![]() This is reflected in the recordings discussed below. In the absence of clear documentary evidence, there are different options as to how many singers to deploy per part in choral sections. ![]() The bass is often the vox Christi, the voice of Jesus, when Jesus is quoted directly, as in Es wartet alles auf dich, BWV 187, or indirectly, as in O Ewigkeit, du Donnerwort, BWV 60. He sometimes assigns the voice parts to the dramatic situation, for example soprano for innocence or alto for motherly feelings. Typically Bach employs soprano, alto, tenor and bass soloists and a four-part choir, also SATB. Schlosskirche in Weimar where Bach composed and performed church cantatas monthly from 1714 to 1717 Singers and Instrumentation Vocalįigure 2. In Nun komm, der Heiden Heiland, BWV 61, for the 1st Sunday in Advent, the beginning of a new liturgical year, he shaped the opening chorus as a French overture. The chorale can be as simple as a traditional four-part setting, or be accompanied by an obbligato instrument, or be accompanied by the instruments of the opening chorus or even expanded by interludes based on its themes, or have the homophonic vocal parts embedded in an instrumental concerto as in the familiar Herz und Mund und Tat und Leben, BWV 147, or have complex vocal parts embedded in the concerto as in Ärgre dich, o Seele, nicht, BWV 186, in a form called Choralphantasie (chorale fantasia). In an early cantata Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, Bach marked a repeat of the opening chorus after the chorale. Many cantatas composed in Weimar are set like chamber music, mostly for soloists, with a four-part setting only in the closing chorale, which may have been sung by the soloists. A solo movement begins Gott, man lobet dich in der Stille, BWV 120, because its first words speak of silence. A few cantatas are opened by an instrumental piece before the first chorus, such as the Sinfonia of Wir danken dir, Gott, wir danken dir, BWV 29. In an exemplary way both cantatas cover the prescribed readings: starting with a related psalm from the Old Testament, Part I reflects the Gospel, Part II the Epistle.īach did not follow any scheme strictly, but composed as he wanted to express the words. The final chorale is typically a homophonic setting of a traditional melody.īach used an expanded structure to take up his position in Leipzig with the cantatas Die Elenden sollen essen, BWV 75, and Die Himmel erzählen die Ehre Gottes, BWV 76, both in two parts, to be performed before and after the sermon ( post orationem) and during communion ( sub communione), each part a sequence of opening movement, five movements alternating recitatives and arias, and chorale. Most arias follow the form of a da capo aria, repeating the first part after a middle section. The opening chorus ( Eingangschor) is usually a polyphonic setting, the orchestra presenting the themes or contrasting material first. Structure of a Bach CantataĪ typical Bach cantata of his first year in Leipzig follows the scheme: The words for many cantatas combine Bible quotes, contemporary poetry and chorale, but he also composed a cycle of chorale cantatas based exclusively on one chorale. His cantatas usually require four soloists and a four-part choir, but he also wrote solo cantatas for typically one soloist and dialogue cantatas for two singers. In addition to the church cantatas, he composed sacred cantatas for functions like weddings or Ratswahl (the inauguration of a new town council), music for academic functions of the University of Leipzig at the Paulinerkirche, and secular cantatas for anniversaries and entertainment in nobility and society, some of them Glückwunschkantaten (congratulatory cantatas) and Huldigungskantaten(homage cantatas). In his first years in Leipzig, starting after Trinity of 1723, it was not unusual for him to compose a new work every week. These relate to the readings prescribed by the Lutheran liturgy for the specific occasion. ![]() Works from three annual cycles of cantatas for the liturgical calendar have survived. Working especially at the Thomaskirche and the Nikolaikirche, it was part of his job to perform a church cantata every Sunday and Holiday, conducting soloists, the Thomanerchor and orchestra as part of the church service. ![]() Many of Bach’s cantatas date from the years between 1723 (when he took up the post of Thomaskantor, cantor of the main churches of Leipzig) and 1745 (when the last one was probably written). Thomaskirche, one of the two Leipzig churches where Bach composed and performed church cantatas almost weekly from 1723 to 1726Īs far as we know, Bach’s earliest surviving cantatas date from 1707, the year he moved to Mühlhausen (although he may have begun composing them at his previous post at Arnstadt). ![]()
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