by Rebecca Cochran
Bach’s Cantata 152, Tritt auf die Glaubensbahn (Step upon the path of faith), was composed in Weimar in 1714 for the Sunday after Christmas. It is one of his earliest examples of a dialogue cantata, or Concerto in Dialogo (concerto in dialogue). The dialogue, often between Jesus and the soul (bass and soprano), resembles a miniature opera.
This cantata is unique in that it is the only one in which Bach used viola d’amore, a 6- or 7-stringed instrument with sympathetic (or resonance) strings.
Enjoy this recording featuring the American Bach Soloists with Jeffrey Thomas, conductor, Christine Brandes, soprano and William Sharp, bass.
Bach’s Cantata 152, Tritt auf die Glaubensbahn (Step upon the path of faith), was composed in Weimar in 1714 for the Sunday after Christmas. It is one of his earliest examples of a dialogue cantata, or Concerto in Dialogo (concerto in dialogue). The dialogue, often between Jesus and the soul (bass and soprano), resembles a miniature opera.
This cantata is unique in that it is the only one in which Bach used viola d’amore, a 6- or 7-stringed instrument with sympathetic (or resonance) strings.
Enjoy this recording featuring the American Bach Soloists with Jeffrey Thomas, conductor, Christine Brandes, soprano and William Sharp, bass.
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