Everyday low prices and free delivery on eligible orders. Phone: 0049-341 9137-300 or via e-Mail to bachfest@bach-leipzig.de, – J. S. Bach: Meinen Jesum lass ich nicht, BWV 124 – J. S. Bach: Ach Gott, wie manches Herzeleid, BWV 3 – J. S. Bach: Was mein Gott will, das gscheh allzeit, BWV 111, Jonathan Oldengarm (organ), Meredith Hall (soprano), Nicholas Burns (contratenor), Philippe Gagné (tenor), Andrew Mahon (bass), Ottawa Bach Choir (Kanada), Leipziger Barockorchester, direction: Lisette Canton, Tel +49 341 9137-300 Any lover of harmony and/or music theory will treasure this collection of the Bach chorales. BWV 194.12. Advance ticket sales have been postponed until spring 2021 and will be announced here. [9] The first four words are each sung by a different vocal part, each overlapping the next. Composer: Bach, J S. [9] Masaaki Suzuki and Gardiner use the trumpet that played the cantus firmus in the preceding aria.[4][5]. A spiral–bound Dahn Edition of the Bach Chorales is available! The voice enters with the same motif. [5] The bass singer and the continuo are in unison, interpreted as a mystical union of man and God. Bach performed the cantata again in his first year as Thomaskantor – director of church music – in Leipzig, on 30 April 1724. 12: Chorale [MIDI] M. Greentree : The Bach Chorales: 195: Mvt. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. Franz Liszt based extended keyboard compositions on the same material. Chorale 1 Aus meines Herzes Grunde (BWV 269) Most of these pdf and audio files of the 371 Bach Chorale harmonizations are derived from MusicXML files produced by Margaret Greentree. [13] Orchestras playing period instruments in historically informed performance, and vocal ensembles with one voice per part are marked by green background. Below is a sortable table of Bach chorales. [6], The cantata in seven movements is scored for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir SATB, trumpet (Tr), oboe (Ob), bassoon (Fg), two violins (Vl), two violas (Va) and basso continuo (Bc). First cadence simplified (borrowed from R20) Note the solution to the problem of the first cadence. The setting is intensified, until in the seventh repeat all voices continue the text simultaneously: "Angst und Not" ("dread and need" or "anguish and trouble"[1]). [4] The aria for alto voice and an oboe which is almost always present, is in da capo form, ABA. Cantata BWV 12 Weinen, Klagen, Sorgen, Zagen Cantata BWV 12 : Weinen, Klagen, Sorgen, Zagen for Jubilate [3 rd Sunday after Easter] (1714) [5], The first of three arias, "Kreuz und Krone sind verbunden" (Cross and crown are bound together),[1] reflects the conflicting motifs of "Kreuz und Krone" (cross and crown) and "Kampf und Kleinod" (conflict and jewel). The Concert is part of the culture program related to Canada’s Guest of Honour presentation at the Frankfurt Book Fair in 2020. He composed it in Weimar for Jubilate, the third Sunday after Easter, and led the first performance on 22 April 1714 in the Schlosskirche, the court chapel of the Schloss in Weimar. As concertmaster, he assumed principal responsibility for composing new works, specifically cantatas for the Schlosskirche (palace church), on a monthly schedule. In many cases I also consulted the published scores. Bach (1986-12-12) by J.S. Contact one of our specialists today! [2][3] Weinen, Klagen, Sorgen, Zagen is the second cantata in this series, composed for the Third Sunday after Easter, called Jubilate,[4][5] after Himmelskönig, sei willkommen, BWV 182, for Palm Sunday and Annunciation, and before Erschallet, ihr Lieder, erklinget, ihr Saiten! Concerto a 1 Oboe, 2 Violini, 2 Viole, Fagotto è 4 Voci coll' Organo, Wir müssen durch viel Trübsal in das Reich Gottes eingehen. The best place to buy recorders, viols, lutes, harps, percussion and all things early music. A ritornello frames part A, but also accompanies the vocal entry. Skip to main content. Each of the chorales of J.S. AS Music – Bach Chorales AS Music – Bach Chorales Chorale 10 Solution Chorale: Wenn wir in höchsten Nöten sein (R247). Choral versions of all these chorales may be found on YouTube by searching for the BWV number. Check out J.S. Chorale cantatas between Trinity and Easter: Later additions to the chorale cantata cycle: Erschallet, ihr Lieder, erklinget, ihr Saiten! Period: Baroque: Piece Style Baroque: Instrumentation mixed chorus (SATB) External Links Wikipedia article bach-chorales.com: Extra Information Publication timeline to 1843: Navigation etc. (verse 19). [3] In Leipzig, Jubilate was the beginning of the trade fair Ostermesse (Easter fair) which attracted visitors for three weeks. From the album "Bach: Die großen Chorwerke" by Wolfgang Gönnenwein on Napster Bach Collection and Bach’s approximately 200+ cantatas. [4], The cantata is opened by a Sinfonia, marked adagio assai, which resembles the slow movement of an oboe concerto, with an expressive and plaintive solo. [7] John Eliot Gardiner describes the first section as a "tombeau, one of the most impressive and deeply affecting cantata movements Bach can have composed to that point". Musicologist Julian Mincham notes that Henry Purcell arrived at a similar motif in Dido's Lament in the opera Dido and Aeneas, which Bach probably did not know. 6: Chorale [MIDI] M. Greentree : The Bach Chorales: 197: Mvt. Bach generally uses either IV or II (with or without 7ths) to approach the V - I. Shop Bach - Organ Chorales, Preludes and Fugues (1996-07-12). Cart 0 Product Products (empty) BWV 441, 500a, 1084, 1089, 1122-1126: Chorales later attributed to Bach (9 chorales) The purpose of bach–chorales.com is to provide a wide array of resources for the study and enjoyment of the Bach chorales. Arranged by BWV number, this new 219–page edition of 420 Bach settings is the most comprehensive edition available, containing nearly 70 settings that are left out of the popular Riemenschneider edition. Your complete Music Store in Manchester, since 1857. Buy 371 Harmonized Chorales by J.S. The form of the aria follows the bar form of the chorale instead of the usual da capo form. No 97 Chorale Cantatas 12 . Bach is given extensive treatment clearly showing the functional harmony that is implicit in his music by a thorough harmonic analysis underneath each phrase. [10] The duration is given as c. 28 minutes.[7]. Movement 4 sees the suffering of Jesus as a consolation for the afflicted Christian, movement 5 voices a decision to follow Jesus even in suffering, movement 6 offers the consolation that it will be only a short time until all sadness is overcome, alluding to (as in movement 4) Revelation 2:10. Bach composed a total of over 350 chorales, which come from two sources, the C.P.E. [6] Towards the end, the steps are expanded to more than an octave, reaching Heaven. [5] The first motif is an upward scale, illustrating the direction of Heaven, played by the first violin, imitated in fast succession by the second violin and then the continuo. Published by Bärenreiter. The autograph score is titled "Concerto a 1 Oboe, 2 Violini, 2 Viole, Fagotto è 4 Voci coll' Organo". He reworked the first section of the first chorus to form the Crucifixus movement of the Credo in his Mass in B minor. Throughout the middle section, the instruments play colla parte with the voices. Listing of Bach's Chorale Settings; First Pub lication. Franck contends that this is true not only for the disciples who were addressed directly, but for every Christian. BWV 172, for Pentecost. Bach chorales, from music theorists and theory students interested in studying the Bach chorale style or in using the chorales in the classroom, to musicologists and Bach scholars interested in the most up-to-date research on the chorales, to choral directors and organists interested in performing the chorales, to amateur Bach-lovers alike. It follows details of the Gospel and the idea from the epistle reading: "For this is thankworthy, if a man for conscience toward God endure grief, suffering wrongfull." Cycle »Chorale Cantatas« https://www.bachfestleipzig.de/en/packages-2020. The music illustrates the union of the four contrasting elements (all beginning with K): Kampf is sung as a melisma with a trill in measure 15, the preciousness of the jewel appears as a trill in the voice or the accompaniment. [3][5], The first choral movement, "Weinen, Klagen, Sorgen, Zagen" (Weeping, lamentation, worry, despair),[1] is in da capo form. ChoraleGUIDE: harmonising Bach chorales: ChoraleGUIDE.com is a web resource for learning about writing four-part harmony in the style of J.S. – J. S. Bach: Meinen Jesum lass ich nicht, BWV 124, – J. S. Bach: Ach Gott, wie manches Herzeleid, BWV 3, – J. S. Bach: Was mein Gott will, das gscheh allzeit, BWV 111. He composed Weinen, Klagen, Sorgen, Zagen as the second cantata in the series, on a text probably written by court poet Salomon Franck. [6], Bach first performed the cantata in the Weimar court chapel on 22 April 1714, then performed it in Leipzig in his first year as Thomaskantor on 30 April 1724. 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