parts may be played on C flutes if preferred, and all options are included. For added spatial magic, we suggest separating the ‘orchestra’ (three top flutes and bass flute) from the ‘oboe’ quartet (two flutes and two alto flutes) in performance.
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