SELECTIONS

From

Bach's Cantatas and other

Major Choral Works

For

AIto, Tenor and Bass Trombone

Arranged by

Bob Reifsnyder

MUSIC for the

BAROQUE BONE SQUAD

VOLUME TWO
 About the Composer

The three great innovators of the 17th century, Monteverdi(1,567-1,643), Giovanni

Gabrieli [1556?-1612) and Corelli (1653-1713) can easily be paired with the
three masters of the 1Bth, Handel [1685-1,759), Bach (1.685-17 50) 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 (1,660-1,7 25), 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 (1637-1,707), 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 fean-Baptiste Lully (1,632-1687). The Trio
Sonatas of Georg Philipp Telemann [1681-1767) 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
Orchestra 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 0rchestra, 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'Orchestre de la Suisse Romande, Chamber Orchestra of Lausanne,
Fort Wayne Philharmonic, Syracuse Symphony, Binghamton Pops, Ithaca 0pera, 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 abilify 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 ensemble!

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 Iow 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.
 I

Bass Trombone
"Tritt auf die Glaubensbahn"
Aria from Cantata BWV 1 52 J.S. Bach
Bob Reifsnyder
) =70

a
--T-a -?- )-

ry mf mf nw

]:-+

mf nw mf

1J

\/!

nw mp

t9
-l
F+ --a-
mp p nw

25

-a- -1-l- 1-
mf nw mf mf

3t

p nry nw
rw
37

Pnw p ntp

13

-a-

p nyp

o
2 "Tritt auf die Glaubensbahn"

49

-a-
nw
p
55

p cnf mf

61

-l- -a- -a+=

mf nw

67

mf
 I

Bass Trombone
"Jesu,meines todes Tod"
J.S. Bach
Aria from CantataBwv 1 65
Bob Reifsnyder
) =70

mp

-e-

nw nw

10

p p
15

mp p
l9
1'+W
nw
p

nry
p p
29

):- -a*= -a-

,typ p
J4
J-
t+ a

nw

o
2 "Jesu,meines todes Tod"

39
-t-
mf
 "O seelen Paradies" Part A
Bass Trombone

J.S. Bach
DaCapo Aria from CantataBWY 172
Bob Reifsnyder
J=110

nw
7

)-
mf

-a-
p
21

T+ +

2B

-a-
nlp p
35

nry

1l

nry

18

-t- -a-
mf

o
2 "O seelen Paradies" PartA

55
Bass Trombone
"O seelen Paradies" Part B
Da Capo Aria from CantataBWVlT2 J.S. Bach
Bob Reifsnyder
J=ll0

--o

p nry
nw
7

7+

p
l1

--t--a*-t
mf nw

20

F+ -€-
nw nw

26

nw p
33

nw
11

=L

rnf

o
This page intentionally left blank
Bass Trombone
"Wenn die Fruhlingslufte streichen"
J.S. Bach
Aria from Cantata BWV202
Bob Reifsnyder
) =10

-a-
nw nw

p mp

1l

? nw nyp

l6

-a- -*
p ry p
p
2l

nw ry
26

--a-
p p
30

-1- + l-l---t-
p
31

*
p
o
2 "'Wenn die Fruhlingslufte streichen"

39

):- -a-
mp

14

)-
mf
 I

Bass Trombone
"Sich uben in Lieben"
J.S. Bach
Aria from Cantata BWV202
Bob Reifsnyder
J.=so

nw

-#
10

-a- -a-

21

\, a,
-\--r---T--- -.+#
p nw

32

p
4J

-a-
-a-

nw

51

-+,
rry

61

)-a- -a- -a-

p
75
___l--F.t_
+
nry

@
2 "Sich uben in Lieben"

B6

-J- -a- -#
------{-

mf
97
Bass Trombone
"Sich uben in Lieben" Part B
Da Capo Aria from Cantata BWV202 J.S. Bach
Bob Reifsnyder
J.=so

-a- -?- I -J

nw
9

-1---J:
mp nw
pnw
20

p rry mp

30
I

-t-
nw nw

10

mf

o
This page intentionally left blank
 I

Bassrrombo"q'Mich
kann die susse Ruhe leben" Part A
Da Capo Duet from CantataBWV20T
,", J;;:;'.1
) =70
----|_.-.1fr-

I I

mf

-a --a-

nw

nvp p
11

)-+ -#
nry

#-
t8

mf
22

_*
-- mp

27

p
nw
31

--:l--
--o--
p

o
 "Mich kann die susse Ruhe leben" Part A
2

35

-1-
nry

39

?-

13
 rromoo'u'Mich
kann die susse Ruhe leben" Part B
Bass

Da Capo Duet from Cantata BWV207 ,", -|,?;ir..l

) =to

-a-
ry
J
-11t,-e*
-1-*=
mf

9
-at-O=r-
I
l" ^-
nw

t3
I I

P-a#---t

t7

--7 H
- )a vt
mf -

21

o
This page intentionally left blank
Bass Trombone
"Benedictus" from the b minor Mass
J.S. Bach
BWY232
Bob Reifsnyder
)=80

np

-l-
nw

12

p nry
p
18

nw p nw p

nw
ry
30

p
nWpnwpnWp
36

rry p nw p

42
4l-
_4
nw p nw

o
2 "Benedictus" from the b minor Mass

48

nry

*
mf
Bass Trombone
"Agnus Dei" from b minor Mass
J.S. Bach
BWY232
Bob Reifsnyder
J=60

nw

nry

#
p
t3

+--.
nw nry

17
---G- u, =d- Ut I U
----r-' ----r-- lr) I
--fi=

p
2l
---G- ---in-
,-, J,
--fi=
=---ft= ---r- '---T---

mp

25

-raE
p
30

---_JJ

p
o
2 "Agnus Dei" from b minor Mass

34

,llw p
Jd

.+, |-+
?
42

---:r

nry nw

46

mf
B"" r*Qtia respexit humil atatem" from the Magnificat
J.S. Bach
BWV243
Bob Reifsnyder
)=eo

nw

rw p
9

mp
p
13

p nw

17

_t#
nw nw

20

\+-
nry p
23

nw mf

o
This page intentionally left blank
 rrofitia-
"Deposuit potentes" from the Magnificat
eass

J.S. Bach
BWV243
Bob Reifsnyder
J=80

mp mf mp mf ry
6

):-.
mf nyp p ry
12

.-.LH- #
mf mp mf mp

t8

-+
mf nw mf ,lllp mf

23

#
mp mf

30

.--r-l

nw nw

36

mf nry mf mp p

12

nw nw
p
o
 I

2 Aria- "Deposuit potentes" from the Magnificat

49

T
mf p nyp

55

mf nry mf ry mf
ry
60

=-4fr-
nw rnf
p
66
Bassrrombone llGerne will ich mich bequemenrf Part A
Da Capo Aria from St. Matthew Passion BWY244 J.S. Bach
Bob Reifsnyder
)= l10

___F.r_ _l_t_
mp ry
l1

-a-a- # -.-JJ -+ #
p ry
1J

+
-* -a- -l-l-p- -1---1:
p
35

-ta---t ___fF!. -.4 -

+
p p
nw
47

-a+r- l*
nw

59

):-- --o-l-
I
nw mf

7l

o
Bassrrombone llGerne will ich mich bequemenrf Part B
J.S" Bach
Da Capo Aria from St. Matthew Passion BWY244
Bob Reifsnyder
)= 110

nw p
12
u
----r--a +
-r-T_
nw
nry

)--

nw

o
:Kdfl?igh Tranen meiner Wangen nichts erlangen" Part A
Da Capo Aria from St. Matthew Passion BWV 244 J.S. Bach
Bob Reifsnyder
J=80

ts+ -1E-=- r-a- +

rnf nw mf nw

t+ rt, __l-
mf nw
mp

l1

.1- ---+
I lg

mf nw p nw

t6

rz a
i
onf nry nw

22

_1:-

mf nw
28

-------
a a

mf nw mf
33

;--+

p nw mf p
J6

,+
nry p

o
2 Konnen Tranen meiner Wangen nichts erlangen" Part A

44

P+ _p-

nw ?
19 I

a'
7!-+
',t- a'- ;'1-

nyp
mf nry p
54

:--{ I
a'- .--a- a

mp mf ryp mf

59

-+l a'-
nry rnf
nw
BKb'fiffUn Tranen meiner Wanger nichts erlangen" Part B
Da Capo Aria from St. Matthew Passion BWV244 J.S. Bach
Bob Reifsnyder
) =80

nw p nry

+,- ^;--?- -----#

----#
-a'..----* .-+
mf p mp

1t

ts+

mf ry
16

;--a- .--+

?
21

r'+ r+ -+
p nry
mf
nw
27

o
This page intentionally left blank
 rrrlmfinTolge
eass
dir gleichfalls mit freudlichen Schritten"
J.S. Bach
Aria from St. John Passion BWV245
Bob Reifsnyder
)=130

mPp p ry
nw mf
10

-----

pnry *f p
21

p
p nw mf
32

-a- ----J-r -a- -*

T-

p nry p

43

-# ft a-
u
----T--;

nw p nw
p
mf
54

---.--r-
IO
I
,L-
-a- -a- -a-

? p nw

65

p nry nw p

76

1-
nw p

o
2 "Ich folge dir gleichfalls mit freudlichen Schritten"

87

-a- * -a- -a- -)-

--* -a-
p p nw

98

-al=
p mppnry p nw p
109

nry

119

-----r---

p
pnrymf
130

-a- -a-
ntp mf
110

,-]=-_|

p p
151

nry mf nryp nw p
162

nw mf
Rass Trombone
"Bereite dich, Zton" Part A
Da Capo Aria from Christmas Oratorio BWV248 J.S. Bach
Bob Reifsnyder
)=110

4-
nry
10

I
ta* +
nw
p nw
22

--J a-
nvp p mf

32

-+ _#
mf
nw

Jt
-a-

nry
52

mp
p
61

-+ -a+= -a-
nw

72

+ a -a
nw p

o
2 "Bereite dich, Zion" Part A

83

nw mf
Bass Trombone
"Bereite dich, Zton" Part B
Da Capo Aria from Christmas Oratorio BWV248 J.S. Bach
Bob Reifsnyder
)= 1lo

mf nry

-t1-+
mf mp

16

_+ +
nw nyp

26

-a-
nw

36

-a-
p nw p nw
17

tnf

o
This page intentionally left blank
Bass Trombone
"Frohe Hirten eilt, ach Eilet"
from Christmas Oratorio BWY 248 J.S. Bach
Bob Reifsnyder
)=80

-a-
mf nw
p
mp

ll

_.1+, -1-J--J + -# -----r4 +

nw mf ? p
22

_lEFrr-
+
cnf ntp p mf

32

# -a-
nw nry
p
42

- a' -# # -1---1-
-# I

-a-
nw nw

54

_1:_1 -a-
l* --e4#
-a-
mp
mf
65

-+- ----_r-'fr- -+ -a- -a-

p p
nw
76
-G-
-a--

nyp

o
2 "Frohe Hirten eilt, ach Eilet"

8J

utt
--'r-ia----
-ta_a
nw nw
nw

93

--a-7
a4
4 -a- -a-

nry nw

101

--+ a- _o__t* +
mp p nw

111
II t-

------u
nry nry

121
'l
-+ -a- -+
nw rnf

t3l
Bass Trombone
Aria- "Schliesse, mein Herze"
from Christmas Oratorio BWY248 J.S. Bach
Bob Reifsnyder
) =70
=H-

ry mf nw

mf nry
mf nw
t6

25

E--
4,
p nw p
34

-/
p

-a- -?- lr-

nw p nw p
50

-a- -a-
nry
nw
J8

------l+
+
nry

o
2 Aria- "Schliesse, mein Herze"

66

-a- -a-
mf nw nry

74

ry nw

dJ

p nry

92

p nw

t01

-4
p nyp

110

-*
nry mf p
119

W -#
ff -+ -a-
p mf

128

)1-p-
p nry

lJ/ 4 t-

mf
 Aria- "Schliesse, mein Herze" 3

146
This page intentionally left blank
Bass Trombone
"Erleucht auch meine finstre Sinnen"
Aria from Christmas Oratorio BWV248 J.S. Bach
Bob Reifsnyder
) =10

tta
r---r--a

nw

B
I I I I

nw

t5

4
nw

22

-a- +
p
3t

+ lr-t---J

nw
p
38

-2-f-
nry p
16

#r- --T-+-
mf
nw
53

-a-
nw nw

o
2 "Erleucht auch meine finstre Sinnen"

60

1- -)- 1G
1-r-7 1-

66

-a-

mf
73

p mp

80

---.4
+
mf nw

B7

mf
nry
91

nw

102

mf mp p
109

+
p
1t8
)-

mp
 3
"Erleucht auch meine finstre Sinnen"

126

nry

t34
I I

nry

111

mf
 I

This page intentionally left blank

Bass Trombone
"Seele,deine Specereien" Part A
Da Capo Aria from Easter Oratorio BWY249 J.S. Bach
Bob Reifsnyder
J=60

p nyp p
B

nw
14

nw
20

? nry

26

p mp p
33

nw p nw

10

nw
p
45

nw p np

o
2 "Seele,deine Specereien" Part A

51

lll
A-tL ---r--l

nry p nw

57

-*
p p
64

p nry p nw

71

77

mf
Bass Trombone
"Seele, deine Specereien" Part B
Da Capo Aria from Easter Oratorio BWV 249 J.S. Bach
Bob Reifsnyder
J=oo

p p p
nw
7

+ -a-
nw

13

?
19

p p
nw
25

-a-
p p nw

31

-a-

mf