| Instruments, Voices, Choirs The Sinfonia from Cantata 156, performed on original instruments by the Early Music ensemble Voices of Music. Bach Orchestra, Walter Rinaldi, Julius Frederick Rinaldi & Raffaella Valente en Amazon Music. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. | About the Bach Cantatas Website Bach′s mind moved in an extraordinarily complex way! Obbligato means the instrument becomes less like accompaniment and more an elaborate melodic line in duet with the voice. Anna Prohaska, soprano. The manuscript 'Taille' [tenor oboe] part for the sacred cantata BWV 174 'Ich Liebe den Höchsten vom ganzen Gemüthe', composed for performance in Leipzig on 6 June 1729, THE LAST FOUR LINES, COMPRISING THE 20 BARS OF THE CHORALE, INCLUDING THE WORDS 'CHORAL' AND 'FINE', ENTIRELY IN THE HAND OF THE COMPOSER, the remainder in the hand of two … It offers many details including full-text search. A listener and student guide by Julian Mincham. Denise Torre, soprano Evelyn Ramírez, alto Rodrigo del Pozo, tenor Patricio Sabaté, barítono. Bach: Cantatas BWV 56 & 140; Motet BWV Anh. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, horn to double the soprano in the chorale, flauto traverso, oboe d'amore, two … Revised 2012, 2014, 2017, 2020. The music is splendid. A great proportion of the texts Bach set for his first Leipzig Easter celebrations were essentially optimistic. The continuo throughout has an assertive quaver line which implies optimistic forward movement as the text declares—-I will follow Christ .and not desert Him—-in wealth or sickness, in life and death I will embrace and never leave Him. Allegro Ma Non Tanto By Johann Sebastian Bach Louise Pellerin , Andre Laberge Musicaphon: M51357. Here the violins ′fill in′ the gaps with a repeated five-note figure that turns about upon itself, and the violas and continuo offer the essential harmonic support without intruding too obviously upon the oboe′s grief. Chorale. Here the main musical interest is invested in the highly embellished oboe line, the sort of ornately baroque melody that we find in a number of Bach′s slow movements (the middle movement of the Italian Concerto provides a perfect example). Mein Trost ist nur allein10:48 3. The original version of what was to become one of the best known religious movements in the repertoire saw life here as the repeated A section of a da capo chorus. Earth rejoices"): The "pretty Bach" approach suits this festive Easter cantata, a bit unusual in that it is both festive and Passion cantata. The theme is the inevitable and natural (at least in this earthly life) unity of hardship and triumph—-cross and crown, challenge and prize; all unite as one, as do Christians with their torment—–and yet comfort is to be found in the wounds of Christ. Para hoy, Johann Sebastian Bach (1685-1750), nos propone su Ich steh mit einem Fuß im Grabe, BWV 156, que podría traducirse por "Estoy ya con un pie en la tumba".Se trata de una cantata para el tercer domingo tras la Epifanía y fue estrenada ese día en Leipzig el 23 de enero de 1729. Sinfonia. No. One might also consider the opening movement as reflecting the gentleness of Mary, especially in the lilting moderately slow 3/8 meter, and with a scoring of strings, continuo, and solo oboe. | Mailing Lists, Members, Contributors BACH, Johann Sebastian (1685-1750). Bach: Cantata 117, Sei Lob und Ehr dem höchsten Gut; Cantata 93, Wer nur den lieben Gott lässt walten; Cantata 169, Gott soll allein mein Herze haben : Cantata BWV 169 [18:43] Diethard Hellmann: Bach-Chor (Kurrende der Christuskirche) & Bach-Orchester Mainz wenn kommt das schöne Nun!21:47 5. Bach composed the cantata in his third year as Thomaskantor in Leipzig. Orchestra: oboe, bassoon, 3 trumpets, 4 trombones (doubling), timpani, strings, continuo (organ) Primary Sources BC A 99a (1713-14) BC A 99b (1717-22) BC A 99c (1723) External Links Wikipedia article Bach-Cantatas.com: Extra Information Commentary, etc. Orchestra: oboe, strings, continuo Discography All Music Guide: Primary Sources Bach Digital (source list) External Links Wikipedia article Bach-Cantatas.com: Navigation etc. The aria is in simple da capo/ritornello form with the repeated A section focussing upon the uniting of opposites. This is the first hint we have had in this cantata of better things to come and that thought is, perhaps, presaged by the temporary movement from minor to major in the first two bars of the ritornello theme. As such, it represents (from my own subjective perspective) a certain Bachian paradox, wherein some of the most life-denying texts led to some of his most life-affirming music. | Copyright Policy One cannot know which particular verse of this hymn, Jesu meine Freude, Bach may have had in mind but it hardly matters; a melody as well known as this must have struck strong resonances with congregations. Thirdly, the accompanying chords are now shared between flutes and strings, imbuing the soundscape with an ever-changing kaleidoscope-like colouring. The text is based around the metaphor of the garden—-after rain, blessings will bloom, all misfortune will seem as a trifle and the storms will pass—-be faithful and strong. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725. Buy CD or download online. Jesus nahm zu sich die Zwölfe, BWV 22 (Jesús tomó consigo a los doce) es una cantata de iglesia escrita por Johann Sebastian Bach en Leipzig para Quinquagesima, el último domingo antes de Cuaresma.Bach creó esta composición como pieza para una audición para el puesto de Thomaskantor en Leipzig y fue estrenada allí el 7 de febrero de 1723. Bach: Cantatas BWV 157 & BWV 169 J.S. This is a sortable list of the Bach cantatas, the cantatas of Johann Sebastian Bach. Now Bach indulges us with one of his most ravishing alto and oboe obbligato arias. The only times Bach needed four oboists in one cantata, playing two da caccias and two d’amores at the same time, was in cantata 2 of the Christmas Oratorio (1734) and in this cantata 183. As such, it represents (from my own subjective perspective) a certain Bachian paradox, wherein some of the … It is less concerned with the misery of the Christian than the fact of identification with the Lord′s sufferings. The second for bass, two solo violins and continuo is the work’s first in a major mode, despite being the fifth movement. The fifty-second cantata of the cycle for Jubilate (third Sunday after Easter). After his death, his son Wilhelm Friedemann Bach arranged the first and fifth movements, adopting a new text and adding trumpets and timpani. The division of the violas into two parts marks this as another early work and Dürr (p 307) places it as Bach′s second cantata to have been composed at Weimar in 1714. Bach Cantatas & Other Vocal Works: Contents: Complete Cantata Cycle Vols. General Topics: Xenia Löffler (oboe), Anna Prohaska (soprano) Collegium 1704, Václav Luks. The warm sound of the oboe d’amore contributes to the intimate feel of this aria, as does the lower, warmer timbre of the alto soloist. The list includes both extant cantatas and, as far as known, lost cantatas. Solo: oboe (oboe d'amore?, viola?) Returning to the tenor aria, one notices that Bach has embellished the chorale slightly, though not enough to make it other than fully recognisable. Oboe Concerto Alt ernative. In the chorus of C 12, this eight-bar idea is stated twelve times by the continuo beneath sustained weeping figures, often employing suspensions on the voices and bare chords on the upper strings, mostly on the first and third beats of the bar. The chromatic falling scale from the tonic to the dominant note (doh to soh) had already become a musical cliché expressing thoughts of death, misery and torment. 1-12 Complete Cantata Cycle Vols. The effect is sadly tragic and, if one did not already know the Crucifixus, one would find it difficult to imagine how this original version could be improved upon. He used a text by Georg Christian Lehms, which was published already in 1711. The sense of affirmation is heightened by the motet-like quality of the music, instruments doubling voices throughout. The aria "Sich üben im … : Was Mir Behagt, Ist Nur Die Muntre Jagd, "Hunt Cantata / Oboe D'Amore Concerto in F Major de Helmuth Rilling en Amazon Music. Weichet nur, betrübte Schatten, BWV 202, is a secular cantata by Johann Sebastian Bach. Christ lag in Todesbanden, BWV4, possibly the earliest of his church cantatas, may date from the period of Bach’s first major appointment as organist in Arnstadt, a post he held from mid-1703 until June 1707, while the latest extant works take us up to the end of the 1730s. BWV 1059R I-Catalogue Number I-Cat. The contrasting middle section has one single line —-[those are the Christians] who bear the sign of Jesus. This is a sortable list of the Bach cantatas, the cantatas of Johann Sebastian Bach. Bach: Shepherd's Cantata & Concerto for Oboe and Violin in D minor. Cantata BWV 104 Du Hirte Israel, höre Tú, Pastor de Israel, escucha. The brief alto recitative concisely encapsulates the essence of the cantata—-we must endure great hardship in order to enter the Kingdom of God. Descubre Bach: Cantata No. It was likely composed for a wedding, but scholars disagree on the dating which could be as early as Bach's tenure in Weimar, around 1714, while it has traditionally been connected to his wedding to Anna Magdalena on 3 December 1721 in Köthen. NIENKE: We listened to some arias that we didn't like at first - to the point where we even tried them out in another tempo, when they sounded fantastic. And even if he would write for two da caccias or two d’amores and “regular” oboes in the same cantata (or passion) they would not all be playing at the same time. Tarkmann: Chorale Dein Blut, der edle Saft from Cantata BWV 136, arranged for solo oboe, choir & chamber orchestra [1:22] Bach-A.N. Cantata 21 is a two-part cantata composed of nine movements, summarized below. Furthermore, a superb motet of the same name is based upon this tune). The only times Bach needed four oboists in one cantata, playing two da caccias and two d’amores at the same time, was in cantata 2 of the Christmas Oratorio (1734) and in this cantata 183. The Christian resolution is now clearly affirmative; the necessity for torment in following Him has been acknowledged and now we need to confirm that despite this, we shall follow and not lose contact with Him. DG: 4784231. Bach’s cantata Ich habe genug, BWV 82, is one of several which expresses contempt for worldly life and a yearning for death and the life beyond. The text is personal and affirms—-what God does is well done and I will be constant, no matter how demanding the journey—-God the Father will hold me in His arms and that is the reason I allow Him to prevail. Koopman - Vol.1 Steve Schwartz wrote (July 11, 1997): Cantata BWV 31 "Der Himmel lacht! Unser Mund sei voll Lachens, BWV 110, is a church cantata by Johann Sebastian Bach. | Scores & Composition, Parodies, Reconstructions, Transcriptions Johann Sebastian Bach's Violin Concertos, BWV 1041–1043, and his six Brandenburg Concertos survive in their original instrumentation. The broken rhythms of the opening continuo melody may at first seem at odds with the call to be steadfast and resolute but to view it in this way is probably to miss the point of Bach′s approach to melodic structuring. Scoring and structure. The Oboe and the representation of Trust in the sacred arias of the cantatas from J. S. Bach . Its history, therefore, stretches over three decades: from its inception before Bach had turned thirty, to its presentation to the Leipzig congregations in 1724, possible re-calls in the 1730s and its final flowering in the Mass from Bach′s last decade. Mein Gott! The casual listener may first be struck by the thought—I have heard this somewhere—before realising that the second movement is the basis for the Crucifixus of the Bm Mass. Ruth Holton (soprano), Michael Chance (countertenor), Anthony Rolfe Johnson (tenor) Monteverdi Choir, John Eliot Gardiner There are other changes, but those described above are the main ones that have cause to deepen the emotional intensity of the earlier version. This cantata features one of the largest orchestras of Bach’s cantatas prior to Easter 1715: oboe, three trumpets, timpani, bassoon, strings, continuo, and SATB choir. 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