Christ lag in Todesbanden (II), chorale prelude for organ, BWV 718 (BC K119)

Contents:

Please enable Javascript in your browser's settings, and reload this page.

Christ lag in Todesbanden, BWV718

So sing we Hallelujah! O'er Death no man could prevail, If mortal e'er came near him; Through guilt all our strength would fail, Our sinful hearts did fear him. Therefore Death did gain the day, And lead in triumph us away, Henceforth to dwell emprisoned.

Our grievous guilt He hath removed, And Death hath bound in prison. All his might Death must forego. For now he's nought but idle show, His sting is lost for ever. God of old, the Scriptures show, Did promise that it should be so. O Death, where's now thy victory? Of saving love the token. His blood ransoms us from sin, And Death no more can enter in. Now Satan cannot harm us. So keep we all this holy feast. Bach structured the cantata in eight movements: The duration is given as 22 minutes. The title of the original parts of the first Leipzig performance is in Johann Christoph Altnickol 's handwriting: Bach", [30] [c] In this late version, Bach scored the work for four vocal parts soprano S , alto A , tenor T , and bass B , and a Baroque instrumental ensemble consisting of strings, brass and continuo.

Please enable Javascript in your browser's settings, and reload this page.

Christ lag in Todes Banden (also spelled Todesbanden) BWV 4, is a cantata for Easter by "Bach - Chorale Prelude 'Christ lag in Todesbanden' BWV ( orch. Stokowski)". donnsboatshop.com Retrieved 30 May Newspapers. Christ lag in Todesbanden is an Easter hymn by Martin Luther. Its melody is by Luther and . (BWV –), consisting of a two-part fughetta above the chorale melody in the bass; Christ lag in Todes Banden, BWV , is chorale prelude.

They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition. The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" [32] and its style "medieval": In the following table of the movements, the scoring and keys follow the Neue Bach-Ausgabe. Luther's hymn is based on the 12th-century Easter hymn " Christ ist erstanden " Christ is risen , which relies both in text and melody on the sequence for Easter, Victimae paschali laudes.

Recordings

A slightly modified version appeared in in a hymnal by Kluge. Bach's organ works and the version in the cantata use the passing notes and regular rhythmic patterns of the version.

Unlike in Bach's later cantatas, all movements are in the same key. The cantata begins with an instrumental sinfonia. The seven stanzas are treated in seven movements as chorale variations per omnes versus for all stanzas , with the melody always present as a cantus firmus. The symmetrical sequence of the seven stanzas is a feature more often found in Bach's mature compositions: John Eliot Gardiner , who conducted the Bach Cantata Pilgrimage in , calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", observing that Bach was "drawing on medieval musical roots the hymn tune derives from the eleventh-century plainsong Victimae paschali laudes ", and noting Bach's "total identification with the spirit and letter of Luther's fiery, dramatic hymn".

The cantata begins with an instrumental sinfonia a work in the style of an overture to a contemporary Venetian opera , with chordal passages and occasional polyphony. Christ's death on the cross and burial. The opening stanza, " Christ lag in Todes Banden " Christ lay in death's bonds [2] is treated as a chorale fantasia.

Christ lag in Todesbanden

Without instrumental opening, the movement starts with the chorale tune sung by the soprano in very long notes, with all other parts entering soon after the soprano begins each choral statement. The violin parts are independent and, as Traupman-Carr notes "further activate the texture with a virtually continuous exchange of sixteenth-note snippets". The final Halleluja is faster, giving up the fantasia format for a four-part fugue and in motet style, with all instruments doubling the voices.

Related Video Shorts (0)

Hymn by Martin Luther. Bach has the music almost freeze on the first words " den Tod " death , and the word " gefangen " imprisoned is marked by a sharp dissonance of the soprano and alto. Support us Help us to complete All of Bach! Considering that all of this takes place in five minutes, this chorale arrangement is a miracle of conciseness and efficiency. Click here Do you believe that this item violates a copyright? From Wikipedia, the free encyclopedia. West, and the translation of the cantata's text by Paul England.

The second stanza, Aria Duetto , is a duet of soprano and alto, " Den Tod niemand zwingen kunnt " No one could defeat death , [2] over an ostinato continuo. Bach has the music almost freeze on the first words " den Tod " death , and the word " gefangen " imprisoned is marked by a sharp dissonance of the soprano and alto.

The tenor sings the chorale melody almost unchanged. The music stops completely on the word "nichts" nothing. The violins then present in four notes the outline of the cross, and finally the tenor sings a joyful "Halleluja" to a virtuoso violin accompaniment. It is sung by the four voices, accompanied only by the continuo.

The alto sings the cantus firmus, transposed by a fifth to B- Dorian , [37] while the other voices follow each other in a fugal stretto with entries just a beat apart until they fall away one by one. In the final Halleluja in all four voices, the bass descends nearly two octaves.

It may be the first time that Bach used these rhythms. Bach's original setting of the final stanza, " Wir essen und leben wohl " We eat and live well , [2] is lost; it may have been a repeat of the opening chorus.

Christ lag in Todesbanden - Wikipedia.
Royalists and Royalism during the English Civil Wars!
The Cure for Poverty: Its the Free Market: Historys Greatest Invention?

The original autograph parts are kept in the Bach-Archiv Leipzig. They were copied from the lost autograph score by six scribes, four of them known by name, including the composer. A manuscript score by Franz Hauser, dating from c. It bears a comment on page The cantata was first published in as No. The piano reduction was by John E. West, and the translation of the cantata's text by Paul England.

Product details

Drinker 's translation Christ lay by death enshrouded appeared in a score edited by Arnold Schering and published by Eulenburg in Norton with an extended introduction and bibliography by Gerhard Herz. Would you like to tell us about a lower price? Learn more about Amazon Prime. Read more Read less. Kindle Cloud Reader Read instantly in your browser. Product details File Size: April 25, Sold by: Related Video Shorts 0 Upload your video.

Customer reviews There are no customer reviews yet. Share your thoughts with other customers. Write a customer review. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers.

BWV - Christ lag in Todesbanden - All of Bach

Learn more about Amazon Giveaway. Set up a giveaway. Feedback If you need help or have a question for Customer Service, contact us.