|Tritt auf die Glaubensbahn|
|J. S. Bach|
|Occasion||Sunday after Christmas|
|Cantata text||Salomon Franck|
|Performed||30 December 1714 : Weimar|
|Vocal||soprano and bass solo|
Tritt auf die Glaubensbahn (Step upon the path of faith), BWV 152, is a church cantata by Johann Sebastian Bach. He composed this dialogue cantata in Weimar for the Sunday after Christmas and first performed it on 30 December 1714.
On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the Schlosskirche (palace church), on a monthly schedule. :1–7), and from the Gospel of Luke, Simeon and Anna talking to Mary (Luke2:33–40). The gospel is the passage following the canticle of Simeon. The cantata text was written by Salomon Franck, the Weimar court poet, who published it in Evangelisches Andachts-Opffer in 1715. The gospel refers to Isaiah (Isaiah8:14–15) and Psalm 118 (Psalms118:22), mentioning "a stone of stumbling and for a rock of offence" and the "stone which the builders refused". The poet refers to it, stating that God laid the stone of foundation, and man should not take offence. Jesus is then addressed as a stone beyond all gems. The cantata text is a dialogue of Jesus and the Soul and concludes with a duet, asking to reject the "world" and follow Jesus. This cantata is the earliest extant example of a dialogue, used again in Bach's third annual cycle of cantatas written in Leipzig.He composed the cantata for the Sunday after Christmas. The prescribed readings for the Sunday were from the Epistle to the Galatians, through Christ we are free from the law (Galatians4
Bach first performed the cantata on 30 December 1714.
The cantata in six movements is scored for two soloists—soprano and bass—and four solo instruments: recorder, oboe, viola d'amore, viola da gamba and basso continuo.Bach himself wrote in the extant score "Concerto à 1 Flaut. 1 Hautb. 1 Viola d'Amour. 1 Viola da Gamba. Sopr. è Baßo coll' Organo." The cantata is Bach's only one using the viola d'amore.
The cantata is intimate chamber music for only two voices, soprano and bass, and four solo instruments.Christoph Wolff notes the "colourful and delicate effects achievable with these forces".
The opening sinfonia in two sections is reminiscent of a French overture, which Bach had used with a meaning in Nun komm, der Heiden Heiland, BWV 61, a few weeks earlier. The theme of the fugue is similar to that of Bach's fugue for organ, BWV 536.The fugue is one of few instrumental fugues in Bach's cantatas.
The first aria is given to the bass, who invites the Soul (and the listener) to "step upon the path of faith". It is accompanied by an obbligato oboe and seems to illustrate the path (Glaubensbahn) in scales. The recitative is divided in two sections, following the contrast of "böse Welt" (evil world) and "seliger Christ" (blessed Christian) in recitative and arioso. The words "zum Fall" (for destruction) (literally: for fall) is pictured in a downward leap of a tenth. The second aria, sung by the soprano, is like a prayer. The middle section is only four measures long, and the da capo repeat is shortened. The voice is accompanied by recorder and viola d'amore.
The final duet, a love duet of Jesus and the Soul, is structured in sections, separated by parts of the ritornello which is repeated completely in the end. Each section contains first dialogue, then a canon illustrating unity.Klaus Hofmann notes: "With its dance rhythm, reminiscent of a gigue, the music delightfully illustrates the image of the heart turning to holy unity".
Angenehmes Wiederau, freue dich in deinen Auen, BWV 30.1, is a 1737 secular cantata by Johann Sebastian Bach, on a libretto by Christian Friedrich Henrici (Picander). Bach reused some of its music in later works, including Freue dich, erlöste Schar, BWV 30.2, one of his church cantatas, which was nearly entirely modelled after the secular composition.
Die Freude reget sich, BWV 36.3, BWV 36b), is a secular cantata composed by Johann Sebastian Bach. The work appears to date from c. 1737-1738, when Bach was living in Leipzig. Bach drew on material he had composed more than a decade earlier for the cantata Schwingt freudig euch empor, BWV 36.1.
Schwingt freudig euch empor, BWV 36.1, is a secular cantata by Johann Sebastian Bach. He composed it in Leipzig, most likely in 1725. There is evidence that the cantata was performed in April or May that year, and that it was re-staged six years later for the 40th birthday of Johann Matthias Gesner. Bach reused parts of the cantata in two other secular cantatas, and in a church cantata for the first Sunday in Advent, Schwingt freudig euch empor, BWV 36.
Johann Sebastian Bach composed the church cantata Ich geh und suche mit Verlangen, BWV 49, in Leipzig for the twentieth Sunday after Trinity Sunday and first performed it on 3 November 1726. It is a solo cantata, a dialogue of soprano and bass.
Mer hahn en neue Oberkeet, BWV 212, is a secular cantata by Johann Sebastian Bach. It was entitled the "Cantate burlesque" by Bach himself, but is now popularly known as the Peasant Cantata. It is the last definitely dated Bach cantata.
Erforsche mich, Gott, und erfahre mein Herz, BWV 136 is a church cantata by Johann Sebastian Bach. Bach composed the cantata in 1723 in Leipzig to be used for the eighth Sunday after Trinity. He led the first performance on 18 July 1723.
Johann Sebastian Bach composed the church cantata Ihr, die ihr euch von Christo nennet, BWV 164 in Leipzig for the 13th Sunday after Trinity and first performed it on 26 August 1725.
Johann Sebastian Bach composed the church cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162, in Weimar for the 20th Sunday after Trinity and first performed it in 1715 or 1716.
Selig ist der Mann, BWV 57, is a church cantata by Johann Sebastian Bach. He wrote the Christmas cantata in Leipzig in 1725 for the Second Day of Christmas, which was celebrated that year as St. Stephen's Day, and first performed it on 26 December 1725.
Mein liebster Jesus ist verloren, BWV 154, is a church cantata by Johann Sebastian Bach. He composed it for the first Sunday after Epiphany and first performed it in Leipzig on 9 January 1724.
Mein Gott, wie lang, ach lange?, BWV 155, is a church cantata by Johann Sebastian Bach. He first performed it in Weimar on the second Sunday after Epiphany, on 19 January 1716.
Himmelskönig, sei willkommen, BWV 182, is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Palm Sunday, and first performed it on 25 March 1714, which was also the feast of the Annunciation that year.
Auf Christi Himmelfahrt allein, BWV 128, is a church cantata by Johann Sebastian Bach. Bach composed it in Leipzig for the Feast of the Ascension and first performed it on 10 May 1725.
Durchlauchtster Leopold, BWV 173.1, is a secular cantata by Johann Sebastian Bach. Bach composed the cantata for performance in Köthen to celebrate the birthday of Leopold von Anhalt-Köthen. The cantata is one of a series of congratulatory works which Bach wrote for this employer. Some of them are lost, while others such as Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66.1 can be reconstructed because Bach reused the music later. Durchlauchtster Leopold is unusual in surviving in a complete state.
Johann Sebastian Bach composed the church cantata Was soll ich aus dir machen, Ephraim, BWV 89, in Leipzig for the 22nd Sunday after Trinity and first performed it on 24 October 1723.
Meinen Jesum laß ich nicht, BWV 124, is a church cantata written by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the first Sunday after the Epiphany and first performed it on January 7th of 1725. It is based on the hymn "Meinen Jesum laß ich nicht" by Christian Keymann.
In allen meinen Taten, BWV 97, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1734 for an unspecified occasion. The text consists of the unchanged words of the hymn by Paul Fleming (1642).
Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145, is a five-movement church cantata on a libretto by Picander which Johann Sebastian Bach, as its composer, probably first performed in Leipzig on Easter Tuesday, 19 April 1729. As a seven-movement pasticcio, with one of the added movements composed by Georg Philipp Telemann, it is an Easter cantata known as So du mit deinem Munde bekennest Jesum or as Auf, mein Herz!.
Johann Sebastian Bach composed the church cantata Wohl dem, der sich auf seinen Gott, BWV 139, in Leipzig for the 23rd Sunday after Trinity and first performed it on 12 November 1724. The chorale cantata is based on the hymn by Johann Christoph Rube (1692).
Auf, schmetternde Töne der muntern Trompeten, BWV 207.2, is a secular cantata composed by Johann Sebastian Bach and likely premiered in 1735. It utilizes the music from the third movement of the Brandenburg Concerto No. 1 in F major.