Wo soll ich fliehen hin

(Where shall I refuge find) for soprano, alto, tenor and bass, vocal ensemble, oboe I+II, tromba da tirarsi, strings and basso continuo

Ihr, die ihr euch von Christo nennet

(You who the name of Christ have taken) for soprano, alto, tenor and bass, transverse flute I+II, oboe I+II, strings und basso continuo Cantata BWV 164 was first performed in Leipzig on the 13th Sunday after Trinity in 1725. Nevertheless, the work could easily be mistaken as a latecomer to Bach’s Weimar cantata oeuvre: the … Read More

Was Gott tut, das ist wohlgetan

(What God doth, that is rightly done) for soprano, alto, tenor and bass, vocal ensemble, oboe I+II, taille d’hautbois, strings and basso continuo

Christum wir sollen loben schon

(To Christ we should sing praises now) for soprano, alto, tenor and bass, vocal ensemble, zink, trombone I-III, oboe d’ amore, strings and basso continuo Written for the Second Day of Christmas in 1724, the cantata “Christum wir sollen loben schon” (To Christ we should sing praises now) is distinguished by a stately tone and … Read More

Meine Seufzer, meine Tränen

(Of my sighing, of my crying) for soprano, alto, tenor and bas, flauto dolce I+II, oboe da caccia, bassoon, strings and basso continuo Cantata BWV 13 “Meine Seufzer, meine Tränen” (Of my sighing, of my crying), marked in hand on the score as a “Concerto da Chiesa”, is a work revealing and eliciting a deep … Read More

Aus der Tiefen rufe ich, Herr, zu dir

(From the depths now do I call, Lord, to thee) for soprano, alto, tenor and bass, oboe, bassoon, violin, 2 violas, continuo Cantata BWV 131 is based on the early liturgical Penitential Psalm 130, one of the texts of the Christian tradition most frequently set to music. Thanks to a hand-written note ascribed to a … Read More

Ich habe meine Zuversicht

(I have now all my confidence) for soprano, alto, tenor and bass, oboe I+II, taille, organo obbligato, bassoon and strings

Herr Christ, der einge Gottessohn

(Lord Christ, the only Son of God) for soprano, alto, tenor and bass, vocal ensemble, trombone, flauto piccolo, transverse flute, oboe I+II, bassoon, strings and continuo Cantata 96 on Elisabeth Cruciger’s hymn “Herr Christ, der einge Gottessohn” (Lord Christ, the only son of God) opens with an introductory chorus in a style reminiscent of Christmas … Read More

Wer nur den lieben Gott läßt walten

(The man who leaves to god all power) for soprano, alto, tenor and bass, vocal ensemble, oboe I+II, strings and continuo Composed for the Fifth Sunday after Trinity in 1724, the cantata “Wer nur den lieben Gott läßt walten” (The man who leaves to God all power) at first appears to be a typical representative … Read More

Schmücke dich, o liebe Seele

(Deck thyself, O soul beloved) for soprano, alto, tenor and bass, vocal ensemble, recorder I+II, flute, oboe, oboe da caccia, bassoon, strings and continuo. The two great Bach experts Robert Schumann and Felix Mendelssohn must have mused one day over Bach’s famous organ chorale “Schmücke dich, o liebe Seele” (BWV 654). As later recalled by … Read More

Ach Herr, mich armen Sünder

(Ah Lord, me a poor sinner) for alto, tenor and bass, vocal ensemble, oboe I+II, bass trombone, bassoon, strings and continuo.

Christen, ätzet diesen Tag

(Christians, etch ye now this day) for soprano, alto, tenor and bass, vocal ensemble, trumpets I-IV, timpani, oboe I-III, bassoon, strings and continuo. In 1957, Bach specialist Alfred Dürr wrote that BWV 63, more than any other of Bach’s cantatas, strives to unify the highest intensity of magnificence with the maximum level of economy. Indeed, … Read More