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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.
J.S. Bach: Cantata BWV 201, Moscow Conservatoire Chamber Orchestra (1987) J.S. Bach: Cantate Profanes, RIAS-Kammerchor / Akademie für Alte Musik Berlin / René Jacobs (Harmonia Mundi, 1995) J.S. Bach: Secular Cantatas, Musica Antiqua Köln / Reinhard Goebel (Archiv, 1997)
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 ...
Bach wrote the cantata in his second year in Leipzig for the 19th Sunday after Trinity. [2] [3] [4] It is part of his chorale cantata cycle.The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians – "put on the new man, which after God is created" (Ephesians 4:22–28) – and from the Gospel of Matthew, Healing the paralytic at Capernaum (Matthew 9:1–8).
Bach wrote the cantata for the 24th Sunday after Trinity in his first year as Thomaskantor and music director of Leipzig's main churches. [2] During Bach's tenure, the same two readings were prescribed for that Sunday every year: the epistle reading, Colossians 1:9–14, was a prayer from the Epistle to the Colossians for the congregation there, and the Gospel reading was the raising of Jairus ...
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]
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