Bach - Epiphany Cantatas -BWV 65-123-248,6_MP3_256kbs




BWV 65-123-248,6;Johan Sebastian Bach Cantatas;Netherlands Bach Collegium, directed by Pieter Jan Leusink
Music:Classical:MP3:Bach:Cantata

Cantatas were composed for use in the Lutheran church by Johann Sebastian Bach. Here are the cantatas for the Epiphany Sunday.
List: Sie werden aus Saba alle kommen, BWV 65, 6 January 1724
Liebster Immanuel, Herzog der Frommen, BWV 123, 6 January 1725
Herr, wenn die stolzen Feinde schnauben 6 January 1735 (Christmas Oratorio Part VI)

BWV 65: Sie werden aus Saba alle kommen - They will all come forth out of Sheba
Cantata for Sunday of the feast of Epiphany
Bach wrote it in 1724 in Leipzig for Epiphany and first performed it on 6 January 1724.
The cantata is festively scored for tenor and bass soloists, a four-part choir, two horns, two recorders, two oboe da caccia, two violins, viola, and basso continuo.
List: 1-Chorus: Sie werden aus Saba alle kommen. Bach here uses his immense orchestra in its fullest sounds. A lengthy fugue is the centerpiece of the movement. C Major
2-Choral: Die Kön'ge aus Saba kamen dar. A plain chorale setting. a minor
3-Recitativo (Bass): Was dort Jesaias vorhergesehn. Secco recitative. F Major-G Major
4-Aria (Bass): Gold aus Ophir ist zu schlecht. In an almost minimalist style, Bach relentlessly exploits the opening material. e minor
5-Recitativo (Tenor): Verschmähe nicht. Secco recitative. a minor-e minor
6-Aria (Tenor): Nimm mich dir zu eigen hin. A vivacious, joyful movement, full of dance figurations. C Major
7-Choral: Ei nun, mein Gott, so fall ich dir. A plain chorale setting. a minor

[url]http://imslp.org/wiki/Sie_werden_aus_Saba_alle_kommen,_BWV_65_(Bach,_Johann_Sebastian)[/url]

BWV 123: Liebster Immanuel, Herzog der Frommen - Beloved Emmanuel, Prince of the devout

Cantata for Sunday of the feast of Epiphany
Bach composed the chorale cantata in Leipzig for Epiphany and first performed it on 6 January 1725. It is based on the chorale by Ahasverus Fritsch (1679).
The cantata is scored for four soloists, soprano, alto, tenor, and bass, a four-part choir, horn to play the cantus firmus with the soprano, oboe d'amore, two violins, viola, and basso continuo.
List: 1-Chorus: Liebster Immanuel, Herzog der Frommen. The repeated notes of the opening ritornello pervade the entire movement. Unusually, for Bach's chorale cantatas, the text is delivered line by line in rather strict homophony. This, combined with the flutes added to the texture, makes for a consistently full texture somewhat unusual for Bach. b minor
2-Recitativo (Alto): Die Himmelssüßigkeit, der Auserwählten Lust. Secco recitative. f♯ minor-A Major
3-Aria (Tenor): Auch die harte Kreuzesreisee. A chromatically charged ritornello with many unexpected harmonic shifts leads the way into this impassioned aria with two oboes d'amore accompanying. A section marked "Allegro" in the middle is of especial note, full of coloratura melismas. f♯ minor
4-Recitativo (Bass): Kein Höllenfeind kann mich verschlingen. Secco recitative. A Major-D Major
5-Aria (Bass): Laß o Welt, mich aus Verachtung. Although less intense than the first aria, this (with obbligato flute) is regardless an interesting movement with "some charming harmonic twists"1. D Major
6-Choral: Drum fahrt nur immer hin, ihr Eitelkeiten. A plain chorale setting. b minor
[url]http://imslp.org/wiki/Liebster_Immanuel,_Herzog_der_Frommen,_BWV_123_(Bach,_Johann_Sebastian)[/url]

BWV 248,6: Herr, wenn die stolzen Feinde schnauben - Cantata for the Feast of Epiphany
Cantata for Sunday of the feast of Epiphany
The Christmas Oratorio (German: Weihnachts-Oratorium) BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a
The piece is scored for oboe, violins I/II, viola, and basso continuo, along with two vocal soloists (soprano and bass) and four-part choir. Set up as a dialogue between the soul (soprano soloist as Seele) and Jesus (bass soloist), it is in six movements:
List: 1-(54). Chorus: Herr, wenn die stolzen Feinde schnauben. A return to the trumpets-and-drums style, this ABA chorus concerns itself mainly with polyphony in all of its guises. The chorus is both immense and grand, fitting the dramatic text. D Major
2-(55). Evangelista: Da berief Herodes die Weisen heimlich. Secco recitative. A Major-D Major
3-(56). Recitative (Soprano): Du Falscher, suchet nur den Herrn zu fällen. Recitative withs string accompaniment. b minor-A Major
4-(57). Aria (Soprano): Nur ein Wink von seinen Händen. The homophony of this aria (including the staccato chords) are its notable characteristic, along with its dance-like movement and clear phrases. A Major
5-(58). Evangelista: Als sie nun den König gehöret hatten. Secco recitative. f♯ minor-G Major
6-(59). Choral: Ich steh an deiner Krippen hier. A plain chorale setting. G Major
7-(60). Evangelista: Und Gott befahl ihnen im Traum'. Secco recitative. e minor-f♯ minor
8-(61). Recitative (Tenor): So geht! Genug, mein Schatz geht nicht von hier. Recitative with two oboes d'amore, alternating with with all sorts of "Allegro" instrumental interjections and "Adagio" arioso moments. f♯ minor-b minor
9-(62). Aria (Tenor): Nun mögt ihr stolzen Feinde schrecken. Oboes d'amore in their favorite minor key here sing in thirds and sixths in this aria. THe pairing of almost every group of two notes by a slur is here notable. b minor
10-(63). Recitative (SATB): Was will der Höllen Schrecken nun. An imitative recitative, this is one of the more unusual movements in the entire oratorio. D Major
10-(64). Choral: Nun seid ihr wohl gerochen. Again, the 4-part chorale has instrumental lines to enliven it. In this case, the dactyls of the very first movement come back, and the extended ritornello almost turns this into a first-movement type chorus. D Major
[url]http://imslp.org/wiki/Weihnachts-Oratorium,_BWV_248_(Bach,_Johann_Sebastian)[