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IMSLP640503-PMLP149942-Jesus Joy of Mans Desiring BWV 147, 2 Pianos - Score and Parts

The document is a transcription for two pianos of the chorale 'Jesus bleibet meine Freude' from J. S. Bach's Cantata BWV 147, arranged by Josias Matschulat. It includes musical notations and instructions for performance. The work showcases the melodic and harmonic structure of the original composition.

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0% found this document useful (0 votes)
24 views11 pages

IMSLP640503-PMLP149942-Jesus Joy of Mans Desiring BWV 147, 2 Pianos - Score and Parts

The document is a transcription for two pianos of the chorale 'Jesus bleibet meine Freude' from J. S. Bach's Cantata BWV 147, arranged by Josias Matschulat. It includes musical notations and instructions for performance. The work showcases the melodic and harmonic structure of the original composition.

Uploaded by

pf kumaou
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Jesus bleibet meine Freude

Chorale from Cantata BWV 147


Transcription for two pianos Composer: J. S. Bach

 [Andante]       


Arr. by Josias Matschulat


             
 
      
     
Piano I  Violin I


    Violin II            
     
Viola

      
    
    
               

  
Piano II

    

 
           

        
5

   
          
I

 
          
         
       
 
                  
       

II

           
    
        
                 


9

    
 
 
                     
Choir


          
I

 
    
                       

 

                        

  



 
             

II  Choir

      

© Josias Matschulat, 2020
      
                    
    
14

       
 
              
  
I

          
 Choir  





                 
           
  


    
  
              

       
 
II

  



 
      

18


          
 
I

   
             
            
  
   
          
  
    
II

       


       2.        
   
      
22
1.

  
            
        
I




      
                
   
     
 
               
    
II  Choir

      

2
     
                       
26

        
                  
I



       
     
         
      
 Choir

         
          

II

    


                   
              

29

        

             
I

          
Tenor

                   
       
      
          
       
II  Choir

    

                            
      
   
33

   
       
    
I

  
         
              
   


 
          

     
II

  

3
     
      
                  

36

         
           
             
I

         Choir
        
            

    
 
Tenor

    
             
  
         
II

  


     
                    
 
40

     
         
I

 
     
            
         
   
      
  
         
  
II

          


         
               
     
43

      
 
          
  
I

     
 


      
    

   

   
    
 Choir

 
  
      
    
 
II

   

4
                
                

46


          
            
 
I

   

         

   
   

          
  

       
II

       

 
      

50


       
 
I

  
           
               
  
        
         
    
II

       


       
                    
   
54

 
          
I

  
        
               
   
  
          
    
II

        

5
Piano I Jesus bleibet meine Freude
Chorale from Cantata BWV 147
Transcription for two pianos Composer: J. S. Bach

 [Andante]  
   
Arr. by Josias Matschulat


       

 
          
 Violin I

  

      


Viola

        
5

  
      
      

        
          
                
9

 

                     
Choir

 


         

      
 

                  
     
14

      
 
          
       

  
          


   
17

   
          
    

© Josias Matschulat, 2020


        
   

  
   

  
21 1.

     
             
 




 2.         
   
               

25

       
                

          
                  
28

        
              

                                  
       
   
31

 
               

Tenor

          
                        

35

        
  
              
Tenor

2
     
          
 
39

         
            
     

        
                
     
43

      
           
       


                  
           
46


     
         
  
  

    
 

                   
 
49

     
           


       
 
     
           

53


             
  

3
Piano II Jesus bleibet meine Freude
Chorale from Cantata BWV 147
Transcription for two pianos Composer: J. S. Bach

 [Andante]       
Arr. by Josias Matschulat

           
          
  
              
     
 Violin II

             
  

          
                 

5

 
             
          
       

    
      

                
   
9

 

          

 Choir

  


   
 
   
         
      
          
  
 Choir

  
  
13

   
         
     

       
 
         
               
  
   
17

      
        
  

    

           
                  
        

21
1. 2.

 
                
                     
 Choir

  

  
       
                    
 Choir

       
26

            
             
          
 

             
               
    
30

   
                
        
 Choir

   

              
  
          
          
   

34

                   
  

             

             
                     
 Choir

   
38

   
  

                 
    

    

2
   
                     
              
 Choir

 
 
42

    
         
     

       
 

             
          
    
 
46



       
       

           
                
  
50

           

        
          
 

         
                 
   
54

             
           
      

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