0:00 1. Tenor aria/chorale. The chromatic falling scale from the tonic to the dominant note (doh to soh) had already become a musical cliché expressing thoughts of death, misery and torment. Furthermore, a superb motet of the same name is based upon this tune). The shiver of apprehension on the word Kampf—-conflict—first heard in bar 15, is not quickly forgotten. 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. The middle section of the cantata movement is slightly faster except for its final eight bars. Firstly, the bass line is changed from a series of minims to a succession of crotchets. The aria is in simple da capo/ritornello form with the repeated A section focussing upon the uniting of opposites. ahora el año llega a su fin. 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, … Bach: Cantatas BWV 56 & 140; Motet BWV Anh. 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. Historia. The text is by Picander, one of Bach’s favorite librettists. The music migrates briefly to the dominant key Cm and returns for a full close in the home key of Fm. Opening bars. View the sheetmusic and listen to the Oboe: Bach: Cantata BWV 82, No. Recorded in 1991. Bach, Johann Sebastian (1685–1750) Works. Bach Cantatas & Other Vocal Works: Contents: Complete Cantata Cycle Vols. 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. 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. The original version of what was to become one of the best known religious movements in the repertoire saw life here as the repeated A section of a da capo chorus. 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. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. Bach compuso esta obra durante su estancia en Leipzig para el decimoquinto domingo después de la Trinidad. This has the effect of creating a pulsating heartbeat as the very foundation of the music. This is a sortable list of the Bach cantatas, the cantatas of Johann Sebastian Bach. Bach-A.N. Anna Prohaska, soprano. 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. Returning to the tenor aria, one notices that Bach has embellished the chorale slightly, though not enough to make it other than fully recognisable. Cantatas of the Bach Family. My favorite part of this cantata is the tenor aria: it is a beautiful piece of music, a quartet really, between the two oboe parts, the tenor voice, and the continuo, the way tenor arias often are with Bach, and I appreciate the text “Ich höre mitten in den Leiden ein Trostwort, so mein Jesus spricht” (In the midst of my sufferings I hear a word of consolation spoken by Jesus). As such, it represents (from my own subjective perspective) a certain Bachian paradox, wherein some of the most life-denying texts led to some of his most life-affirming music. The list includes both extant cantatas and, as far as known, lost cantatas. The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. As such, it represents (from my own subjective perspective) a certain Bachian paradox, wherein some of the … 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. Revised 2012, 2014, 2017, 2020. 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. | Performance Practice 1 Aria "Ich habe genug.." excerpt here. Oboe D'amore Concerto In a Major, BWV 1055: III. Reproduce canciones completas de Bach: Cantata No. No. The continuo throughout has an assertive quaver line which implies optimistic forward movement as the text declares—-I will follow Christ .and not desert Him—-in wealth or sickness, in life and death I will embrace and never leave Him. past afflictions, the trifles they become in proper context and the passing storms. The B section is more devoted to notions of Christ′s solace achieved through His agony as the melisma on Wunden—-injuries—- makes clear. Bach’s cantatas were an unimaginable achievement. Scoring and structure. Now Bach indulges us with one of his most ravishing alto and oboe obbligato arias. | Life of Bach, Bach & Other Composers Its succinctness is worthy of notice however; on the mention of the kissing of Christ′s abuse (from bar 26) there is a feeling of a contrasting middle section, the act of kissing actually suggested by the violins. DG: 4784231. 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. 1-12 Complete Cantata Cycle Vols. 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" There is practically nothing of major modes, and the serpentine meanderings of the oboe melody prepare the listener for the outpouring of grief expressed in the chorus that follows. The aria "Sich üben im … 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. IJB 440 Key D minor Movements/Sections Mov'ts/Sec's: 3 First Pub lication. The added melody may be intended to represent God′s light and goodness resounding above all else. JOHANN SEBASTIAN BACH (1685-1750): Conciertos para oboe y cantatas/ Xenia Löffler, oboe. Bach: Shepherd's Cantata & Concerto for Oboe and Violin in D minor. 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. The Sinfonia from Cantata 156, performed on original instruments by the Early Music ensemble Voices of Music. 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. Oboe d'amore and oboe / “Baroque tunings”, Terms of Use Xenia Löffler (oboe), Anna Prohaska (soprano) Collegium 1704, Václav Luks. Chorus. In his early career Bach transcribed concertos by other composers for solo organ (BWV 592–596) and for solo harpsichord (BWV 972–987). The Oboe and the representation of Trust in the sacred arias of the cantatas from J. S. Bach . Tarkmann: Chorale Zion hört die Wächter singen from Cantata BWV 140, arranged for solo English horn, tenor choir & chamber orchestrra [4:16] Bach-A.N. In the chorus of C 12, this eight-bar idea is stated twelve times by the continuo beneath sustained weeping figures, often employing suspensions on the voices and bare chords on the upper strings, mostly on the first and third beats of the bar. | Copyright Policy Mein Trost ist nur allein10:48 3. Bach′s mind moved in an extraordinarily complex way! Allegro Ma Non Tanto By Johann Sebastian Bach Louise Pellerin , Andre Laberge The Festival’s four resident vocal soloists are featured in this special presentation of Bach cantatas under the direction of Andrew Arthur. | Mailing Lists, Members, Contributors Title Composer Bach, Johann Sebastian: Opus/Catalogue Number Op./Cat. 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. Chorale. 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. Bach composed cantatas throughout much of his creative life. Not only Nienke, but my oboe is also allowed to sing. - J.S. Koopman - Vol.1 Steve Schwartz wrote (July 11, 1997): Cantata BWV 31 "Der Himmel lacht! Bach's almost 200 extant cantatas are among his important vocal compositions.. No. J.S. At age 38, put in … Iche habe genug! wenn kommt das schöne Nun!21:47 5. The brief alto recitative concisely encapsulates the essence of the cantata—-we must endure great hardship in order to enter the Kingdom of God. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725. BWV 1059R I-Catalogue Number I-Cat. The list includes both extant cantatas and, as far as known, lost cantatas. Earth rejoices"): The "pretty Bach" approach suits this festive Easter cantata, a bit unusual in that it is both festive and Passion cantata. | Various Topics, Oboe & Oboe d’amore in Bach’s Vocal Works [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. 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. Happily Bach had no such inhibitions and it is worth spending a moment isolating the main changes that he made in adapting this music for the Mass. The broken rhythms of the opening continuo melody may at first seem at odds with the call to be steadfast and resolute but to view it in this way is probably to miss the point of Bach′s approach to melodic structuring. Löffler’s wondrous playing deserves nothing less, though. Descubre Bach: Cantata No. BACH, Johann Sebastian (1685-1750). Like the oboe da caccia featured in last week's cantata, the oboe d’amore is a lower-pitched cousin to the modern oboe, with a warmer, less strident tone. He is believed to have composed at least 300 (a third or more have been lost). 5 – “Gott versorget alles Leben” – Mary Watt, oboe • from Cantata 49, No. 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. Oboe Concerto Alt ernative. 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. (Readers might like to turn to vol 3, chapter 50 where comment is provided on a similar process of refinement of the Agnus Dei). It offers many details including full-text search. ... the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. This is a sortable list of the Bach cantatas, the cantatas of Johann Sebastian Bach. LINK: http://www.bach-cantatas.com/BWV12.htm. (Students who wish to study Bach′s harmonisations of this chorale may seek out Cs 81, 87 and 64. Bach, Johann Sebastian Arioso from Cantata BWV 156 sheet music for Oboe (pdf) - 8notes.com Titles of the cantatas. | Instruments, Voices, Choirs 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 por en tu teléfono, ordenador y sistema de audio doméstico con Johann Sebastian Bach. Bach: Cantatas BWV 157 & BWV 169 J.S. 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. Cantata BWV 28 Gottlob! 31: Wachet Auf! Cantata BWV 104 Du Hirte Israel, höre Tú, Pastor de Israel, escucha. The text has no recitatives alternating with arias, but … Buy CD 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. Orchestra: oboe, strings, continuo Discography All Music Guide: Primary Sources Bach Digital (source list) External Links Wikipedia article Bach-Cantatas.com: Navigation etc. But it only lasts a moment and we return to the original material a mere half a dozen bars later. The cantatafinder is a tool designed to help you find your sacred Bach cantatas in the SDG series. | Scores & Composition, Parodies, Reconstructions, Transcriptions Obbligato means the instrument becomes less like accompaniment and more an elaborate melodic line in duet with the voice. Buy CD or download online. Secondly, the four syllables of the word ′crucifixus′ invest the vocal line with a throbbing quality that the previous, more sustained phrases had lacked. Unusually, Bach has three consecutive arias with no intervening recitatives. Cantata 156 was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. In bars 5 and 6, the harmony also becomes ′resolute′ remaining on, and spelling out the chord of D7 for a full two bars. Main Page Sinfonia–chorus–recit (alto)–aria (alto)–aria (bass)–aria/chorale (tenor)–chorale. Solo: oboe (oboe d'amore?, viola?) This anticipation of death – whether Christ’s or our own – is a common textual theme in Bach’s works, especially the cantatas. They are mostly details but they combine to invest the modified movement with an undeniably greater dramatic intensity. The remainder of the theme is dominated by a series of sequences, perhaps suggestive of the opposites that are bound together as one. Peter Kooy (bass) & Marcel Ponseele (oboe) / La Chapelle Royale/ Philippe Herreweghe. In the essay on the first of these (chapter 39 of this volume) some comparative observations may be found. | Radio, Concerts, Festivals, Recordings 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. Alto recitative. Its history, therefore, stretches over three decades: from its inception before Bach had turned thirty, to its presentation to the Leipzig congregations in 1724, possible re-calls in the 1730s and its final flowering in the Mass from Bach′s last decade. | Cantatas & Other Vocal Works And it is possible that he never really forgot anything that he had previously composed. The theme is the inevitable and natural (at least in this earthly life) unity of hardship and triumph—-cross and crown, challenge and prize; all unite as one, as do Christians with their torment—–and yet comfort is to be found in the wounds of Christ. Intérpretes Bach Santiago. It is less concerned with the misery of the Christian than the fact of identification with the Lord′s sufferings. 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. Bass aria. | Privacy Policy It also indulges in some complex bursts of semi-quavers when giving weight to fundamental concepts e.g. 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. 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). Part 1, Oboe d'amore and oboe Johann Sebastian Bach (1685~1750) 《Kommt, eilet und laufet》 Oratorium, BWV 249- 2. Bach: The Most Beautiful Oboe Solos from the Church Cantatas, BWV 12, 21, 76, 156, 249 (Set of Parts): Johann Sebastian Bach, Mark Biggam: 9790006488995: Books - Amazon.ca : Was Mir Behagt, Ist Nur Die Muntre Jagd, "Hunt Cantata / Oboe D'Amore Concerto in F Major de Helmuth Rilling en Amazon Music. So there must have been some good oboe playing visitors in town around this time of Ascension and Pentecost in 1725. Bach′s choice of musical structure, the ground bass, was, for him, rather unusual. Roberto Morales, oboe Pascal Montenegro, oboe Ich habe genug9:11 2. The first three stanzas of this cantata place emphasis upon this theme and we should, perhaps, be grateful that they did so as such sentiments often stimulated Bach’s most sublime music. Cantata 21 is a two-part cantata composed of nine movements, summarized below. An excellent example of this may be found in the opening sinfonia for oboe and strings. 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. © 2000-2021 Bach Cantatas Website, Last update: Tuesday, June 13, 2017 05:03, Scores & Composition, Parodies, Reconstructions, Transcriptions, http://www.cs.ualberta.ca/~wfb/cantatas/ainst.html, http://www.cs.ualberta.ca/~wfb/cantatas/minst19.html, http://www.cs.ualberta.ca/~wfb/cantatas/minst20.html. NIENKE: We listened to some arias that we didn't like at first - to the point where we even tried them out in another tempo, when they sounded fantastic. Bach's almost 200 extant cantatas are among his important vocal compositions.. Preciosa la escritura que Bach asigna a los instrumentos antedichos, que se intercalan alternativamente a las frases del cantante. Great time playing Bach Cantatas on Oboe d’amore. Descubre Bach, J.S. General Topics: Johann Sebastian Bach's Violin Concertos, BWV 1041–1043, and his six Brandenburg Concertos survive in their original instrumentation. 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 … There are other changes, but those described above are the main ones that have cause to deepen the emotional intensity of the earlier version. This interrupted cadence, incidentally, is one of a large number used and probably devised by Bach. Denise Torre, soprano Evelyn Ramírez, alto Rodrigo del Pozo, tenor Patricio Sabaté, barítono. It does, however, boast one important addition, a descant melody which might have been played by the violin or trumpet; or indeed both  in unison. Some comparative comments may be found in the essay on the latter of these works, chapter 41 of this volume. This is obvious from looking at Bach's scores. 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. Orchestra: strings, continuo Related Works Arranged by the composer as Harpsichord Concerto No.2, BWV 1053 Extra Information Original score lost, but faithfully reconstructed from selections from the two cantatas Gott soll allein mein Herze haben, BWV 169 (mvts.1 and 2, are cantata mvts.1 and 5) and 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). Buy CD or download online. Copyright: J Mincham 2010. 1855 Composer Time Period Comp. Unser Mund sei voll Lachens, BWV 110, is a church cantata by Johann Sebastian Bach. 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. 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). It is very plainly harmonised, with a minimum of passing notes and chromatic harmony. 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. 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. Performance history 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. 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