Johann Sebastian Bach
King of heaven, be most welcome BWV 182
Cantata for Sunday Palmarum or the Feast of the Annunciation
Johann Sebastian Bach
King of heaven, be most welcome BWV 182
Cantata for Sunday Palmarum or the Feast of the Annunciation
- Instrumentation Soloists, Mixed Choir (SATB) and Piano
- Composer Johann Sebastian Bach
- Editor Reinhold Kubik
- Lyricist Salomon Franck
-
Difficulty Level
- Edition Piano Reduction Download
- Publisher Carus-Verlag
- Order no. CV31182-03-DL
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Description:
- Language: German English
- Pages: 56
- Release: 05.12.2024
- Term: 30:00
- Key: A major
- Opus: BWV182
- Genre: Classical Music, Classical Music (Baroque), Sacred & Church Music, Cantata
- Accompaniment: Piano
- ISMN: 9790007349707
Version in A major (version in G major under Carus 31.182/50).
The cantata Himmelskönig, sei willkommen (BWV 182) occupies a special place in Johann Sebastian Bach's life story. Active as an organist and chamber musician at the Weimar court since 1708, he was appointed court concertmaster on March 2, 1714. The new position entailed the task of performing his own cantata every four weeks at the Weimar court service. Bach's opening piece was Himmelskönig, sei willkommen. The cantata was performed on Palm Sunday 1714, March 25 of that year. This was also the day on which the feast of the Annunciation was celebrated every year. The text of the cantata therefore refers to both occasions, although the Palm Sunday events with the view of the Passion of Jesus are in the foreground.
Bach performed his cantata several times both in Weimar and in Leipzig and repeatedly made changes to it. Of the four versions in total, the first Leipzig version was selected for the new edition. Unlike the Weimar versions, it can be performed well with the means of today's practice. Compared to Bach's more heavily orchestrated second Leipzig arrangement, however, it has the artistic advantage of preserving the basic chamber music character of the Weimar original.
In his debut piece from 1714, the newly appointed concertmaster shows what he is capable of: The eight movements have all kinds of beautiful, rewarding tasks in store for choral singers and vocal soloists, and there is also a virtuoso solo part for the recorder as a special attraction.
The cantata Himmelskönig, sei willkommen (BWV 182) occupies a special place in Johann Sebastian Bach's life story. Active as an organist and chamber musician at the Weimar court since 1708, he was appointed court concertmaster on March 2, 1714. The new position entailed the task of performing his own cantata every four weeks at the Weimar court service. Bach's opening piece was Himmelskönig, sei willkommen. The cantata was performed on Palm Sunday 1714, March 25 of that year. This was also the day on which the feast of the Annunciation was celebrated every year. The text of the cantata therefore refers to both occasions, although the Palm Sunday events with the view of the Passion of Jesus are in the foreground.
Bach performed his cantata several times both in Weimar and in Leipzig and repeatedly made changes to it. Of the four versions in total, the first Leipzig version was selected for the new edition. Unlike the Weimar versions, it can be performed well with the means of today's practice. Compared to Bach's more heavily orchestrated second Leipzig arrangement, however, it has the artistic advantage of preserving the basic chamber music character of the Weimar original.
In his debut piece from 1714, the newly appointed concertmaster shows what he is capable of: The eight movements have all kinds of beautiful, rewarding tasks in store for choral singers and vocal soloists, and there is also a virtuoso solo part for the recorder as a special attraction.
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