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Cantata for the 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Stuttgart Urtext Edition: Bach vocal. Complete orchestral parts. Sacred vocal music, Cantatas, Trinity, Praise and thanks. Set of parts. Composed 1726. BWV 35. Duration 31 minutes. Carus Verlag #CV 31.035/19. Published by Carus Verlag (CA.3103519).
ISBN 9790007187255. 9 x 12 inches. Language: German/English.
The alto cantata "Geist und Seele wird verwirret" has seven movements; in the opening movements of the two parts of the cantata, a lost concerto by Bach survives in its original form, which he had arranged for organ. There is also an obbligato organ part in all the three arias, sometimes including virtuosic writing. Lehms takes the Gospel reading for the 12th Sunday after Trinity, which deals with the healing of a deaf and dumb person, and makes it apply more universally: God wants to open the ears of the faithful soul and loosen its tongue, so that it can praise his wonderful works. Unlike most of the other cantatas, in line with the text model Bach avoids the use of a choir for the concluding movement of the work. The cantata was written for the 12th Sunday after Trinity which fell on 8 September 1726 in the year of its first performance. The text comes from the collection Gottgefalliges Kirchen-Opffer by Georg Christian Lehms, who was court poet and court librarian in Darmstadt. From his Weimar period onwards, Bach set several texts from this collection. Score and parts available separately - see item CA.3103500.
Cantata for the 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Stuttgart Urtext Edition: Bach vocal. Complete orchestral parts. Sacred vocal music, Cantatas, Trinity, Praise and thanks. Set of parts. Composed 1726. BWV 35. Duration 31 minutes. Carus Verlag #CV 31.035/19. Published by Carus Verlag (CA.3103519).
ISBN 9790007187255. 9 x 12 inches. Language: German/English.
The alto cantata "Geist und Seele wird verwirret" has seven movements; in the opening movements of the two parts of the cantata, a lost concerto by Bach survives in its original form, which he had arranged for organ. There is also an obbligato organ part in all the three arias, sometimes including virtuosic writing. Lehms takes the Gospel reading for the 12th Sunday after Trinity, which deals with the healing of a deaf and dumb person, and makes it apply more universally: God wants to open the ears of the faithful soul and loosen its tongue, so that it can praise his wonderful works. Unlike most of the other cantatas, in line with the text model Bach avoids the use of a choir for the concluding movement of the work. The cantata was written for the 12th Sunday after Trinity which fell on 8 September 1726 in the year of its first performance. The text comes from the collection Gottgefalliges Kirchen-Opffer by Georg Christian Lehms, who was court poet and court librarian in Darmstadt. From his Weimar period onwards, Bach set several texts from this collection. Score and parts available separately - see item CA.3103500.
Preview: Soul and spirit are astounded
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