(God goeth up with shouting) for soprano, alto, tenor and bass, vocal ensemble, oboe I+II, trumpet I-III, timpani, strings and basso continuo
(Ah! I see now, As I go to join the marriage) for soprano, alto, tenor and bass, flauto, corno da tirarsi, strings and basso continuo Cantata BWV 162 belongs to the “Evangelisches Andachts-Opfer” cycle of texts written by Salomo Franck in Weimar in 1715; whether Bach composed and performed the related cantata in 1715 or … Read More
(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
(Now is to us Salvation come) for soprano, alto, tenor and bass, vocal ensemble, transverse flute, oboe d’ amore, bassoon, strings and basso continuo Composed for the Sixth Sunday after Trinity in 1724, cantata BWV 9 “Es ist das Heil uns kommen her” (Now is to us salvation come) proffers a charming display of the … Read More
(St Matthew Passion) The double-choir St Matthew Passion, already termed the “grosse Bassion” (great Passion) in an early posthumous tribute by the Bach family, is one of Bach’s most comprehensive and significant sacred compositions.