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Motette. Composed by Johann Sebastian Bach. Edited by Günter Graulich. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Furchte Dich Nicht (Motette) Rev.2003. Sacred, Motets; Stuttgart Urtext editions; Occasions: Confirmation, Baptism, Mourning, Death. Set of parts. Composed circa 1726. BWV 228. 60 pages. Duration 9 minutes. Carus Verlag #CV 31.228/09. Published by Carus Verlag (CA.3122809).
ISBN 9790007050962. 9 x 12 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.
Motette. Composed by Johann Sebastian Bach. Edited by Günter Graulich. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Furchte Dich Nicht (Motette) Rev.2003. Sacred, Motets; Stuttgart Urtext editions; Occasions: Confirmation, Baptism, Mourning, Death. Set of parts. Composed circa 1726. BWV 228. 60 pages. Duration 9 minutes. Carus Verlag #CV 31.228/09. Published by Carus Verlag (CA.3122809).
ISBN 9790007050962. 9 x 12 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.
Preview: Be not afraid, I am with you
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