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Bach composed the cantata in 1723 in his first year in Leipzig for the Ninth Sunday after Trinity.It is likely that the anonymous librettist was a theologian from the city; the text begins with the second verse of Psalm 143, "And enter not into judgment with thy servant: for in thy sight shall no man living be justified" (Psalms 143:2).
Ich hab in Gottes Herz und Sinn (I have given over to God's heart and mind), [1] BWV 92, is a cantata by Johann Sebastian Bach for use in the Lutheran service. He composed the chorale cantata in Leipzig for Septuagesimae and first performed it on 28 January 1725.
Bach structured the cantata in seven movements.Both text and tune of the hymn are retained in the outer choral movements, a chorale fantasia and a four-part closing chorale, and also in the central movement, a chorale for a solo voice, and in two recitatives that include chorale text and melody, one for a solo voice, the other using the choir for the chorale part. [10]
O ewiges Feuer, o Ursprung der Liebe (O eternal fire, o source of love), [1] BWV 34 (BWV 34.1), is a church cantata by Johann Sebastian Bach.He composed it in Leipzig for Pentecost Sunday, and it was the basis for a later wedding cantata, BWV 34a, beginning with the same line.
The complete recordings of Bach's cantatas are accompanied by liner notes from musicians and musicologists; Gardiner commented on his Bach Cantata Pilgrimage, Isoyama wrote for Masaaki Suzuki, and Wolff for Ton Koopman. Bischof, Walter F. (2010). "Komm, du süße Todesstunde". University of Alberta; Dellal, Pamela (2012).
Herr Jesu Christ, wahr' Mensch und Gott (Lord Jesus Christ, true Man and God), [1] BWV 127, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed the chorale cantata in 1725 in Leipzig for the Sunday Estomihi, the Sunday before Lent.
The cantata was apparently composed for Trinity Sunday.Originally it was thought the cantata may have been performed as early as 16 June 1726. [4] In his second year Bach had composed chorale cantatas between the first Sunday after Trinity of 1724 and Palm Sunday 1725, but for Easter that year he had returned to cantatas on more varied texts, possibly because he lost his librettist. [5]
Bach wrote the chorale cantata in his second year in Leipzig for the First Sunday after Epiphany. [2] [3] The prescribed readings for the Sunday were taken from the Epistle to the Romans, speaking of the duties of a Christian (Romans 12:1–6), and from the Gospel of Luke, the finding in the Temple (Luke 2:41–52).