| 作曲者 | Johann Sebastian Bach (1685-1750)・ヨハン・セバスティアン・バッハ |
| タイトル | Liebster Immanuel, Herzog der Frommen, BWV 123（ヴォーカル・スコア） |
| サブタイトル | Cantata for Epiphany |
| 出版社 | Carus・カールス |
| シリーズ名 | Stuttgart Bach Edition |
| 楽器編成（詳細） | Soli ATB,Coro SATB,2 Fl,2 Obda,2 Violins,Viola,Basso continuo |
| 品番 | M007166465 |
| 校訂者 | Frieder Rempp |
| 言語 | ドイツ語・英語 |
| 形状 | 28 ページ・19 x 27 cm・90 g・ソフトカバー |
| 演奏時間 | 22分 |
| 出版年 | 2015年 |
| 出版番号 | CV 31.123/03 |
| ISMN | 979-0-007-16646-5 |
| サンプル | https://www.carusmedia.com/images-intern/medien/30/3112303/3112303x.pdf |
This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements – two secco recitatives and a tenor and a bass aria – are concerned with the contrast between the hostile world and the certainty of Jesus, the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias.