Es erhub sich ein Streit, BWV 19

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Es erhub sich ein Streit (There arose a war), BWV 19, is a sacred cantata composed by Johann Sebastian Bach.

It was composed in Leipzig in 1726 for the for the Feast of Saint Michael and All Angels (known in the Lutheran calendar as Michaelmas Day), which occurs yearly on 29 September, date of the work's first performance.

The prescribed readings for the day are Revelations 12: 7-12 and Matthew 18: 1-11. The text of the cantata was written by Christian Friedrich Henrici (Picander)[1], with the exception of verse 7, whose author is Christoph Demantius.

The chorale theme is Freu dich sehr, o meine Seele, which was codified by Louis Bourgeois when setting the Geneva Psalm 42 in his collection of Pseaumes octante trios de David (Geneva, 1551). Bourgeois seems to have been influenced by the secular song Ne l’oseray je dire contained in the Manuscrit de Bayeux published around 1510.

Contents

[edit] Scoring and structure

The piece is scored for trombe I/II/III, timpani, oboes I//II, oboe da caccia, oboes d'amore I/II, violins I/II , viola, and basso continuo, three vocal soloists (soprano, tenor, and bass) and four-part choir. It is in seven movements:

  1. (Coro): "Es erhub sich ein Streit" for choir, trombe I-III, tamburi, violin I & oboe I in unison, violin II & oboe II in unison, viola, and continuo.
  2. Recitativo: "Gottlob! der Drache liegt" for bass and continuo.
  3. Aria: "Gott schickt uns Mahanaim zu" for soprano, oboes d'amore, and continuo
  4. Recitativo: "Was ist der schnöde Mensch, das Erdenkind?" for tenor, strings and continuo.
  5. Aria & Chorale: "Bleibt, ihr Engel, bleibt bei mir!" for tenor, tromba, strings, and continuo.
  6. Recitativo: "Laßt uns das Angesicht" for bass and continuo.
  7. Chorale: "Laß dein' Engel mit mir fahren" for choir, trombe I-III, tamburi, violin I & oboe I col Soprano, violin II & oboe II coll'Alto, viola col Tenore, and continuo.

[edit] Recordings

[edit] References

  1. ^ C. S. Terry and D. Litti, Bach's Cantata Libretti, Journal of the Royal Musical Association 1917 44(1):71-125; doi:10.1093/jrma/44.1.71

[edit] Sources

[edit] External links

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