Weinen, Klagen, Sorgen, Zagen (Weeping, lamenting, worrying, fearing), BWV 12, is a church to form the Crucifixus movement of the Credo in his Mass in B minor. Franz Liszt based extended keyboard compositions on the same material. This paper presents an analytical view of Liszt’s Variations on J. S. Bach’s Weinen, Klagen, Sorgen, Zagen motive, and in particular examines. Here you will find a variety of high quality sheet music for Organ for beginners and advanced players! Order fast & secure, even without regist.

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Both works bear a dedication to Anton Rubinstein, and both are based on the same wonderful theme. The table entries are excerpted from the list of recordings from the selection on the Bach-Cantatas website.

Sei getreu, alle Pein.

Church cantatas by Johann Sebastian Bach compositions. Retrieved 16 December His predecessor, Johan Kuhnau, had already noted that “visitors and distinguished gentlemen certainly want to hear something fine klagsn the principal churches. The voice enters with the same motif.

The middle section of the line about the Christians ” die weeinen Zeichen Jesu tragen ” that bear the marks of Jesus[1] first marked “un poco kllagen, is in a contrasting mood. Church cantata by J. The site is also available in several languages. The twelfth repeat is instrumental.

Von Gott poetisch-musikalisch reden: The Variations are not simply an expansion of the earlier piece, although there are a few fragments in common. Retrieved 25 April Bach was appointed Konzertmeister in Weimar in the spring kiszta position that called for the performance of a church cantata each month.


The text is also repeated in the middle section, as Bach was still experimenting with the da capo form. The lamentoa chromatic fourth ostinato, is repeated twelve times. A ritornello frames part A, but also accompanies the vocal entry.

He reworked the first section of the first chorus to form the Crucifixus movement of the Credo in his Mass in B minor. Sigiswald Kuijken La Petite Bande.

Weinen, Klagen, Sorgen, Zagen, BWV 12 – Wikipedia

The ninth repeat is similar to the first, but in more extreme harmonies. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music wrinen all styles and from all periods from the twelfth century to the twenty-first. In the second aria, ” Ich folge Christo nach ” I follow after Christ[1] the decision to follow Jesus is made. Retrieved 16 August Hyperion offers both CDs, and downloads in a number of formats.

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The cantata is scored for three vocal soloists, a four-part choir, trumpetoboebassoontwo violinstwo violasand basso continuo. Views Read Edit View history. The setting is wenen, until in the seventh repeat all voices continue the text simultaneously: In other projects Wikimedia Commons.

The first choral movement, ” Weinen, Klagen, Sorgen, Zagen ” Weeping, lamentation, weknen, despair[1] is in da capo form. Retrieved from ” https: Retrieved 12 August Gottes verborgenes und offenbares Handeln in Bachs Kantaten in Deinen.

During the last aria, ” Sei getreu, alle Pein ” Be faithful, all pain[1] the trumpet plays the chorale tune ” Jesu, meine Freude ” as a cantus firmus ; [11] Bach may jlagen thought of the stanza “Weicht, ihr Trauergeister” Go away, mournful spirits. Franck contends that this is true not only for the disciples who were addressed directly, but for every Christian.


This page was last edited on 13 Novemberat Masaaki Suzuki Bach Collegium Japan. The Schlosskirche in Weimar. Retrieved 15 April The form of the aria follows the bar form of the chorale instead of the usual da capo form.

The music illustrates the union of the four contrasting elements all beginning with K: Retrieved 26 September Kreuz und Kronen sind verbunden. The Prelude of is a dignified and restrained piece with just one dramatic outburst, all within the framework of a passacaglia which unfolds 25 variations on the motif. In the following table of the movements, the scoring follows wenen Neue Bach-Ausgabe.

Variationen ├╝ber das Motiv von Bach, S.180 (Liszt, Franz)

He composed it in Weimar for Jubilatethe third Sunday after Easterand led the first performance on 22 April in the Schlosskirchethe court chapel of the Schloss in Weimar. The cantata is opened by a Sinfoniamarked adagio assaiwhich resembles the slow movement of an oboe concerto, with an expressive and plaintive solo. Franz Liszt based extended keyboard compositions on the same material.

BWVfor Pentecost. Throughout the middle section, the instruments play colla parte with the voices.

Don’t show me this message again. Beginning with the highest voice, each part sings wdinen extended sigh. Retrieved 16 April The complete music for solo piano, Vol.