Bisher habt ihr nichts gebeten in meinem Namen - No. 1 from Cantata no. 87, BWV87
Michel Garcin; Recording Engineer: Anna Reynolds ; Tenor: Peter Schreier ; Bass: Hans-Peter Schweigmann, Klaus Scheibe. Das Kantatenwerk - Sacred Cantatas Vol. Paul Esswood ; Tenor: Kurt Equiluz ; Bass: Ruud van der Meer CMW: Kurt Theiner, Josef de Sordi; Bassoon: Nikolaus Harnoncourt ; Violone: Herbert Tachezi Telefunken 6.
Chapter 44 Bwv – The Cantatas of Johan Sebastian Bach
Die Bach Kantate Vol. Julia Hamari ; Tenor: Aldo Baldin ; Bass: Complete Sacred Cantatas, Vol. Sytse Buwalda ; Tenor: Nico van der Meel ; Bass: Peter Frankenberg, Ofer Frenkel; Bassoons: Nicolaschurch, Elburg, the Netherlands. Christine Schreuder; Artistic Director: Pieter Jan Leusink ; Recording: Cantata BWV 87 [ Robin Tyson ; Tenor: Steve Davisilim ; Bass: Melanie Beck, Catherine Rimer; Double-bass: Isabella de Sabata; Balance Engineer: Bach wrote hundreds of pieces for organ, choir, as well as many other instruments.
He spent most of his life as a church organist and a choir director. His music combines profound expression with clever musico-mathematical feats, like fugues and cannons in which the same melody is played against itself in various ways. This work is full of interest, yet I find that it does not move me. The attractive opening aria has a lively, but dark, minor key orchestral introduction.
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The alto aria has a fascinating accompaniment from a pair of oboes da caccia playing over an arpeggiated continuo. This gives the feeling of something rather evil bubbling up from the depths! The aria following the next recitative is little more than an arioso itself.
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The final tenor aria is perhaps the high point of the cantata: Fervent sorrow is poured out to the rhythm of a siciliano, over seventh chord harmonies. The setting of the final chorale with the melody of Jesu, meine Freude is itself very harmonically rich.
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Bach sets this rather severe text in a dense imitative aria Movement 6. The duality of God and Son emphasized in the passage is ingeniously portrayed by the fact that the countersubject is a condensation of the last half of the main subject.
Bach Cantatas Volume 25
This gives the movement a circular, layered effect and although this piece was originally written for voice and period instruments, I arranged it for my Friend Dr. Be the first to write down a comment.
It is formally free and untitled, but resembles a fugue because the instruments enter in imitation, and the voice sings a similar theme. A secco recitative leads to an alto aria with two obbligato oboi da caccia. The prayer for forgiveness Forgive, o Father, our guilt is illustrated by sighing motifs. Christoph Wolff notes the "almost hymn-like emphasis through measured, arioso declamation From Wikipedia, the free encyclopedia.
Bisher habt ihr nichts gebeten in meinem Namen BWV Church cantata by J.
Christiana Mariana von Ziegler , author of the cantata text. Christiana Mariana von Ziegler. Retrieved 13 May