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In many performances of Monteverdi's magnificent Vespers of the Blessed Virgin the 'Lauda Jerusalem' and the Magnificat movements, which lie in a high tessitura, are transposed downwards. So that thes...

In many performances of Monteverdi's magnificent Vespers of the Blessed Virgin the 'Lauda Jerusalem' and the Magnificat movements, which lie in a high tessitura, are transposed downwards. So that thes...

In many performances of Monteverdi's magnificent Vespers of the Blessed Virgin the 'Lauda Jerusalem' and the Magnificat movements, which lie in a high tessitura, are transposed downwards. So that thes...

In many performances of Monteverdi's magnificent Vespers of the Blessed Virgin the 'Lauda Jerusalem' and the Magnificat movements, which lie in a high tessitura, are transposed downwards. So that thes...

Monteverdis 'Selva morale et spirituale' von 1641 steht heute ganz im Schatten von Monteverdis berühmter Marienvesper von 1610. Die Drucke von 1610 und 1641 enthalten beide v. a. Musik für Messe und V...

Entstehungszeit der diesem Werk zugrundeliegenden Trauungskantate (BWV 34a) 1726, der Parodie in der ersten Hälfte der 1740er Jahre.

Kantate zum Pfingstfest (1. Pfingsttag) - Entstehungszeit der diesem Werk zugrundeliegenden Trauungskantate (BWV 34a) 1726, der Parodie in der ersten Hälfte der 1740er Jahre. Soli ATB, Coro SATB, 3 Tr...

The alto cantata 'Geist und Seele wird verwirret' has seven movements; in the opening movements of the two parts of the cantata, a lost concerto by Bach survives in its original form, which he had arr...

It only became apparent a few years ago that the text of the soprano cantata 'Falsche Welt, dir trau ich nicht'' came from the collection Gott-geheiligten Sabbaths-Zehnden by the Leipzig theology stud...

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20t...

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20t...

This six-movement chorale cantata was first performed on 26 December 1724. The text is based on the Lutheran translation of the early Christian hymn A solis ortus cardinem. The outer movements frame t...

This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from...

This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from...

4x violin 1 4x violin 2 3x viola 4x basso continuo 1x flute 1 1x flute 2 1x oboe d'amore 1 1x oboe d'amore 2 1x organ

For soli (SATB), choir (SATB) 2 oboes, 3 trumpets, timpani, 2 violins, viola and basso continuo. Bach's chorale cantata 'Lobe den Herren, den mächtigen König der Ehren' BWV 137, has long been, thanks...

For soli (SATB), choir (SATB) 2 oboes, 3 trumpets, timpani, 2 violins, viola and basso continuo. Bach's chorale cantata 'Lobe den Herren, den mächtigen König der Ehren' BWV 137, has long been, thanks...

Although 'Warum betrübst du dich, mein Herz' (What is it troubles thee, my heart) BWV 138 is based on the chorale of the same name, it is nevertheless not regarded as one of Bach's chorale cantatas. I...

Bach's chorale cantata with its opening text 'Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen' (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for t...

Bach chose an unconventional beginning for his nine-movement cantata 'Schau, lieber Gott, wie meine Feind' BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after N...

The cantata 'Mein liebster Jesus ist verloren' BWV 154 was first performed on 9 January 1724, the 1st Sunday after Epiphany. The structure and extent of the work are unusual: it comprises eight, inste...

Ich steh mit einem Fuß im Grabe BWV 156 è una delle poche cantate superstiti di Johann Sebastian Bach su testi del cosiddetto periodo di Picander. Come in molte altre cantate su testi di questo poeta,...

'Ich steh mit einem Fuß im Grabe' (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle....

This six-movement cantata BWV 164 was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 171...

The cantata 'O heilges Geist- und Wasserbad'' (O Holy spirit's solemn rite) BWV 165 is one of Bach's earliest cantata compositions and was presumably first performed in the Weimar Schlosskirche for Tr...