Johann Sebastian Bach
Day of reck'ning! Judgment Day BWV 168
Cantata for the 9th Sunday after Trinity (Complete orchestral parts)
Johann Sebastian Bach
Day of reck'ning! Judgment Day BWV 168
Cantata for the 9th Sunday after Trinity (Complete orchestral parts)
- Formazione 4 solisti (SATB), coro misto (SATB), 2 oboi d'amore, 2 violini, viola e basso continuo
- Edizione set di parti - oboe d'amore 1, oboe d'amore 2, violino 1, violino 2, viola, basso continuo, e organo (urtext)
- Compositore Johann Sebastian Bach
- Casa Editrice Carus-Verlag
- Editore Ulrich Bartels
- Paroliere Salomon Franck Henry S. Drinker
- Numero d'ordine CV31168-19
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Descrizione:
For soli (SATB), choir (SATB) 2 oboes d'amore, 2 violins, viola and basso continuo.
The text of Bach's cantata 'Tue Rechnung! Donnerwort' was published in 1715, that is during Bach's Weimar period, in the 'Evangelisches Andachts-Opffer' by Salomon Frank. This concisely-written but powerful work was, however, only composed ten years later in Leipzig, and was heard for the first time on 29 July 1725, the 9th Sunday after Trinity.
Its main dramatic-musical emphasis lies clearly in the first movement, a dark, almost operatic movement for baritone and string orchestra in B minor. By contrast, the ensuing aria for tenor with obbligato oboe accompaniment is distinctly more intimate, and the duet between soprano and alto - just accompanied by continuo - is more restrained in its musical language and expression than the first movement. In between there are two extended recitatives, the first of which leads into an arioso.
The breadth of expression within the cantata is striking, its opening movement a masterpiece of Bach's dramatic writing.
The text of Bach's cantata 'Tue Rechnung! Donnerwort' was published in 1715, that is during Bach's Weimar period, in the 'Evangelisches Andachts-Opffer' by Salomon Frank. This concisely-written but powerful work was, however, only composed ten years later in Leipzig, and was heard for the first time on 29 July 1725, the 9th Sunday after Trinity.
Its main dramatic-musical emphasis lies clearly in the first movement, a dark, almost operatic movement for baritone and string orchestra in B minor. By contrast, the ensuing aria for tenor with obbligato oboe accompaniment is distinctly more intimate, and the duet between soprano and alto - just accompanied by continuo - is more restrained in its musical language and expression than the first movement. In between there are two extended recitatives, the first of which leads into an arioso.
The breadth of expression within the cantata is striking, its opening movement a masterpiece of Bach's dramatic writing.
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4 x Violine 1 Day of reck'ning! Judgment Day
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4 x Violine 2 This life is not my own
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3 x Viola Principal and interest also
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4 x Generalbass Take heart and tremble not
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2 x Oboe d'amore 1 + 2 Heart, break free of Mammons's shackles
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1 x Orgel By your atonement make me strong
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