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Bach composed the cantata in Leipzig for the 27th Sunday after Trinity. [4] This Sunday occurs only when Easter is early. [5] The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (1 Thessalonians 5:1–11), and from the Gospel of Matthew, the parable of the Ten Virgins (Matthew 25:1–13).
Christ lag in Todes Banden (also spelled Todesbanden; [a] "Christ lay in death's bonds" [2] or "Christ lay in the snares of death"), [3] BWV 4, is a cantata for Easter by German composer Johann Sebastian Bach, one of his earliest church cantatas. It is agreed to be an early work partly for stylistic reasons and partly because there is evidence ...
The eldest known cantata by Bach, an early version of Christ lag in Todes Banden, BWV 4, presumably written in 1707, was a chorale cantata. The last chorale cantata he wrote in his second year in Leipzig was Wie schön leuchtet der Morgenstern , BWV 1 , first performed on Palm Sunday , 25 March 1725.
[4] Movement 4 is in A minor, but the cantus firmus of the trumpet is nonetheless in C major, in "a battle for harmonic supremacy". [4] In the final movement of his Christmas Oratorio Bach would later embed the chorale in doric mode in a concerto in D major. The independent vocal line quotes parts of the chorale melody several times.
The music of movements 2, 4, 6, 7, 8 and 10 is lost, and only instrumental parts of the other movements are extant. Bach added the chorales for the 1723 dedication service. Höchsterwünschtes Freudenfest shows musical similarities also to Preise, Jerusalem, den Herrn , BWV 119 , written for the inauguration of the Leipzig town council a few ...
The cantata was first published in 1878 in the first complete edition of Bach's work, the Bach-Gesellschaft Ausgabe. The volume in question was edited by Alfred Dörffel . [ 2 ] [ 4 ] In the Neue Bach-Ausgabe it was published in 1973, edited by Marianne Helms , [ 4 ] with a critical report following in 1989.
Liebster Gott, wenn werd ich sterben, BWV 8, is one of Bach's church cantatas for the 16th Sunday after Trinity (Trinity XVI). [16] [17] The prescribed readings for the Sunday were from the Epistle to the Ephesians, praying for the strengthening of faith in the congregation of Ephesus (Ephesians 3:13–21), and from the Gospel of Luke, the raising from the dead of the young man from Nain (Luke ...
The work's outer movements are choral and use the hymn tune, while the inner four movements are composed for soloists, unconnected to the hymn tune. The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of cornett and trombones to reinforce the voices, oboe d'amore, strings, and basso continuo.