![]() ![]() In 2000 under his overall artistic direction, the first complete recording of all the works of Bach came to fruition. He was the first conductor to record all the sacred Bach cantatas on LP record. Helmuth Rilling’s career as a conductor is closely associated with J. It is moving how the urgent hope of life after death gains expression in the final chorale through this device. For the upper part Bach places the fermata an eighth note later. The fermata at the end of the lines are notated on quarter notes. In addition Bach gives the first trumpet and the first violin an obbligato part – the radiance of the resurrection shines on the chorale. As is often the case, the chorale is sung in a four-part setting by the chorus. The final verse of the same hymn appears as the final chorale: “So fahr ich hin zu Jesu Christ”. The hope of a continued personal life after death is expressed in an enraptured, meditative way. Line by line, the chorale “Wenn mein Stündlein vorhanden ist” is also heard in the violins and violas. The third aria “Letzte Stunde brich herein” unfolds as a dialog between soprano and oboe. This has a liveliness through the constant sixteenth notes in the upper part, but also a warmth through the scoring for two viola parts. Bach embeds the tenor aria “Adam muss in uns verwesen” in a movement for strings. The beginning of the text “Fürst des Lebens, starker Streiter” sets off a majestic dotted rhythm which defines the whole piece. The first aria for the bass is accompanied only by continuo. The constant change of tempo in the recitatives results in an exceptionally varied and lively interpretation of the text. ![]() He follows this with an adagio section, harmonically recalling the preceding Passion story, and ends with a third section which takes up the vitality of the opening.īach writes a two-part recitative and aria for each of the three soloists. In the introductory chorus, unusually in five parts, Bach’s allegro music has a captivating, enthusiastic character. All the instruments seem to rush past in unison, then praise the risen Lord in soloistic passages and chordal blocks. Bach first greets the risen Christ with a magnificent Sinfonia dominated by the trumpets. The Easter story is vividly stamped onto each movement of this early cantata. The heavens laugh, the earth exults in gladness. ![]()
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