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Most cantatas made reference to the content of the readings and to Lutheran hymns appropriate for the occasion. The melodies of such hymns often appeared in cantatas, for example as in the four-part settings concluding Bach's works, or as a cantus firmus in larger choral movements. Other occasions for church cantatas include weddings and ...
Bach composed the cantata in Leipzig in his second annual cycle for the Fifth Sunday after Easter, called Rogate.The prescribed readings for the Sunday were from the Epistle of James, "doers of the word, not only listeners" (James 1:22–27) and from the Gospel of John, from the Farewell Discourse of Jesus, "prayers will be fulfilled" (John 16:23–30). [2]
Bach structured the cantata in five movements, an instrumental sinfonia, a recitative, a recitative with chorale, an aria and a closing chorale.He scored the work, like other cantatas written in Weimar, for a small ensemble of three vocal soloists (soprano (S), tenor (T), bass (B)), a four-part choir only in the chorales, and a Baroque instrumental ensemble of four violas (Va), cello (Vc ...
John Eliot Gardiner remarked that Bach "particularly valued" this cantata, and that it set "a pattern for his later approaches to the Pentecostal theme". [2] Bach set the Gospel text of the recitative in a choral movement in other cantatas for Pentecost – Wer mich liebet, der wird mein Wort halten , BWV 59 , [ 33 ] and Wer mich liebet, der ...
Bach's fourth (Leipzig) cantata cycle, known as the Picander cycle, consists of cantatas performed for the first time from 24 June 1728 (St. John's Day) to 10 July 1729 (fourth Sunday after Trinity), or later in 1729, to a libretto from the printed cycle of 70 cantata texts for 1728–29 by Picander. Later additions to this cycle and Picander ...
The cantata text is a dialogue of Jesus and the Soul and concludes with a duet, asking to reject the "world" and follow Jesus. [3] [4] [5] This cantata is the earliest extant example of a dialogue, used again in Bach's third annual cycle of cantatas written in Leipzig. [6] Bach first performed the cantata on 30 December 1714. [3]
Bach structured the cantata in six movements, alternating arias and recitatives, concluded by a chorale. [4] As in several other cantatas on words by Franck, it is scored for a small ensemble of four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), and a Baroque instrumental ensemble of oboe (Ob), two violins (Vl), viola (Va), cello (Vc) and basso continuo (Bc) including bassoon.
The Kreuzstab cantata has been coupled with other works by Bach for solo bass, especially Ich habe genug, BWV 82—a paraphrase of the Song of Simeon—and an impassioned cantata taking longing for death as its theme. [67] Sometimes the fragmentary cantata Der Friede sei mit dir, BWV 158, related to peace (Friede) has been added. [28] [68] [69 ...