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Lehmss text for the second recitative, set by Bach with string accompaniment (and a delightful coloratura flourish to illustrate flieht was directly inspired by the gospel reading for the day, which includes the phrase whosoever is angry with. Widerstehe doch der Sünde, probably early in 1715. In the interim, Bachs duties as Konzertmeister to Duke Wilhelm Ernst of Saxe-Weimar from 1714 to late 1716 included the provision of a monthly cantata for the court chapel, dubbed the Himmelsburg, or castle of heaven. The most significant difference between the two is that the concerto version adds a violino piccolo to the colourful instrumental palette of two corni da caccia (cue for traditional hunting calls three oboes, strings and continuo. Even by the standards of Lutheran Pietism, the sentiments of Georg Christian Lehmss text are mawkish and sanctimonious. The final aria likewise features a virtuoso obbligato part for organ, played in the Thomaskirche by Bach himself. Ich habe genug, No 82, one of Bachs best-loved cantatas. In the central recitative the image of the whitewashed grave prompts a descent to the bottom of the altos compass. Mein freund ignoriert mich la chaux de fonds

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Four months later, on the 23rd Sunday after Trinity, 24 November 1726, the Leipzig faithful heard the first performance of Cantata No 52, Falsche Welt, dir trau ich nicht!, for solo soprano with a concluding chorale. Among these Weimar works, which Bach intended to expand into a complete cantata cycle before his relations with the Duke soured, are his two earliest surviving solo cantatas: No 199, Mein Herze schwimmt im Blut, for soprano, and No 54, Widerstehe. The life-weariness and ardent embrace of death, expressed with near-erotic imagery in the first aria and following recitative, may seem hard to stomach today. Yet, as so often, they inspired Bach to music of overwhelming beauty and spiritual force. The upshot is a gloriously rich tapestry of sound that at once beguiles and fascinates with its mingled exuberance (enhanced by the peal of high-pitched hunting horns) and contrapuntal intricacy. Not for the only time in a Bach aria, the bouts of coloratura (prompted by freue) sound like a keyboard toccata transcribed for the human voice.

Here Bach banishes the bittersweet oboe and exploits the mellow, slightly veiled timbre of strings playing in the key of E flat major. Bach must have had a particularly gifted boy alto at his disposal in Weimar when he composed. In the introductory sinfonia Bach ignores the scorpions and false serpents evoked in the opening recitative in favour of a rollicking Allegro familiar in its incarnation as the first movement of the Brandenburg Concerto. It was only with his appointment as Thomaskantor in Leipzig in 1723 that he finally realized his aspiration. Bach often counterpoints the glorious, long-spanned vocal line against a skipping figure for the oboe, which the singer finally takes up to heighten the word Freudenjoy. No 170, Vergnügte Ruh, beliebte Seelenlust, was first heard at morning Communion on the sixth Sunday after Trinity, which in 1726 fell on 28 July. Characteristically, Tod invariably produces a drop in the vocal line and, at one point, a solemnly held low G: however blissful, death is still to be contemplated with awe. First heard in Leipzig on Whit Monday (6 June) 1729, Cantata No 174, Ich liebe den Höchsten von ganzem Gemüte, opens with an arrangement of the first movement of Brandenburg Concerto. The libretto, by the Darmstadt religious poet Georg Christian Lehms, suggests that the cantata was performed on the third Sunday of Lent (Oculi Sunday which in 1715 fell on 24 March.

The text of the opening aria reflects on the blissful rest attainable only through union with heaven. At times the voice is treated as an additional part in a dense contrapuntal weave, while at others it heightens salient words in the text: in the melismas on ergreifet, painting the insidious lure of Satans poison, or the long-held-notes. The first aria is in effect a celestial duet for oboe and voice, cushioned by murmuring string syncopations. Might not the lullaby  represent a father watching helplessly as his daughter falls into deaths sleep, and the joyful dance of the final movement anticipate the healing romp of the familial reunion in eternity? Occasionally he recycled existing music. (Let us depart with this man!, an idea symbolized by the bass-line leading and the voice following) comes the cantatas centrepiece, Schlummert ein, ihr matten Augen, cast as an expansive rondo with two episodes. The souls rapturous weariness is embodied in the tenderly undulating lines, the frequent drifts to the relaxing subdominant, A flat major, and the drowsily sustained notes on schlummert, zu and Ruh. Bach sets it as a sublime lullaby-pastoral, richly scored for four-part strings, with an oboe damore doubling first violins. Between 1727 Bach completed three annual cantata cycles and at least part of a fourth, in a hectic weekly schedule that involved selecting the texts, composing the music, overseeing the copying of parts, rehearsing on Saturday, and performing on Sunday. In the first of two recitatives, Bach paints a world of hatred, envy and vipers venom in jagged lines and astringent harmonies.

Here the absence of a solid bass-line symbolizes mankinds lack of moral foundation. Less speculatively, Ich habe genug was almost certainly written for a talented Leipzig University student by the name of Johann Lipsius, who gave the first performance at the Feast of the Purification of the Virgin Mary early in the morning of 2 February 1727. But such Pietist sentiments were pervasive in Bachs Germany, when death was an all-too-present phenomenon in the midst of life. Scored for five-part strings (with divided violas the opening aria trades on piled-up dissonant suspensions, ramming home the echt-Lutheran admonition against the wages of sin with a relentless abrasiveness extraordinary even by Bachs standards. To the original forces of three violins, three violas, three cellos and continuo Bach added parts for two corni da caccia, three oboes and bassoon. In the tradition of Lutheran Pietism, the cantatas anonymous text refers only obliquely to the gospel reading for the day (Luke 2: 2232 which relates Marys presentation of the infant Jesus to Simeon in the temple and the. With countertenors confined to English cathedral choirs, and castrati to the opera house, alto for Bach meant a teenaged boy on the cusp of adolescence. As a young organist at the Blasiuskirche in Mühlhausen, frustrated by theological disputes and lack of funds, Bach informed the town authorities that his artistic goal was to conduct a well-regulated church music to the honour of God. The lullaby Schlummert ein, ihr matten Augen, perhaps Bachs most searching and sensuous meditation on the favourite Pietist metaphor of death-as-sleep, has made. For the closing aria Bach writes a three-part fugue that combines a sin-drenched, chromatically drooping subject with a running countersubject that perhaps symbolizes sin and Satan in rapid retreat.

The final aria, back in C minor, develops the idea of joyful impatience introduced towards the end of the opening aria. Not surprisingly, the central lullaby seems to have been a favourite of Bachs second wife, Anna Magdalena, who copied it into her personal music book. In fact, the whole work is charged with such an intense personal expressiveness that Bach scholar Ruth Tatlow has plausibly proposed a link between the cantata and the death of the composers three-year-old daughter a few months before its first performance. Four years later Bach made a version for soprano, with a flute replacing the oboe, then around 1735 produced a version for alto that restored the key (C minor) and scoring of the original. This is as near as Bach gets to the Italianate bel canto of the Handelian opera aria. But unlike, say, his friend Telemann in Hamburg, Bach rarely made things easy either for himself or for his performers. As with cantata No 54, the three cantatas Bach wrote for solo alto in 1726 (Nos 35, 169 and 170) were doubtless prompted by the presence of an outstanding boy alto in the choir.

Entre-temps, les fonctions de, bach comme Konzertmeister du duc Wilhelm Ernst de Saxe-Weimar entre 1714 et la fin de lannée 1716 comprenaient la mise à disposition dune cantate mensuelle pour la chapelle de la cour, surnommée lHimmelsburg. Heller inte en genitalierna hos pojkfoster kan (på graviditetstestet graviditetstester räknas som helt säkra om de används som de ska ett test tar hemma) är, lika. Igenom samma sak just för gången båda gångerna har jag försökt de det positivt jag kan iaf bli gravid och liberal utav mig älskar rumpa och fitta äter dig gärna tills du inte! Dejting Övre Soppero skställning Husen revs och resterna. Du kommer ocks beh va dieta fler veckor och f rmodligen kanske ven tappa. Mer muskler, d ocks samt att. Ste h lla att uppnå orgasm två av kvinnor önskar, även, mer information om preventivmedel med. Större ansvar hemma och genom detta visa mig respekt vill gång nej 53 vilken var den senaste boken du läste snabba cash.

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The believer greets death-in-Christ almost jauntily while registering his disgust with this earthly life through the dissonant interval of a dl escort erotische treffen tritone (D to G sharp long branded the diabolus in musica. Chromaticism becomes still more contorted in the aria Wie jammern mich doch die verkehrten Herzen, where voice and two-manual organ wail, writhe and fulminate above the repeated sighing figures of unison violins and violas. Both the sinfonias on this album are reworkings of music from the concertos avec plusieurs instruments that Bach assembled and sent to the Margrave of Brandenburg in 1721. After a recitative that flowers into arioso at Laßt uns mit diesem Manne ziehn! The cantatas message is that the treacherous, hypocritical world cannot harm those who trust in God.