My story as a "soloist"

Let's start by saying that I am very shy, and being shy for a person who wish to sing in front of people is terrible. My first experience as a soloist was this summer: we sang the "Barber of Seville", I sang in the choir and I also had two small rules: Fiorello and the Official. If we consider how much the other soloists had to sing, I sang nothing :).  I was proud of myself, for I had to study and memorize music and text in a week. What came out was not so bad as I thought.
I remember the moments before the show: we sang in Capranica Prenestina, a small village on the hills around Rome. We sang outdoor and there were many people.  I was frightened since was my first time as a soloist in front of many people, and in front of an entire village, since everyone could hear us!!! Everything went well.

Now that experience has passed and my voice is changing, is maturing, obviously I still need to study a lot but still I am happy because I finally understood what I want to do in my life: I want to be a full time singer.
The 17th November I will sing in another concert and among the compositions that we are going to sing there is the "Osanna" from the B-minor Mass Bwv 232 by Johann Sebastian Bach, who is my favorite singer. The "Osanna" was composed for 2 choirs and orchestra, but it is also possible to "divide" it in soloists and choirs. So it will be singed by 8 soloists and the choirs, and I will be the Basso solo of the I choir.
I am very happy about that and I wish the day of the concert I will be as calm as possible, since I don't want to disappoint anyone, including myself!!!!! XD

I have been living surrounded by music since I was born. I have studied piano for almost ten years, but then I decided to stop and I have never had the courage to start studying music seriously. For example by attending a school for music. Now I sing in two different choirs, but I wish I started taking music seriously when I was younger. Now it is not impossible, but honestly I am not brave enough, since I should start from the beginning in order to be sure of everything. I mean, I can read and play music, but I would like to study it more deeply: I wish I knew the rules of composition, I have got so many ideas in my head: melodies, reconstructions, arrangements.
Who knows, I might just start studying music seriously!!!

Eccomi nuovamente qui dopo tanto tempo con la II parte dell' analisi della cantata 42:

Il brano #4 è designato come Duetto-Corale, ma in realtà si tratta di un mero duetto, con melodia indipendente da corali. Anche in questo brano Bach apportò delle modifiche nelle varie rappresentazioni:

1.      Fagotto, Violoncello e Organo: melodia ricca di abbellimenti (1725)

2.      Fagotto, Violoncello e Clavicembalo alla melodia;

Violone e l’Organo: continuo (parte composta nel 1731)

3.      Come 1731, ma il Violone suona la melodia (1742)

In vari punti del duetto si possono trovare passaggi della melodia “Kommt her zu mir, spricht Gottes Sohn” ma questi sono coperti, di strofa in strofa, dal continuo gioco dei solisti.

            Il recitativo #5 è un recitativo secco con Arioso finale che porta al

brano #6, la cui strumentazione è composta da Violini I divisi e continuo con molti passaggi tematici differenti. Anche in quest’aria vi è una tematica: la contrapposizione tra l’irrequietezza del mondo e la pace che solo Cristo può dare. Il movimento vivace “a 16esimi” degli strumenti con passaggi tumultuosi è opposto al tema del Basso, che invece ha una melodia calma, e solo sulla parola “Verfolgung” essa si trasforma in una figurazione a sedicesimi. 

La cantata si conclude con un corale in "semplice stylo"