Bach - Quinquagesima Cantatas -BWV 22-23-127-159_MP3_256kbs


BWV 22-23-127-159;Johan Sebastian Bach Cantatas; Netherlands Bach Collegium, directed by Pieter Jan Leusink
Music:Classical:MP3:Bach:Cantatas

Cantatas were composed for use in the Lutheran church by Johann Sebastian Bach. Here are the cantatas for the Quinquagesima (the Sunday before Ash Wednesday).

List:
Jesus nahm zu sich die Zwölfe, BWV 22, 7 February 1723
Du wahrer Gott und Davids Sohn, BWV 23, 7 February 1723
Herr Jesu Christ, wahr' Mensch und Gott, BWV 127, 11 February 1725
Sehet, wir gehn hinauf gen Jerusalem, BWV 159, ?27 February 1729


BWV22: Jesus nahm zu sich die Zwölfe - Jesus took the twelve under Him
For Quinquagesima Sunday (Estomihi).
Bach composed it in Köthen in 1723 for the Sunday Estomihi as Bach's audition piece (with Du wahrer Gott und Davids Sohn, BWV 23) for the position of Thomaskantor in Leipzig. The work was premiered on 7 February 1723, and again on 20 February 1724.
The piece is scored for oboe, violins I/II, viola, and basso continuo three vocal soloists (altus, tenor, and bass) and four-part choir
List: 1-Arioso+Chorus: Jesus nahm zu sich die Zwölfe und sprach. This movement has a very brief text, but lasts about 5 minutes. It is very sectional. Broken up. The tenor leads with the announcement "Jesus nahm zu sich die Zwölfe." Then the Bass, Jesus, announces the Passion, with the chorus's commentary that the apostles comprehend not. The chorus take over where the evangelist (Luke) left off with a fugue. G minor.
2-Aria (Alto): Mein Jesu, ziehe mich nach dir. Includes an expressive obbligato part for oboe. C minor.
3-Recitativo (Bass): Mein Jezu, ziehe mich, so werd ich laufen. Secco recitative. Eâ™­ Major-Bâ™­ Major
4-Aria (Tenor): Mein alles in allem, mein ewiges Gut. A "dance-like piece for strings that brings to mind the Cöthen...Bach"1. Bâ™­ Major
5-Chorale: Ertöt uns durch dein Güte. A simple chorale setting with ornamental instrumental sixteenth notes throughout. Bâ™­ Major.

[url]http://imslp.org/wiki/Jesus_nahm_zu_sich_die_Zw%C3%B6lfe,_BWV_22_(Bach,_Johann_Sebastian)[/url]

BWV23: Du wahrer Gott und Davids Sohn - You true God and son of David
For Quinquagesima Sunday (Estomihi).
Bach composed it in Köthen between 1717 and 1723 for Quinquagesima Sunday (also known as Estomihi), but was revised to be included as Bach's other test piece (with Jesus nahm zu sich die Zwölfe, BWV 22) for the position of Thomaskantor in Leipzig. The work was premiered on 7 February 1723 (after the sermon), and performed again on 20 February 1724.
The piece is scored for cornetto, tromboni (or trombe) I/II/III, oboes I/II, violins I/II, viola, and basso continuo, along with three vocal soloists (soprano, altus, and tenor) and four-part choir
List: 1-Aria (Duet, Soprano, Alto): Du wahrer Gott und Davids Sohn. The opening with two oboes and continuo is comparable to the opening of the b minor mass. The chromatic texture in this movement is impressively expressive. B minor.
2-Recitativo (Tenor): Ach! gehe nicht vorüber. An accompanied recitative, wtih much word painting, including the pleading of the blind man. G Major-D Major
3-Chor: Aller Augen warten, Herr. A dance-like movement in 3/4. "The declamation in the refrain bars, especially in the upper parts, is faultless"1. D Major
4-Choral: Christe, du Lamm Gottes. An "intense" chorale setting, supported by independent instrumental lines. F♯ minor-b minor.

[url]http://imslp.org/wiki/Du_wahrer_Gott_und_Davids_Sohn,_BWV_23_(Bach,_Johann_Sebastian)[/url]

BWV127:
For Quinquagesima Sunday (Estomihi)
Bach composed it in Leipzig for the Sunday Estomihi, the Sunday before Ash Wednesday, and first performed it on 11 February 1725.
The cantata is richly scored for three soloists, soprano, tenor and bass, a four-part choir, trumpet, two recorders, two oboes, two violins, viola and basso continuo
List:
1-[Chorale]: Herr Jesu Christ, wahr' Mensch und Gott. The sounds of oboes and recorders constantly interchange over a bed of strings. When the chorus enters, it is with the namesake chorale, but Christe, du Lamm Gottes is occasionally thrown into the mix in the instruments. F Major
2-Recitativo (Tenor): Wenn alles sich zur letzten Zeit entsetzet. Secco recitative. Bâ™­ Major-F Major
3-Aria (Soprano): Die Seele ruht in Jesu Händen. Plucked strings, staccato recorder chords and obbligato oboe contribute much to the color of this aria. The soprano line is a beautiful depiction of the text, especially the last two lines. c minor
4-Recitativo + Aria (Bass): Wenn eistens die Posaunen schallen. A recitative with trumpet and strings leads straight into the aria, one with no ritornello. This lyrical section constantly alternates between continuo and the full ensemble. C Major
5-Choral: Ach, Herr, vergib all unser Schuld. A plain chorale setting. F Major

[url]http://imslp.org/wiki/Herr_Jesu_Christ,_wahr%27_Mensch_und_Gott,_BWV_127_(Bach,_Johann_Sebastian)[/url]

BWV159: Sehet, wir gehn hinauf gen Jerusalem - Behold, let us go up to Jerusalem
For Quinquagesima Sunday (Estomihi)
Bach composed it in Leipzig for the Sunday Estomihi, the Sunday before Ash Wednesday, and probably first performed it on 27 February 1729. The piece is scored for cornetto, tromboni (or trombe) I/II/III, oboes I/II, violins I/II, viola, and basso continuo, along with three vocal soloists (soprano, altus, and tenor) and four-part choir
The cantata is scored for alto, tenor, and bass soloists, a four-part choir only for the chorale, oboe, two violins, viola and basso continuo including bassoon. The chorale in movement 2 can be sung by a soprano soloist or the choir soprano
List:
1. Arioso e recitativo (bass, alto): Sehet, wir gehn hinauf gen Jerusalem – Komm, schaue doch, mein Sinn
2. Aria e chorale (alto, soprano, oboe): Ich folge dir nach – Ich will hier bei dir stehen
3. Recitativo (tenor): Nun will ich mich, mein Jesu
4. Aria (bass, oboe): Es ist vollbracht
5. Chorale: Jesu, deine Passion ist mir lauter Freude

[url]http://en.wikipedia.org/wiki/Sehet,_wir_gehn_hinauf_gen_Jerusalem,_BWV_159[