Bach scored the cantata for four vocal soloists, a four-part choir and a Baroque chamber ensemble of up to three oboes of different kinds, strings and continuo. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. This anticipation of death – whether Christ’s or our own – is a common textual theme in Bach’s works, especially the cantatas. The first movement of the double Harpsichord Concerto in Cm makes use of precisely the same unexpected hiatus; for the technically minded, it is chord V leading to a secondary dominant chord built upon the supertonic (second) note of the scale. Although the German term Bachkantate (Bach cantata) became very … Roberto Morales, oboe Pascal Montenegro, oboe Bach compuso esta obra durante su estancia en Leipzig para el decimoquinto domingo después de la Trinidad. Although cantata 23 doesn’t appear in the Jahrgant I until February 20, 1724, it was one of Bach’s audition cantatas a full year earlier. The music migrates briefly to the dominant key Cm and returns for a full close in the home key of Fm. Allegro Ma Non Tanto By Johann Sebastian Bach Louise Pellerin , Andre Laberge Returning to the tenor aria, one notices that Bach has embellished the chorale slightly, though not enough to make it other than fully recognisable. A great proportion of the texts Bach set for his first Leipzig Easter celebrations were essentially optimistic. 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. 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. The middle section of the cantata movement is slightly faster except for its final eight bars. It is very plainly harmonised, with a minimum of passing notes and chromatic harmony. Sinfonia. Alto recitative. Bach Cantatas & Other Vocal Works: Contents: Complete Cantata Cycle Vols. DG: 4784231. 51, Oboe Adagio & Air on the G String - Vivaldi: Violin Concertos - Handel: Messiah, Hallelujah Chorus - Mozart: Ave Verum Corpus - Pachelbel: Canon in D Major - Walter Rinaldi: Piano Concertos & String Orchestra Works de J.S. Bach: Cantatas BWV 157 & BWV 169 J.S. Copyright: J Mincham 2010. PAULINE: We feel that in these works of Bach the soprano and the oboe are perfectly attuned to each other. 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. Ruth Holton (soprano), Michael Chance (countertenor), Anthony Rolfe Johnson (tenor) Monteverdi Choir, John Eliot Gardiner Bach: The Most Beautiful Oboe Solos from the Church Cantatas, BWV 12, 21, 76, 156, 249 (Set of Parts): Johann Sebastian Bach, Mark Biggam: 9790006488995: Books - Amazon.ca JS Bach: Oboe Concertos & Cantatas. Bach, Johann Sebastian Arioso from Cantata BWV 156 sheet music for Oboe (pdf) - 8notes.com Tarkmann: Chorale Dein Blut, der edle Saft from Cantata BWV 136, arranged for solo oboe, choir & chamber orchestra [1:22] Bach-A.N. The pastoral C 104, presented the previous week, revealed little of the suffering so often deemed to be an essential part of the journey to the Kingdom of Heaven. Bach first performed the cantata on 5 November 1724. Schlummert ein20:24 4. 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. 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 … | Privacy Policy | Scores & Composition, Parodies, Reconstructions, Transcriptions The brief alto recitative concisely encapsulates the essence of the cantata—-we must endure great hardship in order to enter the Kingdom of God. Denise Torre, soprano Evelyn Ramírez, alto Rodrigo del Pozo, tenor Patricio Sabaté, barítono. | Copyright Policy No. View the sheetmusic and listen to the Oboe: Bach: Cantata BWV 82, No. 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. Unser Mund sei voll Lachens, BWV 110, is a church cantata by Johann Sebastian Bach. Some comparative comments may be found in the essay on the latter of these works, chapter 41 of this volume. 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. 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 Bach composed cantatas throughout much of his creative life. Orchestra: oboe, strings, continuo Discography All Music Guide: Primary Sources Bach Digital (source list) External Links Wikipedia article Bach-Cantatas.com: Navigation etc. Happily Bach had no such inhibitions and it is worth spending a moment isolating the main changes that he made in adapting this music for the Mass. And lastly, Bach changes the beginning and end. Bach Orchestra, Walter Rinaldi, Julius Frederick Rinaldi & Raffaella Valente en Amazon Music. 51, Oboe Adagio & Air on the G String - Vivaldi: Violin Concertos - Handel: Messiah, Hallelujah Chorus - Mozart: Ave Verum Corpus - Pachelbel: Canon in D Major - Walter Rinaldi: Piano Concertos & String Orchestra Works por en tu teléfono, ordenador y sistema de audio doméstico con Johann Sebastian Bach. Cantata BWV 104 Du Hirte Israel, höre Tú, Pastor de Israel, escucha. 31: Wachet Auf! The orchestral playing under Václac Luks is delicately supportive, at all times attentive and neatly moulded to the soloists’ moves. The oboe in Bach’s cantata ensembles was used orchestrally in the choruses, but the instrument often acted as soloist in the arias, taking the role of obbligato. wenn kommt das schöne Nun!21:47 5. It is one of Bach's frequently recorded cantatas. They are mostly details but they combine to invest the modified movement with an undeniably greater dramatic intensity. Its succinctness is worthy of notice however; on the mention of the kissing of Christ′s abuse (from bar 26) there is a feeling of a contrasting middle section, the act of kissing actually suggested by the violins. After his death, his son Wilhelm Friedemann Bach arranged the first and fifth movements, adopting a new text and adding trumpets and timpani. Anna Prohaska, soprano. Quite independently (and there is no evidence of Bach′s having known any of his music) Purcell used an almost identical idea as the repeated ground in Dido′s Lament from the opera Dido and Aeneas. Bach, J S: Cantata BWV106 'Gottes Zeit ist die allerbeste Zeit' (Actus tragicus) Bach, J S: Cantata BWV140 'Wachet auf, ruft uns die Stimme' Bach, J S: Cantata BWV147 'Herz und Mund und Tat und Leben' Bach, J S: Motet BWV118 'O Jesu Christ, mein Lebens Licht' Conductors. In bars 5 and 6, the harmony also becomes ′resolute′ remaining on, and spelling out the chord of D7 for a full two bars. Escúchalo en streaming y sin anuncios o compra CDs y MP3s ahora en Amazon.es. Mein Trost ist nur allein10:48 3. Cantata 170, Vergnügte Ruh, beliebte Seelenlust, (Delightful rest, beloved pleasure of the soul) was first performed on the 28th of July, 1726, the Sixth Sunday after Trinity. The sense of affirmation is heightened by the motet-like quality of the music, instruments doubling voices throughout. Sinfonia–chorus–recit (alto)–aria (alto)–aria (bass)–aria/chorale (tenor)–chorale. Bach-A.N. The cantatafinder is a tool designed to help you find your sacred Bach cantatas in the SDG series. JOHANN SEBASTIAN BACH (1685-1750): Conciertos para oboe y cantatas/ Xenia Löffler, oboe. Dialogue PAULINE: This is a selection from the many arias from Bach's cantatas. J.S. © 2000-2021 Bach Cantatas Website, Last update: Tuesday, June 13, 2017 05:03, Scores & Composition, Parodies, Reconstructions, Transcriptions, http://www.cs.ualberta.ca/~wfb/cantatas/ainst.html, http://www.cs.ualberta.ca/~wfb/cantatas/minst19.html, http://www.cs.ualberta.ca/~wfb/cantatas/minst20.html. 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. 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 … Most interestingly, Bach did almost exactly the same thing, also based upon the same D chord, in bars 3 and 4 of the sinfonia to C 18 (vol 1, chapter 43). Bach’s cantatas were an unimaginable achievement. 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. 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. 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. At age 38, put in … 13-22 Other Recordings of Cantatas Recordings of Other Vocal Works Compilations & Box Sets ... Taka Kitazato (Oboe, Oboe d'amore); Stephen Keavy (Trumpet); Ton Koopman (Harpsichord) 4 – “Tief gebückt und voller Reue” • from Cantata 187, No. It has no need to repeat the message. Secondly, the four syllables of the word ′crucifixus′ invest the vocal line with a throbbing quality that the previous, more sustained phrases had lacked. 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. We studied these arias for ages and listened to several recordings in order to select the best pieces for our combination of soprano and oboe. In the essay on the first of these (chapter 39 of this volume) some comparative observations may be found. Orchestra: strings, continuo Related Works Arranged by the composer as Harpsichord Concerto No.2, BWV 1053 Extra Information Original score lost, but faithfully reconstructed from selections from the two cantatas Gott soll allein mein Herze haben, BWV 169 (mvts.1 and 2, are cantata mvts.1 and 5) and My favorite part of this cantata is the tenor aria: it is a beautiful piece of music, a quartet really, between the two oboe parts, the tenor voice, and the continuo, the way tenor arias often are with Bach, and I appreciate the text “Ich höre mitten in den Leiden ein Trostwort, so mein Jesus spricht” (In the midst of my sufferings I hear a word of consolation spoken by Jesus). - J.S. His harpsichord concertos are mostly adaptations of concertos originally written for other solo instruments.. Cantata 21 is a two-part cantata composed of nine movements, summarized below. But it only lasts a moment and we return to the original material a mere half a dozen bars later. And he ends on a magical and totally unexpected move to the major mode, pre-empting the joy of the resurrection without detracting in any way from the deep sadness and personal agony of the central event. He was less interested in repetition forms, such as theme and variation and chaconne, than in those based upon organic harmonic development but, as the Goldberg Variations show, when he did turn his hand to them he showed everyone else how they should be done! The list includes both extant cantatas and, as far as known, lost cantatas. It is less concerned with the misery of the Christian than the fact of identification with the Lord′s sufferings. A listener and student guide by Julian Mincham. Musicaphon: M51357. Revised 2012, 2014, 2017, 2020. The Sinfonia from Cantata 156, performed on original instruments by the Early Music ensemble Voices of Music. Bach′s choice of musical structure, the ground bass, was, for him, rather unusual. The list includes both extant cantatas and, as far as known, lost cantatas. Although cantata 23 doesn’t appear in the Jahrgant I until February 20, 1724, it was one of Bach’s audition cantatas a full year earlier. | Texts, Translations, Languages Obbligato means the instrument becomes less like accompaniment and more an elaborate melodic line in duet with the voice. It does give the chorale a different character from those of the other cantatas which it also closes, Cs 69a and 144. An excellent example of this may be found in the opening sinfonia for oboe and strings. Title Composer Bach, Johann Sebastian: Opus/Catalogue Number Op./Cat. The Oboe and the representation of Trust in the sacred arias of the cantatas from J. S. Bach . It also indulges in some complex bursts of semi-quavers when giving weight to fundamental concepts e.g. Performance history Buy CD online. The ground bass section then returns in full to remind us of the sufferings sustained by Man and Saviour alike. Harmonia Mundi France. : Was Mir Behagt, Ist Nur Die Muntre Jagd, "Hunt Cantata / Oboe D'Amore Concerto in F Major de Helmuth Rilling en Amazon Music. | Instruments, Voices, Choirs The closing chorale returns to the major and its opening bars reveal the musical motive which Bach borrowed for the ′following′ imitations in the bass aria. The shiver of apprehension on the word Kampf—-conflict—first heard in bar 15, is not quickly forgotten. Peter Kooy (bass) & Marcel Ponseele (oboe) / La Chapelle Royale/ Philippe Herreweghe. Bach: Cantatas BWV 56 & 140; Motet BWV Anh. 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. The aria is in simple da capo/ritornello form with the repeated A section focussing upon the uniting of opposites. 0:00 1. Oboe d'amore and oboe / “Baroque tunings”, Terms of Use Here warming up before concert with fantastic Oboist Paula Diaz # bach # bachcantatas # bwv104 # oboedamore # pauladiazoboe # celinemoinet Bach Cantata BWV104 Arie "Verbirgt Mein Hirte Sich zu Lange" ... the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. 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. [1] [2] La cantata es una de las únicas cuatro cantatas sacras que Bach escribió para soprano sin más solistas vocales, excluyendo el arreglo que hizo Bach de la cantata para bajo solista y oboe BWV 82, que resultó en la cantata para soprano y flauta BWV 82a. And even more surprisingly, that movement was the prelude to a recitative which also talked of the rain watering the earth and giving rise to bud! Bach - Arioso from Cantata BWV 156 sheet music for Oboe (pdf) Sheet Music PDF MP3 Midi Parts Versions Access the high quality, printable PDF version of this piece by subscribing to 8notes.com … Also like the oboe da caccia, it was a very recent invention at the time of Bach’s arrival in Leipzig, and he seems to have been one of the first significant composers to make use of it. 1855 Composer Time Period Comp. He used a text by Georg Christian Lehms, which was published already in 1711. The reason is, however, quite explicable; the trumpet declaims a chorale which is itself a minor melody and that determines the mode of the movement. It seems that it is now time to return to the notion of anguish and distress and remind the good folk of Leipzig that salvation is not simply a gift; it is a rite of passage that has to be earned and the penalties for ignoring God′s word can be extremely severe. Chorus. Tarkmann: Chorale Zion hört die Wächter singen from Cantata BWV 140, arranged for solo English horn, tenor choir & chamber orchestrra [4:16] Bach-A.N. Main Page Xenia Löffler (oboe), Anna Prohaska (soprano) Collegium 1704, Václav Luks. Earth rejoices"): The "pretty Bach" approach suits this festive Easter cantata, a bit unusual in that it is both festive and Passion cantata. | Mailing Lists, Members, Contributors The B section is more devoted to notions of Christ′s solace achieved through His agony as the melisma on Wunden—-injuries—- makes clear. Hänssler: HC19081. 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. 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. Iche habe genug! 4 – “Ich bin herrlich, ich bin schön” – Mary Watt, oboe d’amore The tenor line of the aria proceeds, seemingly without regard for the trumpet chorale or the constant urgings of the five-note motive in the continuo. JS Bach: Cantatas. The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. BWV 1059R I-Catalogue Number I-Cat. 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. Its text is concise and unequivocal—-weeping, wailing, grieving and fear within anxiety and torment, all these mark the very bread of tearful Christians. ahora el año llega a su fin. Buy CD or download online. He commences the Crucifixus with one statement of the ground beneath the wind and string chords before the voices enter. Bach, Johann Sebastian (1685–1750) Works. 1-12 Complete Cantata Cycle Vols. 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. (Students who wish to study Bach′s harmonisations of this chorale may seek out Cs 81, 87 and 64. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. 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