Bach's original score is lost. The music survives in a copy made by C F Penzel, one of Bach's last pupils, after the composer's death. The date of composition is not known, and sources differ as to when and where Bach composed the work. However, the balance of opinion has moved towards a date at the beginning of Bach's career. It is not currently in dispute that it is one of Bach's earliest surviving cantatas. Suggestions for the place of composition have been: The Bach scholar Andreas Glöckner argued in 1988 that the cantata may have been composed in Arnstadt.
History and text
Nach dir, Herr, verlanget mich, BWV 150
Nach dir, Herr, verlanget mich, BWV 150 | History and text
Bach. Bach Johann Sebastian Bach Johann Sebastian Bach.
what is nach dir, herr, verlanget mich, bwv 150?
user
An extant cantata or a piece of music .
assistant
where is this music from?
user
The original piece is lost and this survives in a copy made by C F Penzel.
assistant
who composed this score?
user
Bach's original score is lost. The music survives in a copy made by C F Penzel, one of Bach's last pupils, after the composer's death. The date of composition is not known, and sources differ as to when and where Bach composed the work. However, the balance of opinion has moved towards a date at the beginning of Bach's career. It is not currently in dispute that it is one of Bach's earliest surviving cantatas. Suggestions for the place of composition have been: The Bach scholar Andreas Glöckner argued in 1988 that the cantata may have been composed in Arnstadt.
Nach dir, Herr, verlanget mich, BWV 150 | History and text
Many scholars think that it may be the earliest extant cantata by Bach, possibly composed in Arnstadt in 1707.
Nach dir, Herr, verlanget mich, BWV 150 | Introduction
The autograph score is lost, its last documented owner being Christian Friedrich Penzel, one of Bach's last students and a copyist of his works. The original parts are kept in the Bach-Archiv Leipzig. They were copied from the lost autograph score by four scribes, three of them known by name, including the composer. A set of three duplicate parts is kept in the Staatsbibliothek zu Berlin – Preußischer Kulturbesitz as D-B Mus. ms. Bach St 384, Faszikel 1. They were copied by five scribes, of which three are known by name: Christian Gottlob Meißner, Wilhelm Friedemann Bach and Johann Andreas Kuhnau.
Mit Fried und Freud ich fahr dahin, BWV 125 | Manuscripts and publication
Bach's score is lost, and some parts seem to be missing as well.
Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 | History and words
Bach's original score is lost. A set of autograph parts has survived and is kept in the Bach-Archiv Leipzig. The parts were copied from the autograph score by six scribes, four of them known by name, including the composer. A manuscript score by Franz Hauser, dating from c. 1820–1839, is held by the Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. It bears a comment on page 178: "Nach den auf der Thomasschule befindlichen / Original / : Autograph: / Stimmen in Partitur gebracht. / Lp. d 16. Oct. 33. / fHauser" (After the original autograph parts in the "Thomasschule", rendered in a score, Leipzig, 16 October 1833).
Christ lag in Todes Banden, BWV 4 | Manuscripts and publication
On 10 June 2008 Ortus published the score, based on two 19th-century manuscript sources:
Wo Gott der Herr nicht bei uns hält, BWV 1128 | Publication
The scoring is unique in Bach's cantatas, but was frequently used by Italian composers such as Alessandro Scarlatti. Bach's son Friedemann Bach arranged the work by adding a second trumpet and timpani.
Jauchzet Gott in allen Landen, BWV 51 | History and words
The music in seven movements survives in an incomplete state. Only two vocal parts are extant (soprano and alto). The parts for tenor and bass are missing. The instrumental parts which survive are for two oboes, two violins and viola. The continuo line is missing completely, as are parts for any additional instruments deployed by Bach. For a festive occasion he typically scored trumpets and timpani.
Ihr Tore zu Zion, BWV 193 | Scoring and structure
Bach structured the cantata in seven movements, an opening instrumental sinfonia and four choral movements interspersed by only two arias. He scored it for four soloists (soprano, alto, tenor and bass), a four-part choir, and a small Baroque instrumental ensemble of two violins (Vl), bassoon (obbligato) (Fg) and basso continuo. The duration of the cantata is about 17 minutes. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The continuo, playing throughout, is not shown.
Nach dir, Herr, verlanget mich, BWV 150 | Structure and scoring
The Bach scholar Alfred Dürr concludes from the autograph that only the middle section of the third movements and the chorale were composed in 1723 with certainty. The other parts may rely on a former unknown secular or church cantata, according to the conductor John Eliot Gardiner and the musicologist Tadeshi Isoyama.
Erforsche mich, Gott, und erfahre mein Herz, BWV 136 | History and words
Bruckner composed the song on a text of Heinrich von der Mattig on 19 October 1877 in memory of his friend Joseph Seiberl, who died on 10 June 1877. The piece was performed nine days later by the Liedertafel Sängerbund in the St. Florian Abbey. The work, of which the original manuscript is stored in the Library of Congress in Washington, was first issued in Band XXIII/2, No. 28a of the "".
Nachruf, WAB 81a | History
The autograph score is held by the Staatsbibliothek zu Berlin (Preußischer Kulturbesitz). The cantata was originally published in 1851 as in the first volume of the Bach-Gesellschaft Ausgabe (BGA), edited by Moritz Hauptmann. The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1981, edited by George S. Bozarth, with the critical commentary published in 1984.
Ach Gott, vom Himmel sieh darein, BWV 2 | Manuscripts and publication
The work is scored for tenor and bass vocal soloists, four-part choir, flute, oboe, oboe d'amore, two violins, viola, and basso continuo. The work has five movements:
Ich lasse dich nicht, du segnest mich denn, BWV 157 | Scoring and structure
Johann Sebastian Bach composed the church cantata (Ah! I see, now, when I go to the wedding), 162, in Weimar for the 20th Sunday after Trinity and first performed it in 1715 or 1716.
Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 | Introduction
Bach structured the cantata six movements and scored it for soprano and bass soloists, and a Baroque instrumental ensemble of oboe d'amore, two violins, viola, violoncello piccolo, organ and basso continuo. Klaus Hofmann summarizes: "Bach has clothed his music in the 'wedding garments' of exquisite scoring".
Ich geh und suche mit Verlangen, BWV 49 | Scoring and structure
In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from the book by Bach scholar Alfred Dürr, using the symbols for common time (4/4) and "alla breve" (2/2). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
Ach Herr, mich armen Sünder, BWV 135 | Structure and scoring
Bach structured the work in six movements. Like other cantatas written during this period in Weimar, it is scored for a small ensemble, four soloists, and a Baroque instrumental ensemble of corno da tirarsi (likely added in Leipzig), two violins, viola, and basso continuo, including bassoon in movement 1. Only the chorale is set for four voices.
Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 | Scoring and structure
Bach scores an unusual flauto piccolo (descant recorder in D) as an obbligato instrument in an aria contemplating the sorrow of missing Jesus, who is addressed as a doctor who shall heal the wounds of sins. Bach scores a trumpet in only one movement, an aria expressing the joy about the predicted return of Jesus. The cantata in six movements closes with a chorale, the ninth stanza of Paul Gerhardt's hymn "".
Ihr werdet weinen und heulen, BWV 103 | Introduction
In the following table of the movements, the scoring and keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
Erforsche mich, Gott, und erfahre mein Herz, BWV 136 | Scoring and structure
He scored the cantata for two oboes d'amore, strings and continuo, with an added trobone to support the bass in the first movement, and a horn to support the soprano in the last movement.
Ach Gott, wie manches Herzeleid, BWV 3 | Introduction
In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4).
Wer Dank opfert, der preiset mich, BWV 17 | Structure and scoring
The scholar Hans-Joachim Schulze identified in 2010 a remarkable acrostic in the concluding four movements (which he described in the 2010 "Bach-Jahrbuch", the journal of the Neue Bachgesellschaft). Adjusting for transposition errors by the copyist, the initial letters should spell DOKTOR CONRAD MECKBACH and plausibly therefore the work was composed to mark this Mühlhausen councillor's 70th birthday in April 1707. On this basis the cantata may date from Bach's time in Arnstadt. Possibly the cantata was heard a few weeks later after the end of Lent, and thus it may have formed a test-piece for the Mühlhausen appointment, composed in Arnstadt with Bach's supporter Meckbach in mind.
Nach dir, Herr, verlanget mich, BWV 150 | History and text
The cantata is scored for soprano and bass vocal soloists, four-part choir, oboe, violin, and basso continuo. Because no complete copy of the work survives, it is possible that there were originally more than the four movements now known. In particular, another aria is thought to have preceded the final movement.
Der Friede sei mit dir, BWV 158 | Scoring and structure
The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett to double the chorale melody, two oboes d'amore, two violins, viola, and basso continuo.
Ich freue mich in dir, BWV 133 | Scoring and structure
The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, corno, two oboes, two violins, viola, and basso continuo.
Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105 | Scoring and structure
The piece is written for an unusually large orchestra. The score involves two four-part choirs, three trumpets, timpani, three oboes, two violins, viola, and basso continuo. The movement is a chorus, or "coro doppio".
Nun ist das Heil und die Kraft, BWV 50 | Scoring
The cantata is structured in two parts, Part I of three movements to be performed before the sermon, Part II of four movements after the sermon. Bach scored it for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir SATB, and a Baroque instrumental ensemble of two oboes (Ob), two violins (Vl), two violas (Va) and basso continuo (Bc). The title of the autograph score reads: "Domin. 14 post Trin. / Wer Dank opfert, der preiset mich / a / 4 Voci / 2 Hautb. / 2 Viol. / Viola / e Contin. / di / J.S.Bach".
Wer Dank opfert, der preiset mich, BWV 17 | Structure and scoring
The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
Erhalt uns, Herr, bei deinem Wort, BWV 126 | Structure and scoring
Both Bach's autograph score and the parts used for the cantata's first performance survive. The score, previously owned by Wilhelm Friedemann Bach, Philipp Spitta and Paul Wittgenstein, among others, came in the possession of the Library of Congress in 1948. The original parts remained in Leipzig, where they were entrusted to the Bach Archive in the 20th century. BWV 648 is a chorale prelude for organ transcribed from the cantata's fifth movement. It was first published around 1748 as fourth of the "Schübler Chorales". The music of the cantata's closing movement is included in the Dietel collection, a 1730s manuscript containing 149 of Bach's four-part chorales.
Meine Seel erhebt den Herren, BWV 10 | Manuscripts and editions
Bach scored the cantata for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of different flutes and oboes, strings and continuo. All movements are set in the major mode, in keeping with the festive text, and several movements resemble dances.
Schmücke dich, o liebe Seele, BWV 180 | Introduction
The duration is given as 17 minutes. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe of the later version. The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbols for common time (4/4). The continuo, playing throughout, is not shown.
Ach Gott, wie manches Herzeleid, BWV 58 | Scoring and structure
Bach structured the cantata in six movements and scored it for a soprano soloist, a four-part choir (only for the final chorale), and a Baroque instrumental ensemble of two horns, three oboes, bassoon, two violins, viola, and basso continuo.
Falsche Welt, dir trau ich nicht, BWV 52 | Scoring and structure
Bach revised the whole cantata, writing a new score with detailed improvements, possibly first performed on 12 April 1735.
Ein Herz, das seinen Jesum lebend weiß, BWV 134 | History and words
Bärenreiter published several editions of the score of BWV 1127: A high resolution digital facsimile of D-WRz B 24 became available on the HAAB and Bach Digital websites.
Alles mit Gott und nichts ohn' ihn, BWV 1127 | Score editions
Bach composed this cantata in Leipzig between 1726 and 1727 for an unknown occasion. The text is drawn from the work of Christian Friedrich Hunold. Hunold and Bach are assumed to have met, but the librettist died in 1721, which is well before the cantata appears to have been composed. The music of the closing aria was reused in the wedding cantata "Vergnügte PleißenStadt", BWV 216 of 1728.
Ich bin in mir vergnügt, BWV 204 | History and text
The cantata in five movement is scored for three soloists (soprano, alto and tenor), a four-part choir, two oboes, two oboes da caccia, two violins, viola, basso continuo, an obbligato violin and an obbligato bassoon.
Ich ruf zu dir, Herr Jesu Christ, BWV 177 | Scoring and structure
Bach structured the cantata in seven movements. The text and tune of the hymn are kept in the outer choral movements, a chorale fantasia and a four-part closing chorale, which frame a sequence of recitatives and arias, one recitative with a chorale cantus firmus. Bach scored the work for four vocal soloists (soprano, alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of two recorders (Fl), flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), violoncello piccolo (Vp) and basso continuo. The title page of the autograph score reads: "CONCERTO. / Dominica 20 post Trinit: / Schmücke dich o liebe Seele etc.
Schmücke dich, o liebe Seele, BWV 180 | Structure and scoring
"Scores" "Books" "Online sources"
Erhalt uns, Herr, bei deinem Wort, BWV 126 | Bibliography
The fourth aria, "" (Therefore, I devote myself to Him), is scored for tenor, the flutes in unison and muted violin. The melodic style is significantly different from the chorale melody, being song-like.
Was willst du dich betrüben, BWV 107 | 6
Scores Books Online sources
Wir danken dir, Gott, wir danken dir, BWV 29 | Bibliography
"Scores" "Books" "Online sources"
Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 | Cited sources
The autograph score and parts are held by the Berlin State Library, which is part of the Prussian Cultural Heritage Foundation. The fascicle numbers are D-B Mus.ms. Bach P 118 for the score ("Partitur") and D-B Mus.ms. Bach ST 58 for the parts ("Stimmen"). It was published in 1863 in volume 12 of the Bach-Gesellschaft Ausgabe (BGA), edited by Wilhelm Rust. The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1990, edited by Matthias Wendt, with critical commentary published a year later. It was later published by Carus-Verlag in 1999 as part of "Stuttgarter Bach-Ausgaben", a complete edition of Bach's vocal works.
Ich will den Kreuzstab gerne tragen, BWV 56 | Manuscripts and publication
' (Praise ye the Lord, all ye of his great armies), BWV1147, ', is a church cantata text by Christian Friedrich Hunold which was performed, most likely in a setting by Johann Sebastian Bach, for the twenty-fourth birthday of Prince Leopold of Anhalt-Köthen on 10 December 1718. The composition is lost, but its libretto survives in a 1719 print.
Lobet den Herrn, alle seine Heerscharen, BWV Anh. 5 | Introduction
The unknown composer wrote this piece for the First Sunday after Epiphany. The librettist is also unknown.
Gedenke, Herr, wie es uns gehet, BWV 217 | History and text
In 2000, the American performer and scholar Joshua Rifkin argued that a more plausible solution of this puzzle is that the author of BWV 50 was not Bach at all, but an unknown (but highly gifted) composer of the era. The suggestion is controversial. The prescribed readings for the day were from and ; this movement draws from Revelation 12:10. Its text is """".
Nun ist das Heil und die Kraft, BWV 50 | History and text
The work is scored for three vocal soloists (alto, tenor, and bass), four-part choir, oboe, two violins, viola, and basso continuo. It has six movements:
Ich steh mit einem Fuß im Grabe, BWV 156 | Scoring and structure
The cantata in five movements is richly scored for three vocal soloists (soprano, tenor and bass), a four-part choir, trumpet, two recorders, two oboes, two violins, viola and basso continuo.
Herr Jesu Christ, wahr' Mensch und Gott, BWV 127 | Scoring and structure
Bach scored the cantata for four vocal soloists (soprano, alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of natural horn, enforcing the soprano in the hymn tune, two oboes d'amore, strings and basso continuo.
Du Friedefürst, Herr Jesu Christ, BWV 116 | Introduction
The cantata is structured in seven movements, and scored for alto and tenor soloists, a four-part choir, and a Baroque instrumental ensemble of trumpet, two oboes, two violins, viola, and basso continuo.
Ich elender Mensch, wer wird mich erlösen, BWV 48 | Scoring and structure
A manuscript copy from the 18th century by Bach's student Heinrich Nikolaus Gerber identified Bach as the composer of the work, and on this basis it was published as Bach's in the 19th century, and given the number 160 in the "Bach-Werke-Verzeichnis". Other 18th-century manuscripts attributed the work to Telemann: authenticated as a work by this composer the piece was assigned the number 1:877 in the "Telemann-Werke-Verzeichnis". It is one of the works that Bach had copied out so that he could perform it as part of his employment in Leipzig.
Ich weiß, daß mein Erlöser lebt, TWV 1:877 | History
The cantata in five movements is scored like chamber music for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the closing chorale, clarino, oboe da caccia, oboe, two violins, viola, and basso continuo. The clarino only doubles the melody of the chorale.
Ihr Menschen, rühmet Gottes Liebe, BWV 167 | Scoring and structure
Bach structured the cantata in five movements in a symmetrical arrangement of two framing duets surrounding recitatives and a central aria. Bach scored the work for two vocal soloists (soprano (S) and bass (B)), and a Baroque instrumental ensemble of originally two violins (Vl), viola (Va), and basso continuo. John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, notes that the scoring for just two voices and strings was probably intended to ease the workload of musicians who had a busy time during the Christmas season. In the later version, Bach added a trio of two oboes (Ob) and taille (Ot).
Ach Gott, wie manches Herzeleid, BWV 58 | Scoring and structure
Bach scored the work for four vocal parts and a small ensemble of Baroque instruments, two recorders, two violas da gamba and continuo. The work is opened by an instrumental Sonatina, followed by through-composed sections which have been assigned to four movements. The structure is symmetrical around a turning point, when the lower voices, who contemplate the Old Covenant, are overcome by a soprano calling for Jesus.
Gottes Zeit ist die allerbeste Zeit, BWV 106 | Introduction
Johann Sebastian Bach composed the church cantata (You, who call yourselves of Christ), 164 in Leipzig for the 13th Sunday after Trinity and first performed it on 26 August 1725.
Ihr, die ihr euch von Christo nennet, BWV 164 | Introduction
This piece is scored for four solo voices (soprano, alto, tenor, and bass), a four-part choir, three trumpets, timpani, two oboes, an oboe da caccia, two violins, viola, and basso continuo. The cantata has eight movements:
Wer mich liebet, der wird mein Wort halten, BWV 74 | Scoring and structure
The cantata in six movements is scored for three vocal soloists (soprano, alto and bass), a four-part choir only in the chorale, horn, two oboes, two violins, viola, and basso continuo.
Was soll ich aus dir machen, Ephraim, BWV 89 | Scoring and structure
Bach composed this cantata for the 21st Sunday after Trinity. However, the score was "cut to pieces and sold to private individuals" in the 1800s; the work as it now exists is a reconstruction. The prescribed readings for the day were , and . The text for movements 2 to 5 was written by Picander. The sixth movement is an anonymous chorale written before 1603.
Ich habe meine Zuversicht, BWV 188 | History and text
In the Telemann-Werke-Verzeichnis (TWV), the cantata was assigned the number 1:183. Some publishers continued to publish the score as a cantata by Bach. The New Bach Edition mentioned the cantata as Telemann's on p. 115 of the Critical commentary to Series I (Cantatas), Volume 41 (Varia) in 2000.
Das ist je gewißlich wahr | Reception
The last three movements of the autograph score differ from the Leipzig performance parts, leading some to conclude they were originally part of an earlier composition, possibly the lost 1717 Weimar Passion.
Ich armer Mensch, ich Sündenknecht, BWV 55 | Music
Bach structured the cantata in six movements, framing alternating recitatives and arias by an opening chorale fantasia and a closing four-part chorale. He scored it for soprano, alto, tenor and bass soloists, a four-part choir, and an ensemble of Baroque instruments: horn (Co) or (later) trombone to enforce the hymn tune, flauto traverso (Ft), flauto piccolo (Fp) or (later) violino piccolo, two oboes (Ob), two violins (Vl), viola (Va), cello (Vc), and basso continuo. The title page of the autograph score reads: "Concerto. / Dominica 18. post. Trinit: / Herr Christ der einge Gottes Sohn etc. / a / Traversiere / 2 Hautbois / 2 Violini / Viola / Canto / Alto / Tenore / Basso / e / Continuo.
Herr Christ, der einge Gottessohn, BWV 96 | Structure and scoring
Johann Sebastian Bach composed the church cantata (Wretched man that I am, who shall deliver me), 48, in Leipzig for the 19th Sunday after Trinity and first performed it on 3 October 1723.
Ich elender Mensch, wer wird mich erlösen, BWV 48 | Introduction
Bach structured the cantata in six movements with choral movements framing two pairs of recitative and aria. He scored it for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a SATB mixed choir, and an orchestra of tromba da tirarsi (Baroque slide trumpet) (tir), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo (Bc) including bassoon (Fg). The title of the autograph score reads "J.J. Concerto Dominica 13 p- Trinitatis" (J.J. concerto for the 13th a. Trinity, J.J. being short for Jesu juva (Jesus help).
Du sollt Gott, deinen Herren, lieben, BWV 77 | Structure and scoring
The cantata in six movements is scored for three vocal soloists (alto, tenor, and bass), a four-part choir, corno da caccia, two oboes, oboe da caccia, two violins, viola, violetta (alternative in a later performance) and basso continuo.
Herr Gott, dich loben wir, BWV 16 | Scoring and structure
Johann Walter published a four-part setting of the melody in "Eyn geystlich Gesangk Buchleyn" in 1524. Johann Sebastian Bach composed a four-part setting, BWV 322.
Gott sei gelobet und gebenedeiet | Music
The song is using the text by Robert Prutz, which Bruckner had already used for "Um Mitternacht", WAB 89. The 93-bar long work in F minor is scored for choir and tenor soloist. Strophe 1 is sung by the choir. Strophe 2 (, bar 31) and strophe 3 are sung by the tenor soloist with accompaniment of humming voices. Strophe 4 (, bar 58) is sung by the choir.
Um Mitternacht, WAB 90 | Music
Bach structured the cantata in seven movements. The chorale tune is used in movements 1, 4 and 7, as a chorale fantasia, a chorale sung by a solo voice, and a four-part closing chorale. These three movements frame two sets of aria and recitative. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of horn (Co) to double the soprano, flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo. The title of the autograph score reads: "Dom: 17 post Trin: / Ach lieben Xsten seyd getrost / a 4 Voc: / Corno / 2 Hautbois / 2 Violini / Viola / con / Continuo / di / Sign:JS:Bach".
Ach, lieben Christen, seid getrost, BWV 114 | Structure and scoring
Bach structured the cantata in six movements. An opening chorus and a closing chorale frame a sequence of alternating arias and recitatives. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T), bass (B)), a four-part choir and a festive Baroque instrumental ensemble of three trumpets (Tr) and timpani (Ti), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo. The heading of the autograph score reads: "J.J. Festo Circumcisionis Xsi. Concerto . à 4 Voci. 3 Trombe, Tamburi, 2 Hautb. 2 Violini, Viola e Contin: di Bach", which means "Jesus help. Feast of the circumcision of Christ.
Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 | Structure and scoring
John Williams composed the score, and violinist Itzhak Perlman performed the main theme.
Schindler's List | Introduction
The cantata is scored for three vocal soloists (soprano, alto, and bass), a four-part choir, two oboes, oboe da caccia, two violins, viola, and basso continuo. The work has six movements, as follows:
Es ist ein trotzig und verzagt Ding, BWV 176 | Scoring and structure
/ 2 Violini / 1 Viola / Violoncello. / S:A:T:B: / col Basso per l'Organo / di / GSBach". The duration is given as 22 minutes. The music of the chorale is lost; it may have been noted in a simple setting on a separate sheet, as in the similar case of "Nur jedem das Seine", BWV 163, composed four weeks earlier. For practical purposes the same verse, closing "Ihr, die ihr euch von Christo nennet", BWV 164, in 1725, may be used. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, and the abbreviations for voices and instruments the list of Bach cantatas.
Bereitet die Wege, bereitet die Bahn, BWV 132 | Structure and scoring
This cantata commemorates the 200th anniversary of the Augsburg Confession. It was first performed 26 June 1730 in the St. Thomas Church, Leipzig. The music for the piece is now lost, but can be partially reconstructed from , which is known to share some of the musical material. This related work was composed for the "Ratswechsel", the inauguration of a new town council, and has a festive scoring with trumpets and timpani. The words are found in Picander's , Leipzig, 1732. The chorale is by Martin Luther.
Gott, man lobet dich in der Stille, BWV 120b | History and text
The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
Barmherziges Herze der ewigen Liebe, BWV 185 | Structure and scoring
is scored for 3 trumpets, timpani, 2 oboes, 2 oboes d'amore, 2 violin parts, 1 viola part and continuo.
Herr, wenn die stolzen Feinde schnauben, BWV 248 VI | Music and content
The biblical text, chorale and free verse come from the 1711 collection of librettos of the writer, theologian, pastor and theorist, Erdmann Neumeister. A libretto, based on Neumeister's text, survives in the Stadtgeschichtliches Museum, Leipzig for a cantata with this title. The cantata was listed to be performed in both of the main churches in Leipzig—the Thomaskirche and Nikolaikirche—on Christmas Day 1720, during the period when Johann Kuhnau was Thomaskantor. The earliest surviving manuscript copy of BWV 142 made by Christian Friedrich Penzel in Leipzig on 8 May 1756 is also based on Neumeister's text. Penzel credited J.S. Bach as the author in the heading of the sinfonia on the first page of the manuscript; and he signed the last page, giving the date and place.
Uns ist ein Kind geboren, BWV 142 | History, authenticity and attribution
The cantata is scored for three vocal soloists (soprano, tenor and bass), a four-part choir, trumpet, flauto traverso, two oboe d'amore, two violins, viola and basso continuo.
Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145 | Scoring and structure
Johann Sebastian Bach composed the church cantata (I call to You, Lord Jesus Christ), 177. He wrote the chorale cantata in Leipzig for the fourth Sunday after Trinity and first performed it on 6 July 1732. The cantata text is formed by the unchanged five stanzas of Johann Agricola's hymn.
Ich ruf zu dir, Herr Jesu Christ, BWV 177 | Introduction
The cantata is structured in eight movements and takes about 28 minutes to perform. The instrumentation reflects the festive occasion for which it was written. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass) (B), a four-part choir, and a Baroque orchestra of three trumpets (Tr), timpani (Ti), two oboes (Ob), two violins (Vl) (violin solo in movement 3), violas (Va), an obbligato organ (Org) and basso continuo (Bc). The autograph score is titled: "Bey der Rahts-Wahl / 1731. / Wir dancken dir, Gott, wir dancken dir. / à / 4 Voci. / 3 Trombe / Tamburi / 2 Hautbois / 2 Violini / Viola / e / Continuo / con Organo obligato / di / Joh.Seb:Bach.
Wir danken dir, Gott, wir danken dir, BWV 29 | Scoring and structure
The autograph score was inherited by C.P.E. Bach. The music was not published until 1891 when it appeared as part of the first complete edition of the composer´s work, the Bach-Gesellschaft-Ausgabe. The editor of the volume in question was Alfred Dörffel. Ziegler published the text in a collection of her work, along with the other ones set by Bach. These printed versions are slightly different from the texts used in the cantatas, and this is believed to be the result of the composer modifying the libretti with which he was presented. In the case of "Sie werden euch in den Bann tun" the differences between the printed version and that set by Bach are less than in the preceding cantatas such as .
Sie werden euch in den Bann tun, BWV 183 | Publication
The text has been set by composers. Christoph Graupner wrote a cantata, Johann Hermann Schein composed a motet, Michael Praetorius a motet for eight voices. Heinrich Schütz set the hymn as part of Book I of his "Psalmen Davids" in 1619 (SWV 41). and Johann Pachelbel used the melody in a chorale prelude in about 1693. Johann Sebastian Bach used the hymn in several cantatas. He composed four-part settings to close cantatas "Ihr Menschen, rühmet Gottes Liebe", BWV 167 (1723), "Wer Dank opfert, der preiset mich", BWV 17 (1726), "Jauchzet Gott in allen Landen", BWV 51 (1730) and "Wir danken dir, Gott, wir danken dir", BWV 29 (1731).
Nun lob, mein Seel, den Herren | Music
/ d. J.S. Bach". In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The continuo, playing throughout, is not shown.
Herr Christ, der einge Gottessohn, BWV 96 | Structure and scoring
Bach structured the cantata in seven movements. The text and tune of the hymn are kept in the outer choral movements and the central movement, set as two chorale fantasias and a four-part closing chorale, which frame two sequences of recitative and aria. Bach scored the work for three vocal soloists (soprano (S), tenor (T), bass (B)), a four-part choir, (SATB) and a Baroque instrumental ensemble of horn (Co), two oboes (Ob), taille (Ot), violino piccolo (Vp), two violins (Vl), viola (Va), and basso continuo including bassoon. The heading of the original parts reads: "Dominica 27. post Trinit. / Wachet auf, rufft uns die Stime / â / 4.
Wachet auf, ruft uns die Stimme, BWV 140 | Structure and scoring
The cantata is scored for soprano, alto and bass soloists, a four-part choir, zink and three trombones, oboe d'amore, two violins, viola, and basso continuo.
Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64 | Scoring and structure
Bach structured the work in two movements and scored it for double chorus, SATB – SATB and unspecified instruments playing colla parte. In the following table of the movements, the keys and time signatures are taken from the score, using the symbol for common time (4/4).
Fürchte dich nicht, BWV 228 | Scoring and structure
' (My dearest Jesus is lost), ', is a church cantata by Johann Sebastian Bach. He composed it for the first Sunday after Epiphany and first performed it in Leipzig on 9 January 1724.
Mein liebster Jesus ist verloren, BWV 154 | Introduction
However, the music of this piece is also lost. According to Alfred Dürr, both works may include earlier music, perhaps composed in Köthen. One movement of the text of , a recitative, is lost. The first chorus is repeated at the end as is stated at the end of most extant parts ("Chorus ab initio repetatur").
Ihr Tore zu Zion, BWV 193 | History and words
Start of Minuet in G major, BWV Anh. 114: The two Minuets in G major and G minor, Nos. 4–5 in the second Notebook, BWV Anh. 114 and 115, were composed by Christian Petzold. Because their former attribution to Bach is spurious they appear in Anh. III of the Bach-Werke-Verzeichnis.
Notebook for Anna Magdalena Bach | Two Minuets by Christian Petzold, BWV Anh. 114–115
The first public record of the composition is in the 1845 estate auction of Johann Nicolaus Julius Kötschau who had been organist at St. Mary's in Halle. According to the auction record the manuscript was once owned by Wilhelm Friedemann Bach, Johann Sebastian's eldest son, and predecessor of Kötschau as organist in Halle. When Wilhelm Friedemann died in 1784 he left it along with other manuscripts, which included his "Clavier-Büchlein", to his distant relative and student Johann Christian. When this Johann Christian died in 1814, Kötschau acquired these pieces from the estate auction. Kötschau later loaned the manuscript to Felix Mendelssohn, and then to the Leipzig publisher C.
Wo Gott der Herr nicht bei uns hält, BWV 1128 | Manuscripts
The duration of the piece has been stated as 32 minutes. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from the book by Bach scholar Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
Erfreut euch, ihr Herzen, BWV 66 | Structure and scoring
A facsimile of the manuscript score is held by the Anna Amalia Library in Weimar (Mus II a : 98)—thankfully the original survived the catastrophic fire in 2004, though the original orchestral parts did not. Max Friedlaender (1852–1934) produced a heavily edited vocal score of Anna Amalia's "Erwin and Elmire" in 1921. A performing edition of the work was published by Furore Verlag in Germany in 2008.
Erwin und Elmire | Manuscript and score
The virtuoso horn parts may have been intended for the exceptional Gottfried Reiche. Bach used the same material as in this movement later in the "" of his Missa in A major.
Erforsche mich, Gott, und erfahre mein Herz, BWV 136 | 1
General reference Scores Recordings
Johann Pachelbel | External links
is scored for 2 oboes d'amore, 2 violin parts, 1 viola part and continuo.
Ehre sei dir, Gott, gesungen, BWV 248 V | Music and content
Below is the 1525 hymn tune by Wolfgang Dachstein. \set Score.tempoHideNote = ##t \tempo 2=72 \set Staff.midiInstrument = "english horn" \omit Score.TimeSignature \override Score.BarNumber #'transparent = ##t \cadenzaOn \relative c" { \repeat unfold 2 { c2 d4 c a2 c bes4 bes a2 \bar"|"
An Wasserflüssen Babylon | Hymn tune
"Scores" "Books" "Online sources"
Darzu ist erschienen der Sohn Gottes, BWV 40 | Cited sources
Bach is believed to have reused the music of the lost cantata, firstly for another lost work "Frohes Volk, vergnügte Sachsen" and secondly for the chorus which opens "Lobet Gott in seinen Reichen", BWV 11 (probably composed in 1735). The chorus employs Lombard rhythm and is given a festive scoring with an instrumental ensemble featuring three trumpets.
Froher Tag, verlangte Stunden, BWV Anh. 18 | See also
Other authorities had doubted this attribution, for example Philipp Spitta, who in the first edition of his Bach biography mentioned Johann Christoph Bach as the composer, but in the second added that "the source evidence didn't permit a definite attribution". "Ich lasse dich nicht" in two movements was found, written partly in Bach's hand, in the "Altbachisches Archiv", a collection of music of the Bach family which the Bach scholar Christoph Wolff rediscovered in Kiev in 1999. Bach scholars now assume that J. S. Bach composed the first movement, possibly during his Weimar period around 1712. The chorale is a transcription of one of his organ pieces and was possibly added in the 19th century.
Ich lasse dich nicht, BWV Anh. 159 | History and context
In the following table of the movements, the keys and time signatures are taken from the Bach scholar Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for brass, woodwinds and strings, while the continuo, playing throughout, is not shown.
Ach, lieben Christen, seid getrost, BWV 114 | Structure and scoring
Bach structured the cantata in seven movements, beginning with a chorale fantasia and ending in a closing chorale, as usually in his chorale cantatas, but with an unusual sequence of only one recitative and four arias, setting the poetic hymn stanzas. He scored it for three vocal soloists (soprano (S), tenor (T) and bass) (B), a four-part choir, and a Baroque chamber ensemble of corno da caccia (Co) to support the chorale tune in the outer movements, two flauti traversi (Ft), two oboes d'amore (Oa), two violins (Vl), two violas (Va) and basso continuo (Bc). In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, the keys are given for the Weimar version.
Was willst du dich betrüben, BWV 107 | Scoring and structure
Bach structured the cantata in five movements and scored it for a soprano soloist and a Baroque instrumental ensemble of trumpets (Tr), two violins (Vl), viola (Va), and basso continuo (Bc). The title of the autograph score reads: "Dominica 15 post Trinitatis / et / In ogni Tempo. / Jauchzet Gott in allen Landen. / à / Soprano solo / 1 Tromba* / 2 Violino / Viola / e / Continuo / di / Joh:Seb:Bach". It is the only church cantata by Bach scored for solo soprano and trumpet. The duration is given as 20 minutes. In the following table of the movements, the scoring follows the "Neue Bach-Ausgabe".
Jauchzet Gott in allen Landen, BWV 51 | Structure and scoring
The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
Preise, Jerusalem, den Herrn, BWV 119 | Scoring and structure