SKU: CA.3116414

ISBN 9790007209056. 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.3116413

ISBN 9790007209049. 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.3104319

ISBN 9790007136123. Key: C major / g major. Language: German/English.

On the 30th May 1726, as part of his third Leipzig annual cycle of cantatas, Bach directed the first performance of his Ascension Cantata Gott fahret auf mit Jauchzen. The libretto was published at Rudolstadt during the same year without any indication of the autor's name, in a collection entitled Sonn- und Fest-Tags-Andachten uber die ordenlichen Evangelia. The libretti in that collection had already been used during the Church year 1704/05 at the Court of Meiningen; their author may have been Duke Ernst Ludwig von Sachsen-Meiningen. Score and parts available separately - see item CA.3104300.

SKU: CA.3104313

ISBN 9790007205928. Key: C major / g major. Language: German/English.

On the 30th May 1726, as part of his third Leipzig annual cycle of cantatas, Bach directed the first performance of his Ascension Cantata Gott fahret auf mit Jauchzen. The libretto was published at Rudolstadt during the same year without any indication of the autor's name, in a collection entitled Sonn- und Fest-Tags-Andachten uber die ordenlichen Evangelia. The libretti in that collection had already been used during the Church year 1704/05 at the Court of Meiningen; their author may have been Duke Ernst Ludwig von Sachsen-Meiningen. Score and part available separately - see item CA.3104300.

SKU: CA.3104312

ISBN 9790007205911. Key: C major / g major. Language: German/English.

On the 30th May 1726, as part of his third Leipzig annual cycle of cantatas, Bach directed the first performance of his Ascension Cantata Gott fahret auf mit Jauchzen. The libretto was published at Rudolstadt during the same year without any indication of the autor's name, in a collection entitled Sonn- und Fest-Tags-Andachten uber die ordenlichen Evangelia. The libretti in that collection had already been used during the Church year 1704/05 at the Court of Meiningen; their author may have been Duke Ernst Ludwig von Sachsen-Meiningen. Score and part available separately - see item CA.3104300.