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Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Ingrid Jach. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Carus digital: Sheet music as PDF. Sacred vocal music, Cantatas, Special days. Full score. BWV 149. 52 pages. Duration 22 minutes. Carus Verlag #CV 31.149/00. Published by Carus Verlag (CA.3114900).
ISBN 9790007097769. 8.27 x 11.69 inches. Key: D major. Language: German/English. Text: Christian Friedrich Henrici (Picander).
In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor.
Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Ingrid Jach. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Carus digital: Sheet music as PDF. Sacred vocal music, Cantatas, Special days. Full score. BWV 149. 52 pages. Duration 22 minutes. Carus Verlag #CV 31.149/00. Published by Carus Verlag (CA.3114900).
ISBN 9790007097769. 8.27 x 11.69 inches. Key: D major. Language: German/English. Text: Christian Friedrich Henrici (Picander).
In composing the Cantata BWV 149 Bach reverted to parts of an earlier work: The opening chorus is a parody of the Jadgkantate BWV 208 (Hunting Cantata). In addition to smaller changes which were made necessary due to the text, Bach used trumpets instead of horns. For this purpose he transposed the movement from F major to C major. Musically, the form of the three arias and their instrumentation is rich in variety. The bass aria (2nd mvt.) is characterized by an active continuo accompaniment. After the secco recitative an extended dance like soprano aria with string accompaniment follows. The third aria (6th mvt.) is impressive due to the animated melody and the forming of a canon between the voices, and especially through the entry of the bassoon as the instrumental counterpart to a duet between the alto and tenor.
Preview: The voice of rejoicing and hope
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