I stand with my open grave before me Cantata for the 3rd Sunday after Epiphany by Johann Sebastian Bach 4-Part - Sheet Music

By Johann Sebastian Bach

Ich steh mit einem Fuss im Grabe ("I stand with my open grave before me") BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale.

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Details

Instrument:
Choir Voice
Ensembles:
4-Part SATB Mixed Choir
Genres:
Christian Baroque Period
Composers:
Johann Sebastian Bach
Publishers:
Carus Verlag
Series:
Stuttgart Urtext Edition
ISBN:
9790007186777
Format:
Score
Item types:
Physical
Musical forms:
Cantata
Artist:
Johann Sebastian Bach
Usages:
Epiphany
Size:
8.27 x 11.69 inches
Number of Pages:
28
Shipping Weight:
0.34 pounds

Soli SATB, SATB Choir, Ob, 2 Vl, Va, Bc (Soli SATB, Coro SATB, Ob, 2 Vl, Va, Bc)

SKU: CA.3115600

Cantata for the 3rd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Carus digital: Sheet music as PDF. Sacred vocal music, Cantatas, Epiphany. Full score. Composed 1729. BWV 156. 28 pages. Duration 17 minutes. Carus Verlag #CV 31.156/00. Published by Carus Verlag (CA.3115600).

ISBN 9790007186777. 8.27 x 11.69 inches. Language: German/English.

Ich steh mit einem Fuss im Grabe ("I stand with my open grave before me") BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale.