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Cantata for Sexagesima. Reconstruction Reinhold Kubik. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Leichtgesinnte Flattergeister. Sacred vocal music, Cantatas, Special days. Choral score. Composed 1724. BWV 181. 8 pages. Duration 14 minutes. Carus Verlag #CV 31.181/05. Published by Carus Verlag (CA.3118105).
ISBN 9790007050160. 8.27 x 11.69 inches. Key: E minor / b minor. Language: German/English.
The cantata Leichtgesinnte Flattergeister (Frivolous flutter-spirits), BWV 181, composed for Sexagesima (the second Sunday before Lent) in 1724, has survived only incompletely. The missing obbligato instrumental part of the second aria has been reconstructed for our edition by Reinhold Kubik. It is likely that the cantata was originally performed without woodwinds; the surviving flute and oboe parts, which merely follow the first violin, are clearly later additions. The work opens with a bass aria whose staccato theme is a lively depiction of the "flutter-spirits" in the text. An uplifting final chorus (seemingly based on a secular model) with obbligato trumpet ends this chorale-free cantata.
Cantata for Sexagesima. Reconstruction Reinhold Kubik. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Leichtgesinnte Flattergeister. Sacred vocal music, Cantatas, Special days. Choral score. Composed 1724. BWV 181. 8 pages. Duration 14 minutes. Carus Verlag #CV 31.181/05. Published by Carus Verlag (CA.3118105).
ISBN 9790007050160. 8.27 x 11.69 inches. Key: E minor / b minor. Language: German/English.
The cantata Leichtgesinnte Flattergeister (Frivolous flutter-spirits), BWV 181, composed for Sexagesima (the second Sunday before Lent) in 1724, has survived only incompletely. The missing obbligato instrumental part of the second aria has been reconstructed for our edition by Reinhold Kubik. It is likely that the cantata was originally performed without woodwinds; the surviving flute and oboe parts, which merely follow the first violin, are clearly later additions. The work opens with a bass aria whose staccato theme is a lively depiction of the "flutter-spirits" in the text. An uplifting final chorus (seemingly based on a secular model) with obbligato trumpet ends this chorale-free cantata.
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