Cantata From Job Vocal Score

SKU: CA.3112303

ISBN 9790007166465. Text language: German/English. Text: Fritsch, Ahasverus.

This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias. Score available separately - see item CA.3112300.

SKU: CA.4018904

ISBN 9790007187323. Language: German/English. Text: Luther, Martin.

During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score available separately - see item CA.4018900.

SKU: CA.3119503

ISBN 9790007182908. Language: German/English.

The Hochzeitskantate (Wedding Cantata) BWV 195 was performed by Bach from around 1730 at various wedding celebrations in different forms, and was evidently also lent out for performances further afield. The only surviving version of the work dates from the last years of Bach's life. The opulently-scored first part begins and ends with grand choral movements, and Bach scored both parts for soloists and for chorus. At the centre of the cantata is an exceptionally sensitive bass aria, probably one of Bach's most modern vocal compositions of all. A chorale movement (Nun danket all and bringet Ehr/ Now thank we all and offer praise) with obbligato horns concludes the cantata as the second part after the consummation. Score available separately - see item CA.3119500.

SKU: CA.3112305

ISBN 9790007166519. Text language: German/English. Text: Fritsch, Ahasverus.

This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias. Score available separately - see item CA.3112300.