• Be not afraid, I am with you by Johann Sebastian Bach 4-Part - Sheet Music
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Be not afraid, I am with you Motette by Johann Sebastian Bach 4-Part - Sheet Music

By Johann Sebastian Bach

The motet Fürchte dich nicht, ich bin bei dir has long posed various puzzles for Bach scholars. Nothing is known about the occasion or date of its composition, and the musical text itself only survives in contradictory and partially incorrect sources. This motet possibly came from Bach’s Weimar period. The double-choir first section of the motet – beginning with the basses of both choirs declaiming the first line of text like a motto in unison – is followed by a second part in which the biblical text is simultaneously combined with a chorale (here in the soprano), a popular stylistic device in Thuringian and Saxon motets throughout the 18th century.

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Summary
Instrument:
Choir Voice
Ensembles:
4-Part SATB SATB/SATB Double Choir
Genres:
Christian Baroque Period
Composers:
Johann Sebastian Bach
Publishers:
Carus Verlag
Series:
Stuttgart Urtext Edition
ISBN:
9790007050955
Format:
Score
Item types:
Physical
Instructionals:
Methods and More
Artist:
Johann Sebastian Bach
Arrangers:
Paul Horn
Usages:
Confirmation Baptism Funeral
Main Key:
A major
Number of Pages:
24
Size:
8.27 x 11.69 inches
Shipping Weight:
0.18 pounds
Detailed Description
Coro SATB/SATB, [Bc] - Grade 4

SKU: CA.3122800

Motette. Composed by Johann Sebastian Bach. Edited by Günter Graulich. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Carus plus: Innovative practice aids. Sacred, Motets; Stuttgart Urtext editions; Occasions: Confirmation, Baptism, Mourning, Death. Full score. Composed circa 1726. BWV 228. 24 pages. Duration 9 minutes. Carus Verlag #CV 31.228/00. Published by Carus Verlag (CA.3122800).

ISBN 9790007050955. 8.27 x 11.69 inches. Key: A major. Language: German/English.

The motet Fürchte dich nicht, ich bin bei dir has long posed various puzzles for Bach scholars. Nothing is known about the occasion or date of its composition, and the musical text itself only survives in contradictory and partially incorrect sources. This motet possibly came from Bach’s Weimar period. The double-choir first section of the motet – beginning with the basses of both choirs declaiming the first line of text like a motto in unison – is followed by a second part in which the biblical text is simultaneously combined with a chorale (here in the soprano), a popular stylistic device in Thuringian and Saxon motets throughout the 18th century.

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