(Now thank ye all our God) for Reformation Sunday, for soprano and bass, vocal ensemble, strings, transverse flute I+II, oboe I+II and basso continuo
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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
Laß, Fürstin, laß noch einen Strahl
(Let, Princess, let still one more glance) for soprano, alto, tenor and bass, vocal ensemble, transverse flute I+II, oboe d’amore I+II, viola da gamba I+II, liuto I+II, strings and basso continuo The performance of the funeral ode “Let, Princess, let still one more glance” BWV 198 on 18 October 1727 in Leipzig’s university church, the … Read More
Es ist ein trotzig und verzagt Ding
(There is a daring and a shy thing) for soprano, alto and bass, vocal ensemble, oboe I+II, oboe da caccia, bassoon, strings and continuo
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
Nun komm, der Heiden Heiland
(Now come, the gentiles’ Savior) for soprano, tenor and bass, vocal ensemble, bassoon, strings and continuo With its charm and youthful freshness, Cantata BWV 61 (“Now come, the gentiles’ Saviour”), numbers among Bach’s best-known sacred compositions. The work was written for the “Schlosskirche” in Weimar on the occasion of the First Sunday in Advent in … Read More
Wie schön leuchtet der Morgenstern
(How beauteous beams the morning star) for soprano, tenor and bass, vocal ensemble, corno I+II, oboe da caccia I+II, strings and continuo The cantata “Wie schön leuchtet der Morgenstern” (How beauteous beams the morning star), written for the Annunciation of the Blessed Virgin Mary in 1725, completes Bach’s chorale cantata cycle of 1724. As it … Read More