Ich will an den Himmel denken, Aria, No. 2 from Cantata No. 166: Wo gehest du hin? (Oboe Part)

Free download. Book file PDF easily for everyone and every device. You can download and read online Ich will an den Himmel denken, Aria, No. 2 from Cantata No. 166: Wo gehest du hin? (Oboe Part) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Ich will an den Himmel denken, Aria, No. 2 from Cantata No. 166: Wo gehest du hin? (Oboe Part) book. Happy reading Ich will an den Himmel denken, Aria, No. 2 from Cantata No. 166: Wo gehest du hin? (Oboe Part) Bookeveryone. Download file Free Book PDF Ich will an den Himmel denken, Aria, No. 2 from Cantata No. 166: Wo gehest du hin? (Oboe Part) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Ich will an den Himmel denken, Aria, No. 2 from Cantata No. 166: Wo gehest du hin? (Oboe Part) Pocket Guide.

We were forced to call for an intermission in an attempt to make running repairs. Tools and expert advice were proffered, and after much banging and hammering we were able to continue.

Nikolaus Harnoncourt

Only help me also to manage my home and to regulate my affairs, etc. Founded by the Beauchamp family the earls of Warwick in the twelfth century, it was twice rebuilt after massive fires, one in , the other exactly years later. But that impression turned out to be only skin deep. Bach is constantly challenging his listeners to consider what it is to be alive, using his music to tease new meanings out of the Gospel texts. In BWV Wo gehest du hin he reminds us how ephemeral human life is, and what a potential mess we make of it and its opportunities; but how there are signposts to be read, props to lean on and compass bearings to bring us back on course, even at the times when we sense we are most alone—when God appears to have abandoned us to our own murky devices.

In the end it is the vox Christi, the bass soloist, who does it for them. With its shifting stresses within a triple metre, this opening arioso is an understated yet deeply affecting prelude to the cantata. A tenor aria with violin and oboe obbligato follows in serene meditation, balancing thoughts of heaven with worldly preoccupations. Bach sidesteps the danger brilliantly. He constructs an orchestral minuet, but then interrupts each phrase-fragment with frivolous cascades of paired semiquavers, a foil for the buffo melismas given to the alto soloist.

The giggling is infectious: voice, oboe and the complete string band at one point erupt in gales of unison laughter. It is in moments like these that we glimpse Bach refusing to be cowed by the solemnity of the liturgy, willing to look behind the curtain of religion and, like any practised man of the theatre, ready to use humour when it helps open his listeners to the realities of life, to the world and its ways.

Bach, J.s.

Yet he also knows exactly when to restore order. I feel it lends itself to quiet a cappella treatment: after the buffonerie of the alto aria it provides a means of focussing the listener on the import of words which, for a congregation, can easily lose their shine through repetition and over-familiarity. Both begin not with the usual chorus but with a bass solo vox Christi , and reserve the chorus for the end BWV or the middle and the end BWV Both works are constructed on a sort of arpeggiated tonal staircase of keys suggestive of the imminent descent of the holy spirit at Pentecost leading downwards in BWV from B flat to g, c, D, B flat, and g, and in BWV from A to f sharp, D to b.

They look intractable on the page, but emerge persuasively spirited in performance. One of a group of works in which the hymn text is retained unaltered per omnes versus, it has no specific liturgical designation but was surely composed for an especially important celebration or a service of thanksgiving.

Typically Bach finds different formulae for each verse ending. For a text which was in itself monotonous, Bach needed to be especially resourceful. As she points out, the central seven movements Nos contain bars between them. This in turn could explain why the opening and closing choruses are each bars long: by the same process, 8 movements gives us bars, a number which can be reduced to 8, and 9 movements total bars, which can be reduced to 9.

Whether one accepts that Bach began by formulating a mathematical grid to fill, I do not sense that the musical inspiration feels diminished or constrained as a result. Chacun des deux mouvements suivants est un joyau. Bach conjure brillamment le danger.

Hyperion Records

Dort steht, in wunderbar erhaltenem Zustand, die alte Schlosskapelle aus dem Was mag sich Herzog Friedrich II. Jede Kantate ist eine Reise, eine theologische und musikalische Entwicklung. Diese zweite Version vom Dieser Dualismus wird in der Alt-Arie Nr. Das haben sie mit Sicherheit am Was Bach tut, ist noch viel erstaunlicher.

«Lutzogram» on the introductory workshop

Die Alt-Arie Nr. Die Tenor-Arie Nr. Wir schmunzelten beide.

Ich will an den Himmel denken (BWV 166 - J.S. Bach) Score Animation

Sie war im Ich kann mir auch viel leichter vorstellen, dass Bach bei der Komposition eines Werkes, das von einer unwiderstehlichen Freude getragen wird, eher mathematisch intuitiv als bewusst kalkulierend vorgegangen ist. It was a real thrill to play this wonderful instrument, but certainly not without problems. For a start I had to learn the music in a different key—old German organs are tuned higher than modern concert pitch. Then the unseasonably warm weather, together with the warm breath of a capacity audience, raised the pitch of the organ still further.

Then there was the issue of how to co-ordinate with the orchestra. Would you like to enjoy our videos ad-free? Subscribe to YouTube Premium now Alto Terry Wey. Bass Markus Volpert. This is no banal enquiry as to the way, but a stern, fatherly admonition to remain on the right path. Because the surviving violin II part of the cantata only indicates a doubling of the solo part, there is much material missing for a complete realisation of the movement.

Listeners now expecting music of courage and inspiration to ensue, will, however, be met with disappointment. Ich will an den Himmel denken und der Welt mein Herz nicht schenken.

Amber and Ashes

Denn ich gehe oder stehe, so liegt mir die Frag im Sinn: Mensch, ach Mensch, wo gehst du hin? Denn es kann leicht auf Erden vor abends anders werden, als man am Morgen nicht gedacht. Hin geht die Zeit, her kommt der Tod; ach wie geschwinde und behende kann kommen meine Todesnot. Support the Bachipedia project as a donor - in order to spread Bach's vocal works worldwide and to make them accessible to young people in particular. Thank you very much!

~ A weekly guide to Bach cantatas according to the Lutheran Church year

Bachipedia — a project of the J. Bach Foundation The J. Video Listen and see the introductory workshop, the concert and the reflection lecture in full length.

  • Wo gehest du hin, BWV 166 (Bach, Johann Sebastian).
  • Wo gehest Du hin.
  • JS Bach 'Nobel Peace' Booklet | cantusmusicaustralia.
  • Surviving Schizophrenia : A Voice From the Grave.
  • Hyperion Records.
  • Johann Sebastian Bach , Johann Nikolaus Forkel and Charles Sanford Terry.
  • Photovoltaic Industrial Systems: An Environmental Approach!

Reflection lecture. Audio The sound recording of this work can be found on all common streaming and download platforms. Choir Soprano Guro Hjemli. Reflection lecture Speaker Katharina Hoby Peter. Matching publications in our shop. Bach er lebt II Wo gehest Du hin

  • 시리즈&저자 신간알리미 신청.
  • Mathematical Methods for Physical and Analytical Chemistry.
  • The Time Machine [with Biographical Introduction]!
  • Preparing for Dental Practice!
  • Entrepreneurship and Economic Transition in Central Europe.
  • II. Music For The Clavier With Other Instruments.
  • Planets in Play: How to Reimagine Your Life Through the Language of Astrology;