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). Weichet nur, betrübte Schatten, BWV 202, is a secular cantata by Johann Sebastian Bach. Harmonia Mundi France. Part 1, Oboe d'amore and oboe Revised 2012, 2014, 2017, 2020. 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. Dialogue PAULINE: This is a selection from the many arias from Bach's cantatas. The ground bass section then returns in full to remind us of the sufferings sustained by Man and Saviour alike. Oboe Concerto Alt ernative. 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. DG: 4784231. 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. Although the German term Bachkantate (Bach cantata) became very … The brief alto recitative concisely encapsulates the essence of the cantata—-we must endure great hardship in order to enter the Kingdom of God. Hänssler: HC19081. Oboe d'amore and oboe / “Baroque tunings”, Terms of Use And lastly, Bach changes the beginning and end. Bach-A.N. 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). 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. Title Composer Bach, Johann Sebastian: Opus/Catalogue Number Op./Cat. Löffler’s wondrous playing deserves nothing less, though. Scoring and structure. 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. 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. (Students who wish to study Bach′s harmonisations of this chorale may seek out Cs 81, 87 and 64. 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 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. The text is by Picander, one of Bach’s favorite librettists. Anna Prohaska, soprano. In his early career Bach transcribed concertos by other composers for solo organ (BWV 592–596) and for solo harpsichord (BWV 972–987). The third in this sequence of arias is for tenor and continuo and, despite its constructive and encouraging message, it returns us to minor modes. Oboe D'amore Concerto In a Major, BWV 1055: III. 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. Performance history 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. Most of the changes are made to accommodate the harmonies generated by a continuo figure which gives the impression of being another ground bass, although that is not the case. There seems little reason for using a slow movement by the Italian composer Alessandro Marcello when a perfectly good aria by Bach is available from the same cantata and, if the hypothesis about the outer movements originally having been conceived for oboe is true, … 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. No. Bach’s cantatas were an unimaginable achievement. This is a concise ritornello movement which simply sets the text against the positive urgings of the instruments and then stops. 5 – “Gott versorget alles Leben” – Mary Watt, oboe • from Cantata 49, No. Cantata BWV 104 Du Hirte Israel, höre Tú, Pastor de Israel, escucha. Benjamin Appl (baritone), Christoph Hartmann (oboe) Berlin Barock Solisten, Reinhard Goebel Bach first performed the cantata on 5 November 1724. 4 – “Tief gebückt und voller Reue” • from Cantata 187, No. The ground as it appears in C 12 and later in the mass. Bach’s solo cantatas are, in some sense, his only true cantatas since the term `cantata’ was drawn from an Italian genre which was designed for solo voice. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. Furthermore, a superb motet of the same name is based upon this tune). ... the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. Oboe and Bach Francine wrote (December 13, 2001): Secular Cantata BWV 213, Hercules at the Crossroads, has a beautiful aria with Virtue (sung by tenor) singing to Hercules in unforgettable counterpoint with the oboe, though backed up by instrumental ensemble, "Auf meinen Fluegeln sollst du schweben" (upon my wings you shall soar). Escúchalo en streaming y sin anuncios o compra CDs y MP3s ahora en Amazon.es. Bach indeed used this term for the solo works and named those with more voices `concerto’; however, this latter term has been dropped in modern musical practice to avoid confusion with the purely instrumental works of that name. The orchestral playing under Václac Luks is delicately supportive, at all times attentive and neatly moulded to the soloists’ moves. Great time playing Bach Cantatas on Oboe d’amore. Unusually, Bach has three consecutive arias with no intervening recitatives. Denise Torre, soprano Evelyn Ramírez, alto Rodrigo del Pozo, tenor Patricio Sabaté, barítono. 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. That is also the case with the ground bass underpinning the Passacaglia and Fugue for organ in C minor. 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. Descubre Bach, J.S. Still seeped in the dark shadows of Cm, the harmonies are spelt out in four-part chords by the divided violins and violas and the bassoon doubles the supporting continuo. Mein Gott! Chorus. Natsumi Wakamatsu violin 21 20 19 18 17 16 15 14 13 12 3 BIS-SACD-1631 Cantatas:booklet 18/12/07 14:11 Page 3 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. Copyright: J Mincham 2010. LINK: http://www.bach-cantatas.com/BWV12.htm. 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 It is very plainly harmonised, with a minimum of passing notes and chromatic harmony. 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. 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. 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. | Privacy Policy 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. He commences the Crucifixus with one statement of the ground beneath the wind and string chords before the voices enter. Historia. The Oboe and the representation of Trust in the sacred arias of the cantatas from J. S. Bach . Bach Cantatas & Other Vocal Works: Contents: Complete Cantata Cycle Vols. 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. 31: Wachet Auf! It also indulges in some complex bursts of semi-quavers when giving weight to fundamental concepts e.g. 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. Recorded in 1991. 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. Peter Kooy (bass) & Marcel Ponseele (oboe) / La Chapelle Royale/ Philippe Herreweghe. The singer also enters with the same motive. The second for bass, two solo violins and continuo is the work’s first in a major mode, despite being the fifth movement. 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. Cantata BWV 28 Gottlob! Earth rejoices"): The "pretty Bach" approach suits this festive Easter cantata, a bit unusual in that it is both festive and Passion cantata. A great proportion of the texts Bach set for his first Leipzig Easter celebrations were essentially optimistic. Its chromatic movement paints a graphic picture of the torments we need undergo. The remainder of the theme is dominated by a series of sequences, perhaps suggestive of the opposites that are bound together as one. | Mailing Lists, Members, Contributors 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. 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. 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. 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. Bach’s solo cantatas are, in some sense, his only true cantatas since the term `cantata’ was drawn from an Italian genre which was designed for solo voice. The text has no recitatives alternating with arias, but … This is a sortable list of the Bach cantatas, the cantatas of Johann Sebastian Bach. 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. JS Bach: Oboe Concertos & Cantatas. PAULINE: We feel that in these works of Bach the soprano and the oboe are perfectly attuned to each other. The list includes both extant cantatas and, as far as known, lost cantatas. And it is possible that he never really forgot anything that he had previously composed. Johann Sebastian Bach's Violin Concertos, BWV 1041–1043, and his six Brandenburg Concertos survive in their original instrumentation. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. 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. 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. Its text is concise and unequivocal—-weeping, wailing, grieving and fear within anxiety and torment, all these mark the very bread of tearful Christians. Cantatas of the Bach Family. The aria is in simple da capo/ritornello form with the repeated A section focussing upon the uniting of opposites. 1-12 Complete Cantata Cycle Vols. | Various Topics, Oboe & Oboe d’amore in Bach’s Vocal Works Returning to the tenor aria, one notices that Bach has embellished the chorale slightly, though not enough to make it other than fully recognisable. Schlummert ein20:24 4. Cantata 21 is a two-part cantata composed of nine movements, summarized below. Bach Orchestra, Walter Rinaldi, Julius Frederick Rinaldi & Raffaella Valente en Amazon Music. Unser Mund sei voll Lachens, BWV 110, is a church cantata by Johann Sebastian Bach. View the sheetmusic and listen to the Oboe: Bach: Cantata BWV 82, No. Bach often used the oboe da caccia, but only on a handful of occasions would he write for two da caccias. They are mostly details but they combine to invest the modified movement with an undeniably greater dramatic intensity. This is obvious from looking at Bach's scores. Bach composed the cantata in his third year as Thomaskantor in Leipzig. Like the oboe da caccia featured in last week's cantata, the oboe d’amore is a lower-pitched cousin to the modern oboe, with a warmer, less strident tone. 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. wenn kommt das schöne Nun!21:47 5. The fifty-second cantata of the cycle for Jubilate (third Sunday after Easter). The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. Bach has clearly taken the notions of ′following′ and ′adhering to′ as the starting point for his musical thinking as the two violins and continuo lines pursue each other in close imitation. In bars 5 and 6, the harmony also becomes ′resolute′ remaining on, and spelling out the chord of D7 for a full two bars. Here it is a section of a longer movement; in the Mass, partially re-written and transposed down to Em, the key Bach associates with the crucifixion, it stands as the central focus of the entire composition. The contrasting middle section has one single line —-[those are the Christians] who bear the sign of Jesus. He used a text by Georg Christian Lehms, which was published already in 1711. It has no need to repeat the message. Sinfonia–chorus–recit (alto)–aria (alto)–aria (bass)–aria/chorale (tenor)–chorale. The middle section of the cantata movement is slightly faster except for its final eight bars. The word Trübsal—-tribulations—-is heard four times, the first three carried by a sorrowful, falling, three-note motive and finally, with a trill that suggests the freezing of the blood. 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. 4 – “Ich bin herrlich, ich bin schön” – Mary Watt, oboe d’amore Solo: oboe (oboe d'amore?, viola?) The music is splendid. Bach: Shepherd's Cantata & Concerto for Oboe and Violin in D minor. | Scores & Composition, Parodies, Reconstructions, Transcriptions At age 38, put in … Tenor aria/chorale. Firstly, the bass line is changed from a series of minims to a succession of crotchets. The sense of affirmation is heightened by the motet-like quality of the music, instruments doubling voices throughout. Bass aria. The music migrates briefly to the dominant key Cm and returns for a full close in the home key of Fm. 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 … Alto recitative. Intérpretes Bach Santiago. Bach, Johann Sebastian (1685–1750) Works. 1 Aria "Ich habe genug.." excerpt here. Bach's almost 200 extant cantatas are among his important vocal compositions.. Buy CD or download online. | About the Bach Cantatas Website 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. 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. Bach′s mind moved in an extraordinarily complex way! Bach compuso esta obra durante su estancia en Leipzig para el decimoquinto domingo después de la Trinidad. The shiver of apprehension on the word Kampf—-conflict—first heard in bar 15, is not quickly forgotten. 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. Sinfonia. 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. Bach, Johann Sebastian Arioso from Cantata BWV 156 sheet music for Oboe (pdf) - 8notes.com Orchestra: oboe, strings, continuo Discography All Music Guide: Primary Sources Bach Digital (source list) External Links Wikipedia article Bach-Cantatas.com: Navigation etc. 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). Secondly, the four syllables of the word ′crucifixus′ invest the vocal line with a throbbing quality that the previous, more sustained phrases had lacked. El autor del libreto de la obra fue el famoso Christian Friedrich Henrici, conocido como "Picander". The Sinfonia from Cantata 156, performed on original instruments by the Early Music ensemble Voices of Music. | Performance Practice Thirdly, the accompanying chords are now shared between flutes and strings, imbuing the soundscape with an ever-changing kaleidoscope-like colouring. Obbligato means the instrument becomes less like accompaniment and more an elaborate melodic line in duet with the voice. Roberto Morales, oboe Pascal Montenegro, oboe 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 BWV 1059R I-Catalogue Number I-Cat. © 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. 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" 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) But it only lasts a moment and we return to the original material a mere half a dozen bars later. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725. 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). 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 … Not only Nienke, but my oboe is also allowed to sing. of the four cantatas written by Bach for the feast (72, 73, 111, and 156), it was the last, and the only one scored for solo voice. 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. He is believed to have composed at least 300 (a third or more have been lost). Johann Sebastian Bach (1685–1750) Four Arias – Rosa Lamoreaux, soprano • from Cantata 199, No. 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. It is one of Bach's frequently recorded cantatas. The added melody may be intended to represent God′s light and goodness resounding above all else. | Instruments, Voices, Choirs | Life of Bach, Bach & Other Composers 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. Musicaphon: M51357. An excellent example of this may be found in the opening sinfonia for oboe and strings. 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. Descubre Bach: Cantata No. nun geht das Jahr zu Ende ¡Alabado sea Dios! 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. Allegro Ma Non Tanto By Johann Sebastian Bach Louise Pellerin , Andre Laberge [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. Ruth Holton (soprano), Michael Chance (countertenor), Anthony Rolfe Johnson (tenor) Monteverdi Choir, John Eliot Gardiner | Cantatas & Other Vocal Works IJB 440 Key D minor Movements/Sections Mov'ts/Sec's: 3 First Pub lication. Bach: Cantatas BWV 56 & 140; Motet BWV Anh. En “Wie freudig ist mein Herz”, de la 199, comienza el oboe con una frase corta a modo de proclamación, la de la inmensa alegría del hombre, que acaba de liberar su culpa mediante el sacrificio. 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 … 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. Johann Sebastian Bach (1685~1750) 《Kommt, eilet und laufet》 Oratorium, BWV 249- 2. No. 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. 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 … 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. 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. This has the effect of creating a pulsating heartbeat as the very foundation of the music. Chorale. The division of the verse in such a way as to create a ternary form movement allows the composer to place maximum emphasis upon the miseries of Christian existence. Titles of the cantatas. Cantata 156 was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. 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. But this thought is itself symbolically interrupted by the unusual cadence over bars 5 and 6, perhaps a moment to assimilate the realisation that whatever the challenges, comfort may still be sought in the wounds of Christ. 0:00 1. It does, however, boast one important addition, a descant melody which might have been played by the violin or trumpet; or indeed both  in unison. : Was Mir Behagt, Ist Nur Die Muntre Jagd, "Hunt Cantata / Oboe D'Amore Concerto in F Major de Helmuth Rilling en Amazon Music. Tarkmann: Chorale Dein Blut, der edle Saft from Cantata BWV 136, arranged for solo oboe, choir & chamber orchestra [1:22] Bach-A.N. It is less concerned with the misery of the Christian than the fact of identification with the Lord′s sufferings. This is some of Bach’s most familiar and beloved music: the Sinfonia to Cantata 49, with its jolly concertato organ part (presumably played by James Johnston—no attribution is given in the booklet), or the lovely oboe solo in the Sinfonia to Cantata 21. Oboe & Oboe d’amore in Bach’s Vocal Works Part 1: Oboe and Bach: Francine wrote (December 13, 2001): Secular Cantata BWV 213, Hercules at the Crossroads, has a beautiful aria with Virtue (sung by tenor) singing to Hercules in unforgettable counterpoint with the oboe, though backed up by instrumental ensemble, "Auf meinen Fluegeln sollst du schweben" (upon my wings you shall soar). - J.S. Bach′s choice of musical structure, the ground bass, was, for him, rather unusual. Mein Trost ist nur allein10:48 3. 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! 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. Bach's almost 200 extant cantatas are among his important vocal compositions.. Ich habe genug9:11 2. 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. BACH, Johann Sebastian (1685-1750). 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 Thus poetic metaphor, traditional hymn tune, the basic theme of the cantata and the efforts of the individual are all brought together in a seemingly unpretentious but beautifully crafted little aria. This interrupted cadence, incidentally, is one of a large number used and probably devised by Bach. The B section is more devoted to notions of Christ′s solace achieved through His agony as the melisma on Wunden—-injuries—- makes clear. Some comparative comments may be found in the essay on the latter of these works, chapter 41 of this volume. | Texts, Translations, Languages Bach indeed used this term for the solo works and named those with more voices `concerto’; however, this latter term has been dropped in modern musical practice to avoid confusion with the purely instrumental works of that name. This anticipation of death – whether Christ’s or our own – is a common textual theme in Bach’s works, especially the cantatas. Bach: Cantatas BWV 157 & BWV 169 J.S. JS Bach: Cantatas. Which was published already in 1711 have composed at least 300 ( third! Important vocal compositions in full to remind us of the same name is based upon this tune ),... He had previously composed eight bars he composed the cantata in his third year as Thomaskantor in Leipzig more been... Original material a mere half a dozen bars later Collegium 1704, Václav Luks obbligatos in Bach 's almost extant. 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