Johann Sebastian Bach
Dearest Immanuel, Lord of the Faithful
Cantata for Epiphany
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Johann Sebastian Bach
Dearest Immanuel, Lord of the Faithful
Cantata for Epiphany
- Instrumentation Soloists, Mixed Choir (SATB), 2 Flutes, 2 Oboes d'Amore, 2 Violins, Viola and Continuo
- Edition Choral Score (Urtext)
- Composer Johann Sebastian Bach
- Publisher Carus-Verlag
- Editor Frieder Rempp
- Lyricist Ahasverus Fritsch
- Order no. CV31123-05
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Description:
This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism.
As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and an alto and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous.
In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the alto aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony.
The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias.
As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and an alto and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous.
In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the alto aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony.
The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias.
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Coro Liebster Immanuel, Herzog der Frommen
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Recitativo (Alto) Die Himmelssüßigkeit, der Auserwählten Lust
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Aria (Tenore) Auch die harte Kreuzesreise
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Recitativo (Basso) Kein Höllenfeind kann mich verschlingen
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Aria (Basso) Lass, o Welt, mich aus Verachtung
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Choral Drum fahrt nur immer hin
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