Johann Sebastian Bach VOIX ET ORGUE

Schau, lieber Gott, wie meine Feind, BWV 153
Pour Voix et Orgue

SKU: CA.3115314

ISBN 9790007208707. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.

SKU: CA.3115319

ISBN 9790007183448. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and parts available separately - see item CA.3115300.

SKU: CA.3115349

ISBN 9790007208714. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.

SKU: CA.3115307

ISBN 9790007242299. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score available separately - see item CA.3115300.

SKU: CA.3115303

ISBN 9790007183424. Language: German/English.

Bac h chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score available separately - see item CA.3115300.