Gott, wie gross ist deine Güte BWV 462 - Score


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Lieder spirituali e arie di Johann Sebastian Bach

BWV numbers were assigned to 1, compositions in the 20th century, and more have been added to the catalogue; the Anhang Anh. The first edition of the Bach-Werke-Verzeichnis was published in , it allocated a unique number to every known composition by Bach.

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Wolfgang Schmieder , the editor of that catalogue, grouped the compositions by genre, largely following the 19th-century Bach Gesellschaft BG edition for the collation e. The Anhang of the BWV listed works that were not suitable for the main catalogue, in three sections:. Within each section of the Anhang the works are sorted by genre, following the same sequence of genres as the main catalogue.

Schmieder published the BWV's second edition in , with some modifications regarding authenticity discriminations, and more works added to the main catalogue and the Anhang. Several compositions were repositioned in the over-all structure of chapters organised by genre and Anhang sections. An upper case R was used as an addition to a BWV number to indicate a reconstructed version , that is a conjectured earlier version of a known composition. Numbers above BWV were added in the 21st century. A new revised version of the Bach-Werke-Verzeichnis has been announced by the Bach Archive for publication in The numbers assigned to compositions by Johann Sebastian Bach and by others in the Bach-Werke-Verzeichnis are widely used for the unique identification of these compositions.

The chorale cantata is based on a hymn "Wo soll ich fliehen hin" by Johann Heermann. Bach wrote the cantata in his second year in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October , it is part of his second annual cycle of a cycle of chorale cantatas.

The prescribed readings for the Sunday were from Paul's Epistle to the Ephesians — "put on the new man, which after God is created" — and from the Gospel of Matthew , Healing the paralytic at Capernaum ; the cantata text is based on the hymn in eleven stanzas "Wo soll ich fliehen hin" by Johann Heermann, published in , recommended for the Sunday in the Dresdner Gesangbuch. An unknown poet kept the last stanzas as the respective cantata movements, he paraphrased the other stanzas rather freely: 2 and 3 as movement 2, 4 as movement 3, 5 to 7 as movement 4, 8 as movement 5, 9 and 10 as movement 6.

The awareness of being a sinner who needs healing is the theme of Heermann's chorale and this cantata; the poetry adds to the chorale images which the composer could use, for example in movement 3, the divine source of blood to cleanse the stains of sins, a Baroque phrase relying on Psalms , Revelation and Revelation In movement 5 the poet invented a ferocious, hellish army, silenced by the believer who shows the blood of Jesus. Bach first performed the cantata on 15 October ; the autograph score to the cantata, now in the British Library ' Zweig collection, was once owned by Joseph Joachim.

The cantata in seven movements is scored for four vocal soloists, a four-part choir , tromba da tirarsi , two oboes, two violins and basso continuo. Bach arranged the movements in symmetry around movement 4 as the turning point in the cantata between desolation and hope, a recitative , which receives added weight by the cantus firmus of the chorale played by the oboe.

In the opening chorus Bach gave the tune in unadorned long notes to the soprano , reinforced by the trumpet ; the vocal parts are embedded in an independent instrumental concerto. The motifs of the instruments, which appear in the lower voices, are derived from the tune, following the upward movement of its first line and the downward movement of its second line. Both other recitatives are secco ; the first aria is accompanied only by an obbligato viola illustrating the flow of blood, termed by John Eliot Gardiner the "gushing, curative effect of the divine spring" in "tumbling liquid gestures", summarized as "the cleansing motions of some prototype baroque washing machine".

Bach used the solo viola only in his cantatas; the second aria is accompanied by the full orchestra with the trumpet as a "ferociously demanding obbligato". Different as the two arias are, the figuration in the second one is similar to the one in the first, interpreting that it is the flow of blood which silences the "army of hell". The closing chorale is set for four parts. Bach: Complete Cantatas Vol. Bach: Cantatas Vol. Bach cantata The cantatas of Johann Sebastian Bach consist of at least surviving works.

Most of Bach's cantatas date from his first years as Thomaskantor , a position which he took up in Working 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. In his first years in Leipzig , starting after Trinity of , it was not unusual for him to compose a new work every week. Works from three annual cycles of cantatas for the liturgical calendar have survived; these relate to the readings prescribed by the Lutheran liturgy for the specific occasion.

He composed his last cantata in His cantatas require four soloists and a four-part choir , but he wrote solo cantatas for one soloist and dialogue cantatas for two singers. The words for many cantatas combine Bible quotes, contemporary poetry and chorale, but he composed a cycle of chorale cantatas based on one chorale. Bach wrote a title page for the autograph score and copies of the original parts. For example, he titled the parts of Aus tiefer Not schrei ich zu dir, BWV 38, using a mix of languages to describe the occasion, the incipit , the precise scoring and his name: " Dominica Bach"; the occasion for which the piece was performed is given first, in Latin : "Dominica Post Trinit"; the title follows, given in German in the orthography of Bach's time.

The scoring and his name appear in a mix of French and Italian , the common languages among musicians at the time abbreviated.

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Bach wrote more than cantatas. In the Bach-Werke-Verzeichnis , Wolfgang Schmieder assigned them each a number within groups: 1—, —, — Since Schmieder's designation, several of the cantatas he thought authentic have been redesignated "spurious.

The List of Bach cantatas sortable by other criteria. A typical Bach cantata of his first year in Leipzig follows the scheme: Opening chorus Recitative Aria Recitative Aria ChoraleThe opening chorus is a polyphonic setting, the orchestra presenting the themes or contrasting material first. Most arias follow the form of a da capo aria.


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The final chorale is a homophonic setting of a traditional melody. 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. Bach did not follow any scheme but composed as he wanted to express the words.

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A few cantatas are opened by an instrumental piece before the first chorus, such as the Sinfonia of Wir danken dir, wir danken dir, BWV A solo movement begins Gott, man lobet dich in der Stille, BWV , because its first words speak of silence. Many cantatas composed in Weimar are set like chamber music for soloists, with a four-part setting only in the closing chorale, which may have been sung by the soloists. In an early cantata Erschallet, ihr Lieder, ihr Saiten!

First performed on 18 June in Leipzig , it is the second cantata of his chorale cantata cycle; the church cantata is based on Martin Luther's hymn "Ach Gott, vom Himmel sieh darein", a paraphrase of Psalm In the format of Bach's chorale cantata cycle, the words of the hymn are retained unchanged only in the outer movements, while an unknown contemporary librettist paraphrased the inner stanzas for recitatives and arias. Bach structured the cantata in six movements, setting the chorale tune in a chorale fantasia in the opening movement, in a four-part setting in the closing movement; the two choral movements frame alternating recitatives and arias of three vocal soloists.

Bach used a four-part choir , a Baroque instrumental ensemble of a choir of trombones, two oboes and continuo , he set the first movement in "archaic" motet style, but the arias in "modern" concertante style, only reminiscent of the chorale tune. The cantata was first published in , as No. Bach took office as Thomaskantor , music director in Leipzig, end of May , it was part of his duties to supply music for the Sundays and feast days of the liturgical year at four churches of the town, he decided to compose new cantatas for these occasions.

He began with a cantata for the first Sunday after Trinity in , performed on 30 May, wrote a series of church cantatas until Trinity of the next year, which became known as his first cantata cycle ; the following year, he composed new cantatas for the occasions of the liturgical year, each based on one Lutheran chorale , an effort which became known as his chorale cantata cycle. Bach wrote the cantata for the Second Sunday after Trinity; the prescribed readings for the Sunday were from the First Epistle of John , "He that loveth not his brother abideth in death", from the Gospel of Luke , the parable of the great banquet.

The cantata is based on the chorale in sixth stanzas "Ach Gott, vom Himmel sieh darein", a paraphrase of Psalm 12 by Martin Luther, published in in the Achtliederbuch , the first Lutheran hymnal. In the format of Bach's chorale cantata cycle, the words of the hymn are retained unchanged in the outer movements, here the first and the sixth, while an unknown contemporary librettist transcribed the ideas of the inner stanzas in poetry for recitatives and arias, which matched the style of Bach's cantatas of the first cycle.

Bach first performed the cantata on 18 June Bach structured the cantata in six movements; the first and last are set for choir as a closing chorale. They frame alternating arias with the text arranged by the librettist. Bach scored the work for three vocal soloists, a four-part choir, a Baroque instrumental ensemble: four trombones, two oboes, two violins and basso continuo; the duration of the piece has been stated as 20 minutes.

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown; the first and last movements set Luther's original words and the original melody, both dating to and thus years old when Bach wrote his cantata.

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Bach used a style, called "archaic": the instruments include a choir of trombones doubling the voices. In the opening chorale fantasia, "Ach Gott, vom Himmel sieh darein", the melody of the chorale is sung by the alto in long notes as a cantus firmus, doubled by two oboes. John Eliot Gardiner , who conducted the Bach Cantata Pilgrimage in and recorded Ach Gott, vom Himmel sieh darein at the Basilique Saint-Denis in Paris , assumes that the severe text caused Bach to return to the austere motet style, old-fashioned.

The second movement is a secco recitative , "Sie lehren eitel falsche List, was wider Gott und seine Wahrheit ist", which changes to arioso for two lines that resemble the words of the chorale. These lines are marked adagio , in them the continuo plays in canon with the voice; the alto aria , "Tilg, o Gott, die Lehren, so dein Wort verkehren! The last line of the text remains close to the original, again Bach quotes the chorale tune; the bass recitative, is accompanied by the strings.

It changes to arioso during the middle section, which lets God respond to the pleas of the sinners: "Ich muss ihr Helfer sein".


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It is agreed to be an early work for stylistic reasons and because there is evidence that it was written for a performance in Bach went on to complete many other works in the same genre, contributing complete cantata cycles for all occasions of the liturgical year. John Eliot Gardiner describes it as Bach's "first-known attempt at painting narrative in music". Christ lag in Todes Banden is a chorale cantata, a style in which both text and music are based on a hymn.

In this instance, the source was Martin Luther's hymn of the same name, the main hymn for Easter in the Lutheran church; the composition is based on the seven stanzas of the hymn and its tune, derived from Medieval models. Bach used the unchanged words of a stanza of the chorale in each of the seven vocal movements, in the format of chorale variations per omnes versus, he used its tune as a cantus firmus.

After an opening sinfonia, the variations are arranged symmetrically: chorus—duet—solo—chorus—solo—duet—chorus, with the focus on the central fourth stanza about the battle between Life and Death. All movements are in E minor, Bach achieves variety and intensifies the meaning of the text through many musical forms and techniques.

He twice performed it as Thomaskantor in Leipzig , beginning in when he first celebrated Easter there. Only this second version survives, it is scored for four vocal parts and a Baroque instrumental ensemble with two components, an instrumental "choir" of cornetto and three trombones doubling the choral voices, a string section of two violins, two violas, continuo. While this scoring reflects the resources at Bach's disposal, it was old-fashioned and exemplifies a 17th-century Choralkonzert style.

Johann Sebastian Bach

Gardiner calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", observes "his total identification with the spirit and letter of Luther's fiery, dramatic hymn". Bach is believed to have written Christ lag in Todes Banden in , he was a professional organist aged 22, employed from in Arnstadt as the organist of the New Church. At age 18, he had inspected the new organ built by Johann Friedrich Wender , was invited to play one Sunday, was hired; the organ was built on the third tier of a theatre-like church.

Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag. According to the musicologist Martin Geck, many details of the score reflect "organistic practice". In Arnstadt, the Kantor Heindorff was responsible for church music in the Upper Church, the New Church where Bach was the organist, he conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church.

Herzlich lieb hab ich dich, o Herr BWV 1. Herzliebster Jesu, was hast du verbrochen 1. In dich hab' ich gehoffet, Herr BWV 1. Kommst du nun, Jesu, von Himmel herunter 3.

Gott, wie gross ist deine Güte BWV 462 - Score Gott, wie gross ist deine Güte BWV 462 - Score
Gott, wie gross ist deine Güte BWV 462 - Score Gott, wie gross ist deine Güte BWV 462 - Score
Gott, wie gross ist deine Güte BWV 462 - Score Gott, wie gross ist deine Güte BWV 462 - Score
Gott, wie gross ist deine Güte BWV 462 - Score Gott, wie gross ist deine Güte BWV 462 - Score
Gott, wie gross ist deine Güte BWV 462 - Score Gott, wie gross ist deine Güte BWV 462 - Score
Gott, wie gross ist deine Güte BWV 462 - Score Gott, wie gross ist deine Güte BWV 462 - Score
Gott, wie gross ist deine Güte BWV 462 - Score Gott, wie gross ist deine Güte BWV 462 - Score
Gott, wie gross ist deine Güte BWV 462 - Score Gott, wie gross ist deine Güte BWV 462 - Score

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