What is it troubles thee, my heart Cantata for the 15th Sunday after Trinity by Johann Sebastian Bach 4-Part - Sheet Music

By Johann Sebastian Bach

Although "Warum betrübst du dich, mein Herz" (What is it troubles thee, my heart) BWV 138 is based on the chorale of the same name, it is nevertheless not regarded as one of Bach’s chorale cantatas. In this unusual composition from Bach’s first cycle of cantatas, further chorale verses were not paraphrased in the freely-composed sections (as in the chorale cantatas). Instead the chorale occurs in dialog with the recitatives. It assumes the role of the comforter, whilst doubts are expressed through the recitatives. This leads to recitative and chorale being merged into larger movements. In the only aria in the cantata, trust in God finally prevails. The cantata ends with a final chorale verse; in the interludes between the lines, Bach ignites a roaring virtuoso firework display.

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Details

Instrument:
Choir Voice Basso Continuo
Ensembles:
4-Part SATB Mixed Choir
Genres:
Christian Baroque Period
Composers:
Johann Sebastian Bach
Publishers:
Carus Verlag
Series:
Stuttgart Urtext Edition
ISBN:
9790007183332
Format:
Score
Item types:
Physical
Musical forms:
Cantata
Artist:
Johann Sebastian Bach
Usages:
Sacred
Size:
8.27 x 11.69 inches
Number of Pages:
44
Shipping Weight:
0.48 pounds

SATB vocal soli, SATB choir, 2 oboe d'amore, 2 violins, viola, basso continuo (Soli SATB, Coro SATB, 2 Obda, 2 Vl, Va, Bc)

SKU: CA.3113800

Cantata for the 15th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Carus digital: Sheet music as PDF. Sacred vocal music, Cantatas, Trinity. Full score. Composed 1723. BWV 138. 44 pages. Duration 20 minutes. Carus Verlag #CV 31.138/00. Published by Carus Verlag (CA.3113800).

ISBN 9790007183332. 8.27 x 11.69 inches. Language: German/English.

Although "Warum betrübst du dich, mein Herz" (What is it troubles thee, my heart) BWV 138 is based on the chorale of the same name, it is nevertheless not regarded as one of Bach’s chorale cantatas. In this unusual composition from Bach’s first cycle of cantatas, further chorale verses were not paraphrased in the freely-composed sections (as in the chorale cantatas). Instead the chorale occurs in dialog with the recitatives. It assumes the role of the comforter, whilst doubts are expressed through the recitatives. This leads to recitative and chorale being merged into larger movements. In the only aria in the cantata, trust in God finally prevails. The cantata ends with a final chorale verse; in the interludes between the lines, Bach ignites a roaring virtuoso firework display.