(God’s own time is the very finest time) «Actus tragicus», for soprano, alto, tenor and bass, recorders I+II, viola da gamba I+II and basso continuo “Gottes Zeit ist die allerbeste Zeit” (God’s own time is the very finest time) was originally scheduled for performance on Friday 20 March 2020 in Speicher. Corona, however, put an … Read More
(He who loves me will keep my commandments) for soprano, alto, tenor and bass, vocal ensemble, trumpet I-III, timpani, oboe I+II, oboe da caccia, strings and basso continuo
(Mass in G major) for soprano, alto, tenor and bass, vocal ensemble, oboe I+II, strings and basso continuo
(Mass in G Minor) for alto, tenor and bass, vocal ensemble, oboe, strings and basso continuo
(Break with hungry men thy bread) for soprano, alto und bass, vocal ensemble, oboe I+II, recorder I+II, strings and basso continuo
(Who believeth and is baptized) for Exaudi (The Sunday after Ascension), for soprano, alto, tenor and bass; oboe d’amore I+II, oboe da caccia I+II, violoncello piccolo, strings and basso continuo
(Lord, thine eyes look after true believing) for soprano, alto, tenor and bass, oboe I+II, transverse flute, strings and basso continuo
(I live now, my spirit, to thy purest pleasure) for soprano, tenor and bass, oboe d’amore I+II, transverse flute, trumpets, strings and basso continuo
(Glory to thee, God, be sounded) for soprano, alto, tenor and bass, vocal ensemble, oboe d’amore I+II, strings and basso continuo
(In truth hath God the world so loved) for soprano and bass, vocal ensemble, oboe I+II, oboe da caccia, violoncello piccolo, strings and basso continuo Information on reflective lecture: For reasons of copyright, the video of the reflective lecture by Hans Magnus Enzensberger is not available online.
(St John Passion) No listener can be left unmoved by the bleak magnificence of the introductory chorus “Herr, unser Herrscher” (Lord, thou our master), set to the text of Psalm 8. Throbbing bass notes, streams of blood and violent blows in the middle voices as well as incessant friction in the mercilessly descending woodwinds create … Read More
(God is our true sun and shield!) for soprano, alto, tenor and bass, oboe I+II, horn I+II, timpani, strings and basso continuo Composed for Reformation Day in 1725, cantata BWV 79 (“God is our true sun and shield!”) is conceptually distinct from its more famous relation, BWV 80.
(Look indeed and see then if there be a grief) for alto, tenor and bass, vocal ensemble, recorder I+II, oboe da caccia I+II, slide trumpet, strings and basso continuo Scenic intervention on the cantata text: Giovanni Netzer (text), Samuel Streiff (mayor), Martin Ostermeier (prophet)
(Lord Christ, he is my being) for soprano, tenor and bass, vocal ensemble, corno, oboe d’amore I+II, strings and basso continuo First performed on 12 September 1723, the cantata “Lord Christ, he is my being” can be viewed as an experimental predecessor to Bach’s chorale cantata cycle of 1724/25. In contrast to the cantatas of … Read More
(Praise, O Jerusalem, the Lord) for soprano, alto, tenor and bass, vocal ensemble, trumpets I-IV, timpani, flauto dolce I+II, oboe I-III, oboe d’ amore I+II, strings and basso continuo When Bach commenced his position as Thomas Cantor in 1723, he was, despite a long selection process with many rival candidates, the great hope of an … Read More
