Main Page wenn kommt das schöne Nun!21:47 5. Oboe D'amore Concerto In a Major, BWV 1055: III. Bach, Johann Sebastian (1685–1750) Works. The orchestral playing under Václac Luks is delicately supportive, at all times attentive and neatly moulded to the soloists’ moves. (Students who wish to study Bach′s harmonisations of this chorale may seek out Cs 81, 87 and 64. from the cantatas and oratorios of Johann Sebastian Bach (1685-1750), all for soprano with oboe, oboe d'amore, or oboe da caccia obbligato. Buy CD or download online. JOHANN SEBASTIAN BACH (1685-1750): Conciertos para oboe y cantatas/ Xenia Löffler, oboe. Benjamin Appl (baritone), Christoph Hartmann (oboe) Berlin Barock Solisten, Reinhard Goebel DG: 4784231. Allegro Ma Non Tanto By Johann Sebastian Bach Louise Pellerin , Andre Laberge 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. Earth rejoices"): The "pretty Bach" approach suits this festive Easter cantata, a bit unusual in that it is both festive and Passion cantata. Bach's almost 200 extant cantatas are among his important vocal compositions.. 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. Copyright: J Mincham 2010. The ground as it appears in C 12 and later in the mass. 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. | Scores & Composition, Parodies, Reconstructions, Transcriptions Now Bach indulges us with one of his most ravishing alto and oboe obbligato arias. In the essay on the first of these (chapter 39 of this volume) some comparative observations may be found. Bach′s mind moved in an extraordinarily complex way! Performance history 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. The second for bass, two solo violins and continuo is the work’s first in a major mode, despite being the fifth movement. Ruth Holton (soprano), Michael Chance (countertenor), Anthony Rolfe Johnson (tenor) Monteverdi Choir, John Eliot Gardiner Mein Gott! Denise Torre, soprano Evelyn Ramírez, alto Rodrigo del Pozo, tenor Patricio Sabaté, barítono. 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. Unusually, Bach has three consecutive arias with no intervening recitatives. The music is splendid. J.S. Harmonia Mundi France. Bach compuso esta obra durante su estancia en Leipzig para el decimoquinto domingo después de la Trinidad. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. Escúchalo en streaming y sin anuncios o compra CDs y MP3s ahora en Amazon.es. 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. 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. 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. Sinfonia–chorus–recit (alto)–aria (alto)–aria (bass)–aria/chorale (tenor)–chorale. Opening bars. Great time playing Bach Cantatas on Oboe d’amore. Bach: Shepherd's Cantata & Concerto for Oboe and Violin in D minor. General Topics: El autor del libreto de la obra fue el famoso Christian Friedrich Henrici, conocido como "Picander". ahora el año llega a su fin. Bach first performed the cantata on 5 November 1724. 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. Bass aria. 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 Sinfonia from Cantata 156, performed on original instruments by the Early Music ensemble Voices of Music. 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. 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. 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. 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. 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 The contrasting middle section has one single line —-[those are the Christians] who bear the sign of Jesus. 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. 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 JS Bach: Oboe Concertos & Cantatas. 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. nun geht das Jahr zu Ende ¡Alabado sea Dios! 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. 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 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 … 5 – “Gott versorget alles Leben” – Mary Watt, oboe • from Cantata 49, No. He commences the Crucifixus with one statement of the ground beneath the wind and string chords before the voices enter. Chorus. Johann Sebastian Bach (1685~1750) 《Kommt, eilet und laufet》 Oratorium, BWV 249- 2. Although the German term Bachkantate (Bach cantata) became very … Its chromatic movement paints a graphic picture of the torments we need undergo. He is believed to have composed at least 300 (a third or more have been lost). Bach, Johann Sebastian Arioso from Cantata BWV 156 sheet music for Oboe (pdf) - 8notes.com 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 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 added melody may be intended to represent God′s light and goodness resounding above all else. 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. 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. This anticipation of death – whether Christ’s or our own – is a common textual theme in Bach’s works, especially the cantatas. Bach often used the oboe da caccia, but only on a handful of occasions would he write for two da caccias. 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. This is a sortable list of the Bach cantatas, the cantatas of Johann Sebastian Bach. | Mailing Lists, Members, Contributors 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. The fifty-second cantata of the cycle for Jubilate (third Sunday after Easter). 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. 4 – “Tief gebückt und voller Reue” • from Cantata 187, No. Returning to the tenor aria, one notices that Bach has embellished the chorale slightly, though not enough to make it other than fully recognisable. ... the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. Bach composed cantatas throughout much of his creative life. 0:00 1. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725. Preciosa la escritura que Bach asigna a los instrumentos antedichos, que se intercalan alternativamente a las frases del cantante. 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 … Xenia Löffler (oboe), Anna Prohaska (soprano) Collegium 1704, Václav Luks. BWV 1059R I-Catalogue Number I-Cat. The music migrates briefly to the dominant key Cm and returns for a full close in the home key of Fm. | Copyright Policy Löffler’s wondrous playing deserves nothing less, though. Thirdly, the accompanying chords are now shared between flutes and strings, imbuing the soundscape with an ever-changing kaleidoscope-like colouring. 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. IJB 440 Key D minor Movements/Sections Mov'ts/Sec's: 3 First Pub lication. 4 – “Ich bin herrlich, ich bin schön” – Mary Watt, oboe d’amore 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. As such, it represents (from my own subjective perspective) a certain Bachian paradox, wherein some of the … 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). Schlummert ein20:24 4. The list includes both extant cantatas and, as far as known, lost cantatas. Solo: oboe (oboe d'amore?, viola?) 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. 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. It also indulges in some complex bursts of semi-quavers when giving weight to fundamental concepts e.g. Revised 2012, 2014, 2017, 2020. This is a sortable list of the Bach cantatas, the cantatas of Johann Sebastian Bach. 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 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! So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. Cantata BWV 104 Du Hirte Israel, höre Tú, Pastor de Israel, escucha. A listener and student guide by Julian Mincham. 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) Dialogue PAULINE: This is a selection from the many arias from Bach's cantatas. 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 cantatafinder is a tool designed to help you find your sacred Bach cantatas in the SDG series. 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. 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. In bars 5 and 6, the harmony also becomes ′resolute′ remaining on, and spelling out the chord of D7 for a full two bars. | Instruments, Voices, Choirs 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. 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. They are mostly details but they combine to invest the modified movement with an undeniably greater dramatic intensity. Descubre Bach: Cantata No. The list includes both extant cantatas and, as far as known, lost cantatas. Musicaphon: M51357. Koopman - Vol.1 Steve Schwartz wrote (July 11, 1997): Cantata BWV 31 "Der Himmel lacht! That is also the case with the ground bass underpinning the Passacaglia and Fugue for organ in C minor. LINK: http://www.bach-cantatas.com/BWV12.htm. Secondly, the four syllables of the word ′crucifixus′ invest the vocal line with a throbbing quality that the previous, more sustained phrases had lacked. Bach’s cantatas were an unimaginable achievement. 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). Unser Mund sei voll Lachens, BWV 110, is a church cantata by Johann Sebastian Bach. | Cantatas & Other Vocal Works Hänssler: HC19081. Bach-A.N. 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. Some comparative comments may be found in the essay on the latter of these works, chapter 41 of this volume. (Readers might like to turn to vol 3, chapter 50 where comment is provided on a similar process of refinement of the Agnus Dei). This is a concise ritornello movement which simply sets the text against the positive urgings of the instruments and then stops. 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. | About the Bach Cantatas Website The singer also enters with the same motive. die Erde jubilieret" ("Heaven laughs! Tenor aria/chorale. His harpsichord concertos are mostly adaptations of concertos originally written for other solo instruments.. An excellent example of this may be found in the opening sinfonia for oboe and strings. A great proportion of the texts Bach set for his first Leipzig Easter celebrations were essentially optimistic. 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. And it is possible that he never really forgot anything that he had previously composed. | Various Topics, Oboe & Oboe d’amore in Bach’s Vocal Works It offers many details including full-text search. The shiver of apprehension on the word Kampf—-conflict—first heard in bar 15, is not quickly forgotten. 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. At age 38, put in … Obbligato means the instrument becomes less like accompaniment and more an elaborate melodic line in duet with the voice. Bach composed the cantata in his third year as Thomaskantor in Leipzig. 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. 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. 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. 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. © 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. Intérpretes Bach Santiago. 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.