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. Bach: Cantatas BWV 157 & BWV 169 J.S. In his early career Bach transcribed concertos by other composers for solo organ (BWV 592–596) and for solo harpsichord (BWV 972–987). | Instruments, Voices, Choirs The theme is clearly in two parts, one broken and one of continuous quavers (from the 5th bar). This interrupted cadence, incidentally, is one of a large number used and probably devised by Bach. 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. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. | Performance Practice 4 – “Tief gebückt und voller Reue” • from Cantata 187, No. 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. Tenor aria/chorale. In the essay on the first of these (chapter 39 of this volume) some comparative observations may be found. Bach’s cantata Ich habe genug, BWV 82, is one of several which expresses contempt for worldly life and a yearning for death and the life beyond. Koopman - Vol.1 Steve Schwartz wrote (July 11, 1997): Cantata BWV 31 "Der Himmel lacht! 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 There are other changes, but those described above are the main ones that have cause to deepen the emotional intensity of the earlier version. 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). This is a sortable list of the Bach cantatas, the cantatas of Johann Sebastian Bach. Oboe d'amore and oboe / “Baroque tunings”, Terms of Use Chorus. Title Composer Bach, Johann Sebastian: Opus/Catalogue Number Op./Cat. 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. 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. A great proportion of the texts Bach set for his first Leipzig Easter celebrations were essentially optimistic. This is a concise ritornello movement which simply sets the text against the positive urgings of the instruments and then stops. 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. Performance history The Oboe and the representation of Trust in the sacred arias of the cantatas from J. S. Bach . Thirdly, the accompanying chords are now shared between flutes and strings, imbuing the soundscape with an ever-changing kaleidoscope-like colouring. Mein Gott! There seems little reason for using a slow movement by the Italian composer Alessandro Marcello when a perfectly good aria by Bach is available from the same cantata and, if the hypothesis about the outer movements originally having been conceived for oboe is true, … Opening bars. | Scores & Composition, Parodies, Reconstructions, Transcriptions The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. No. The first movement of the double Harpsichord Concerto in Cm makes use of precisely the same unexpected hiatus; for the technically minded, it is chord V leading to a secondary dominant chord built upon the supertonic (second) note of the scale. Dialogue PAULINE: This is a selection from the many arias from Bach's cantatas. The pastoral C 104, presented the previous week, revealed little of the suffering so often deemed to be an essential part of the journey to the Kingdom of Heaven. Earth rejoices"): The "pretty Bach" approach suits this festive Easter cantata, a bit unusual in that it is both festive and Passion cantata. Descubre Bach, J.S. The text is by Picander, one of Bach’s favorite librettists. Bach, J S: Cantata BWV106 'Gottes Zeit ist die allerbeste Zeit' (Actus tragicus) Bach, J S: Cantata BWV140 'Wachet auf, ruft uns die Stimme' Bach, J S: Cantata BWV147 'Herz und Mund und Tat und Leben' Bach, J S: Motet BWV118 'O Jesu Christ, mein Lebens Licht' Conductors. The B section is more devoted to notions of Christ′s solace achieved through His agony as the melisma on Wunden—-injuries—- makes clear. The cantatafinder is a tool designed to help you find your sacred Bach cantatas in the SDG series. The text is personal and affirms—-what God does is well done and I will be constant, no matter how demanding the journey—-God the Father will hold me in His arms and that is the reason I allow Him to prevail. 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. PAULINE: We feel that in these works of Bach the soprano and the oboe are perfectly attuned to each other. Roberto Morales, oboe Pascal Montenegro, 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 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. Some comparative comments may be found in the essay on the latter of these works, chapter 41 of this volume. Sinfonia–chorus–recit (alto)–aria (alto)–aria (bass)–aria/chorale (tenor)–chorale. | Cantatas & Other Vocal Works Buy CD or download online. 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. General Topics: Allegro Ma Non Tanto By Johann Sebastian Bach Louise Pellerin , Andre Laberge He is believed to have composed at least 300 (a third or more have been lost). Oboe D'amore Concerto In a Major, BWV 1055: III. Johann Sebastian Bach (1685–1750) Four Arias – Rosa Lamoreaux, soprano • from Cantata 199, No. JS Bach: Oboe Concertos & Cantatas. Part 1, Oboe d'amore and oboe Mein Trost ist nur allein10:48 3. Scoring and structure. The brief alto recitative concisely encapsulates the essence of the cantata—-we must endure great hardship in order to enter the Kingdom of God. Ich habe genug9:11 2. But it only lasts a moment and we return to the original material a mere half a dozen bars later. Schlummert ein20:24 4. Sinfonia. The music migrates briefly to the dominant key Cm and returns for a full close in the home key of Fm. 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. 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. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. Bach Orchestra, Walter Rinaldi, Julius Frederick Rinaldi & Raffaella Valente en Amazon Music. 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. [1] [2] La cantata es una de las únicas cuatro cantatas sacras que Bach escribió para soprano sin más solistas vocales, excluyendo el arreglo que hizo Bach de la cantata para bajo solista y oboe BWV 82, que resultó en la cantata para soprano y flauta BWV 82a. Johann Sebastian Bach (1685~1750) 《Kommt, eilet und laufet》 Oratorium, BWV 249- 2. Benjamin Appl (baritone), Christoph Hartmann (oboe) Berlin Barock Solisten, Reinhard Goebel Main Page Bach composed the cantata in his third year as Thomaskantor in Leipzig. The ground bass section then returns in full to remind us of the sufferings sustained by Man and Saviour alike. It was likely composed for a wedding, but scholars disagree on the dating which could be as early as Bach's tenure in Weimar, around 1714, while it has traditionally been connected to his wedding to Anna Magdalena on 3 December 1721 in Köthen. Cantata BWV 28 Gottlob! Denise Torre, soprano Evelyn Ramírez, alto Rodrigo del Pozo, tenor Patricio Sabaté, barítono. Bach-A.N. 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). The warm sound of the oboe d’amore contributes to the intimate feel of this aria, as does the lower, warmer timbre of the alto soloist. It has no need to repeat the message. The closing chorale returns to the major and its opening bars reveal the musical motive which Bach borrowed for the ′following′ imitations in the bass aria. Here warming up before concert with fantastic Oboist Paula Diaz # bach # bachcantatas # bwv104 # oboedamore # pauladiazoboe # celinemoinet Bach Cantata BWV104 Arie "Verbirgt Mein Hirte Sich zu Lange" He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725. The division of the violas into two parts marks this as another early work and Dürr (p 307) places it as Bach′s second cantata to have been composed at Weimar in 1714. Bach often used the oboe da caccia, but only on a handful of occasions would he write for two da caccias. It is less concerned with the misery of the Christian than the fact of identification with the Lord′s sufferings. 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. Tarkmann: Chorale Dein Blut, der edle Saft from Cantata BWV 136, arranged for solo oboe, choir & chamber orchestra [1:22] Bach-A.N. 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. | Various Topics, Oboe & Oboe d’amore in Bach’s Vocal Works Musicaphon: M51357. As such, it represents (from my own subjective perspective) a certain Bachian paradox, wherein some of the … The Christian resolution is now clearly affirmative; the necessity for torment in following Him has been acknowledged and now we need to confirm that despite this, we shall follow and not lose contact with Him. Orchestra: oboe, bassoon, 3 trumpets, 4 trombones (doubling), timpani, strings, continuo (organ) Primary Sources BC A 99a (1713-14) BC A 99b (1717-22) BC A 99c (1723) External Links Wikipedia article Bach-Cantatas.com: Extra Information Commentary, etc. Iche habe genug! Although the German term Bachkantate (Bach cantata) became very … The division of the verse in such a way as to create a ternary form movement allows the composer to place maximum emphasis upon the miseries of Christian existence. Its text is concise and unequivocal—-weeping, wailing, grieving and fear within anxiety and torment, all these mark the very bread of tearful Christians. | Radio, Concerts, Festivals, Recordings Bach scored the cantata for four vocal soloists, a four-part choir and a Baroque chamber ensemble of up to three oboes of different kinds, strings and continuo. ... the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. Obbligato means the instrument becomes less like accompaniment and more an elaborate melodic line in duet with the voice. 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. Oboe & Oboe d’amore in Bach’s Vocal Works Part 1: 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). LINK: http://www.bach-cantatas.com/BWV12.htm. DG: 4784231. 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. - J.S. 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. It seems that it is now time to return to the notion of anguish and distress and remind the good folk of Leipzig that salvation is not simply a gift; it is a rite of passage that has to be earned and the penalties for ignoring God′s word can be extremely severe. Unser Mund sei voll Lachens, BWV 110, is a church cantata by Johann Sebastian Bach. 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. 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. Harmonia Mundi France. Bach - Arioso from Cantata BWV 156 sheet music for Oboe (pdf) Sheet Music PDF MP3 Midi Parts Versions Access the high quality, printable PDF version of this piece by subscribing to 8notes.com … Historia. Most of the changes are made to accommodate the harmonies generated by a continuo figure which gives the impression of being another ground bass, although that is not the case. The middle section of the cantata movement is slightly faster except for its final eight bars. Cantata BWV 104 Du Hirte Israel, höre Tú, Pastor de Israel, escucha. Bach′s mind moved in an extraordinarily complex way! Bass aria. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. Most interestingly, Bach did almost exactly the same thing, also based upon the same D chord, in bars 3 and 4 of the sinfonia to C 18 (vol 1, chapter 43). 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. 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. The Festival’s four resident vocal soloists are featured in this special presentation of Bach cantatas under the direction of Andrew Arthur. past afflictions, the trifles they become in proper context and the passing storms. 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. 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. That is also the case with the ground bass underpinning the Passacaglia and Fugue for organ in C minor. Solo: oboe (oboe d'amore?, viola?) 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. | About the Bach Cantatas Website The aria "Sich üben im … Oboe Concerto Alt ernative. El autor del libreto de la obra fue el famoso Christian Friedrich Henrici, conocido como "Picander". He used a text by Georg Christian Lehms, which was published already in 1711. And even more surprisingly, that movement was the prelude to a recitative which also talked of the rain watering the earth and giving rise to bud! The second for bass, two solo violins and continuo is the work’s first in a major mode, despite being the fifth movement. It also indulges in some complex bursts of semi-quavers when giving weight to fundamental concepts e.g. JOHANN SEBASTIAN BACH (1685-1750): Conciertos para oboe y cantatas/ Xenia Löffler, oboe. 1 Aria "Ich habe genug.." excerpt here. The orchestral playing under Václac Luks is delicately supportive, at all times attentive and neatly moulded to the soloists’ moves. 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. After his death, his son Wilhelm Friedemann Bach arranged the first and fifth movements, adopting a new text and adding trumpets and timpani. This has the effect of creating a pulsating heartbeat as the very foundation of the music. 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! 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 ground as it appears in C 12 and later in the mass. | Copyright Policy They are mostly details but they combine to invest the modified movement with an undeniably greater dramatic intensity. Bach, Johann Sebastian Arioso from Cantata BWV 156 sheet music for Oboe (pdf) - 8notes.com The tenor line of the aria proceeds, seemingly without regard for the trumpet chorale or the constant urgings of the five-note motive in the continuo. Great time playing Bach Cantatas on Oboe d’amore. Weichet nur, betrübte Schatten, BWV 202, is a secular cantata by Johann Sebastian Bach. This is obvious from looking at Bach's scores. BWV 1059R I-Catalogue Number I-Cat. 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. nun geht das Jahr zu Ende ¡Alabado sea Dios! Firstly, the bass line is changed from a series of minims to a succession of crotchets. 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. Bach Cantatas & Other Vocal Works: Contents: Complete Cantata Cycle Vols. 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