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Bach's autograph of the soprano aria in the cantata Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105. The cantatas composed by Johann Sebastian Bach, known as Bach cantatas (German: Bachkantaten), are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost.
Bach's early biographers (his son Carl Philipp Emanuel and Johann Friedrich Agricola in the Nekrolog and Forkel in his 1802 biography) gave little or no attention to individual cantatas, and confined themselves to mentioning that Bach had composed five complete cycles of church cantatas. Scholarship later indicated the chorale cantata cycle as ...
Before Bach chorale cantatas, that is, cantatas entirely based on both the text and the melody of a single Lutheran hymn, had been composed by among others Samuel Scheidt, Johann Erasmus Kindermann, Johann Pachelbel and Dieterich Buxtehude. Sebastian Knüpfer, Johann Schelle and Johann Kuhnau, Bach's predecessors as Thomaskantor, had composed them.
The Bach Cantatas University of Alberta 2003–2010; Alfred Dürr: Johann Sebastian Bach: Die Kantaten. Bärenreiter, Kassel 1999, ISBN 3-7618-1476-3 (in German) Alfred Dürr: The Cantatas of J.S. Bach, Oxford University Press, 2006. ISBN 0-19-929776-2; Werner Neumann: Handbuch der Kantaten J.S.Bachs, 1947, 5th ed. 1984, ISBN 3-7651-0054-4
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.
Bach used the text unchanged, while in most of his earlier chorale cantatas the inner stanzas were paraphrased by a contemporary librettist. [3] Bach followed the format of that cycle by composing the outer movements as a chorale fantasia and a four-part chorale setting, but the inner movements as solo works independent of the chorale tune ...
Bach composed the cantata in Leipzig for the Eleventh Sunday after Trinity as part of his chorale cantata cycle. [2] [3] The prescribed readings for the Sunday were from the First Epistle to the Corinthians, on the gospel of Christ and his (Paul's) duty as an apostle (1 Corinthians 15:1–10), and from the Gospel of Luke, the parable of the Pharisee and the Tax Collector (Luke 18:9–14).
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]