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The cantata also features a four-part choir for the movements framing a sequence of recitatives and arias. Bach orchestrated it festively with three trumpets, timpani, two transverse flutes, two oboes d'amore, taille, two violins, viola, and basso continuo. [5] March; Chorus: Vereinigte Zwietracht der wechselnden Saiten
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The cantata is regarded as part of Bach's third annual cycle. [4] The poet derived from the gospel idea that thanks to God for his goodness are man's obligation. [2] A profound scholar of the Bible, he quotes for the opening chorus a verse from Psalm 50 (Psalms 50:23) and for the first recitative in Part II verses 15 and 16 from the gospel. [2]
The cantata is unique in Bach's church cantatas in its structure of arias combined with chorale instead of recitatives. Performed one week after Wachet auf, ruft uns die Stimme, BWV 140, it shows Bach's emphasis on the chorale even beyond his second cycle of chorale cantatas, begun in 1724. [10]
Bach's cantatas usually require four soloists and a four-part choir, but he also wrote solo cantatas (i.e. for one soloist singer) and dialogue cantatas for two singers. The words of Bach's cantatas, almost always entirely in German, consist mostly of 18th-century poetry, Lutheran hymns and dicta. Hymns were mostly set to their Lutheran chorale ...
Bach scored the cantata for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of two tromba da tirarsi, three oboes, two violins, viola and basso continuo. Schop's chorale melody appears in the movements with the original text, the opening chorale fantasia and the (identical) four-part harmonisation closing the cantata ...
The opening chorus, "Allein zu dir, Herr Jesu Christ, mein Hoffnung steht auf Erden" (Only upon you, Lord Jesus Christ, does my hope rest on earth), [1] is a chorale fantasia, with the cantus firmus in the soprano, and the lower voices singing mostly in homophony, but occasionally in polyphony.
Similar to most chorale cantatas, the opening chorus is a chorale fantasia, presenting the chorale line by line, the cantus firmus here sung by the soprano. Most of the lines are preceded by entries of the other voices in imitation of motifs independent of the chorale melody.