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Composed by Christoph Graupner. Aus Der Tiefen Rufen Wir (1723). Sacred vocal music, Cantatas, Epiphany. Set of parts. Composed 1723. GWV. Duration 16 minutes. Carus Verlag #CV 10.352/19. Published by Carus Verlag (CA.1035219).
ISBN 9790007141905. 9 x 12 inches. Language: German/English.
The cantata Aus der Tiefen rufen wir, GWV 1113/23a, by Christoph Graupner was written as a trial composition for the cantorate of the Thomaskirche left vacant by the death of Johann Kuhnau. It was performed in Leipzig on the 2nd Sunday after Epiphany in 1723 along with a number of other such audition pieces. This expressive cantata essentially consists of a single large-scale multi-part choral movement with solo sections. The powerful opening chorus draws its effect from the tutti passages with brass-intensified tutti sections contrasting with more restrained solos. This continues into the second movement, which is situated between arioso and accompagnato – again with full instrumentation and choral parts. A repetition of the opening is followed by another choir-solo interchange, culminating in a choral fugue. The fact that this cantata departs so radically from Bach’s model is a salutary reminder of the wholly different path that church music could have taken in Leipzig from 1723.
Composed by Christoph Graupner. Aus Der Tiefen Rufen Wir (1723). Sacred vocal music, Cantatas, Epiphany. Set of parts. Composed 1723. GWV. Duration 16 minutes. Carus Verlag #CV 10.352/19. Published by Carus Verlag (CA.1035219).
ISBN 9790007141905. 9 x 12 inches. Language: German/English.
The cantata Aus der Tiefen rufen wir, GWV 1113/23a, by Christoph Graupner was written as a trial composition for the cantorate of the Thomaskirche left vacant by the death of Johann Kuhnau. It was performed in Leipzig on the 2nd Sunday after Epiphany in 1723 along with a number of other such audition pieces. This expressive cantata essentially consists of a single large-scale multi-part choral movement with solo sections. The powerful opening chorus draws its effect from the tutti passages with brass-intensified tutti sections contrasting with more restrained solos. This continues into the second movement, which is situated between arioso and accompagnato – again with full instrumentation and choral parts. A repetition of the opening is followed by another choir-solo interchange, culminating in a choral fugue. The fact that this cantata departs so radically from Bach’s model is a salutary reminder of the wholly different path that church music could have taken in Leipzig from 1723.
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