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Herr, wenn die stolzen Feinde schnauben (Lord, when our insolent enemies snort), [1] BWV 248 VI (also written as BWV 248 VI), is a church cantata by Johann Sebastian Bach, composed for Epiphany as the sixth part of his Christmas Oratorio for the Christmas season of 1734–35 in Leipzig.
[26] [27] In the second half of the 1720s Bach often collaborated with Picander as a librettist for his cantatas. The Shepherd Cantata, BWV 249a, first performed on 23 February 1725, one of Bach's secular cantatas, is an early example of such cantata. [28] Bach reused the music of this cantata in the 1725 first version of his Easter Oratorio. [29]
Johann Sebastian Bach composed Entfliehet, verschwindet, entweichet, ihr Sorgen (Flee, dissolve, fade away, you cares), [1] BWV 249a, [a] later BWV 249.1, as a secular cantata for the birthday of Christian, Duke of Saxe-Weissenfels, and performed on 23 February 1725. The work is also known as Shepherd Cantata or Shepherds' Cantata (German ...
A Christmas cantata or Nativity cantata is a cantata, music for voice or voices in several movements, for Christmas.The importance of the feast inspired many composers to write cantatas for the occasion, some designed to be performed in church services, others for concert or secular celebration.
Most cantatas made reference to the content of the readings and to Lutheran hymns appropriate for the occasion. The melodies of such hymns often appeared in cantatas, for example as in the four-part settings concluding Bach's works, or as a cantus firmus in larger choral movements. Other occasions for church cantatas include weddings and ...
First page of the first part of Bach's Christmas Oratorio (1734). This is a chronological list of oratorios from the 16th century to the present. Unless otherwise indicated, all dates are those when the work was first performed.
The cantata ends with a chorale, stanza 10 of Paul Gerhardt's hymn " Ich hab in Gottes Herz und Sinn". Bach festively scored the seven-movement cantata, for two vocal soloists (tenor and bass), a four-part choir and a Baroque instrumental ensemble of two horns, two recorders, two oboes da caccia, strings and basso continuo. All recitatives are ...
The Cantata Santa Maria de Iquique represented Quilapayun at the Segundo Festival de la Nueva Canción Chilena (NCCh) (Second Festival of the New Chilean Song).. Despite the success of the work, it had its share of critics within the music world at the time of its release; some critics saw this work as too pretentious, complex and classical for it to be part of a popular neo-folkloric movement.