SKU: CA.3116412

ISBN 9790007209032. Text language: German/English.

This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and part available separately - see item CA.3116400.

SKU: CA.3116411

ISBN 9790007209025. Text language: German/English.

This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and part available separately - see item CA.3116400.

SKU: CA.3117714

ISBN 9790007209841. Text language: German/English.

The cantata Ich ruf zu dir, Herr Jesu Christ begins with an expansive chorale arrangement, for which Bach reverted to a proven model: The four voices of the solo ensemble take over the chorale, in which the melody lies in the soprano. For stanzas 2-4 Bach chooses the aria form with a highly differentiated scoring from movement to movement, ranging from a continuo Aria (1st movement), up to an aria accompanied by the violin, with obbligato bassoon and continuo. A straightforward four-part chorale movement concludes the cantata. Score and part available separately - see item CA.3117700.

SKU: CA.3117711

ISBN 9790007209810. Text language: German/English.

The cantata Ich ruf zu dir, Herr Jesu Christ begins with an expansive chorale arrangement, for which Bach reverted to a proven model: The four voices of the solo ensemble take over the chorale, in which the melody lies in the soprano. For stanzas 2-4 Bach chooses the aria form with a highly differentiated scoring from movement to movement, ranging from a continuo Aria (1st movement), up to an aria accompanied by the violin, with obbligato bassoon and continuo. A straightforward four-part chorale movement concludes the cantata. Score and part available separately - see item CA.3117700.

SKU: CA.3117719

ISBN 9790007140267. Text language: German/English.

The cantata Ich ruf zu dir, Herr Jesu Christ begins with an expansive chorale arrangement, for which Bach reverted to a proven model: The four voices of the solo ensemble take over the chorale, in which the melody lies in the soprano. For stanzas 2-4 Bach chooses the aria form with a highly differentiated scoring from movement to movement, ranging from a continuo Aria (1st movement), up to an aria accompanied by the violin, with obbligato bassoon and continuo. A straightforward four-part chorale movement concludes the cantata. Score and parts available separately - see item CA.3117700.

SKU: CA.3117749

ISBN 9790007209858. Text language: German/English.

The cantata Ich ruf zu dir, Herr Jesu Christ begins with an expansive chorale arrangement, for which Bach reverted to a proven model: The four voices of the solo ensemble take over the chorale, in which the melody lies in the soprano. For stanzas 2-4 Bach chooses the aria form with a highly differentiated scoring from movement to movement, ranging from a continuo Aria (1st movement), up to an aria accompanied by the violin, with obbligato bassoon and continuo. A straightforward four-part chorale movement concludes the cantata. Score and part available separately - see item CA.3117700.

SKU: CA.3117707

ISBN 9790007142865. Text language: German/English.

The cantata Ich ruf zu dir, Herr Jesu Christ begins with an expansive chorale arrangement, for which Bach reverted to a proven model: The four voices of the solo ensemble take over the chorale, in which the melody lies in the soprano. For stanzas 2-4 Bach chooses the aria form with a highly differentiated scoring from movement to movement, ranging from a continuo Aria (1st movement), up to an aria accompanied by the violin, with obbligato bassoon and continuo. A straightforward four-part chorale movement concludes the cantata. Score available separately - see item CA.3117700.

SKU: CA.3117700

ISBN 9790007140113. Text language: German/English.

The cantata Ich ruf zu dir, Herr Jesu Christ begins with an expansive chorale arrangement, for which Bach reverted to a proven model: The four voices of the solo ensemble take over the chorale, in which the melody lies in the soprano. For stanzas 2-4 Bach chooses the aria form with a highly differentiated scoring from movement to movement, ranging from a continuo Aria (1st movement), up to an aria accompanied by the violin, with obbligato bassoon and continuo. A straightforward four-part chorale movement concludes the cantata.

SKU: CA.5012099

Text language: German/English. Text: von Hoffnaass, Franziska (Fanny).

Score available separately - see item CA.5012000.

SKU: CA.3109119

ISBN 9790007136444. Key: G major. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Score and parts available separately - see item CA.3109100.

SKU: CA.3109109

ISBN 9790007046385. Key: G major. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Score available separately - see item CA.3109100.

SKU: CA.3109107

ISBN 9790007046378. Key: G major. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Score available separately - see item CA.3109100.

SKU: CA.3111319

ISBN 9790007136628. Key: B minor. Language: German/English. Text: Ringwaldt, Bartholomaus. Text: Bartholomaus Ringwaldt.

Score and parts available separately - see item CA.3111300.