by Rebecca Cochran
Bach was a master of the gigue. This lively French dance originated from the British jig. Usually appearing at the end of a suite or other work, it was typically written in triple time (three beats per bar). The number 3 was certainly not lost on Bach.
For me, the gigue from Cantata No. 7 represents Bach at his ebullient best. The aria is scored for tenor voice, accompanied by two violins. The writing is intricate and challenging, with the violins sometimes imitating each other a bar apart.
Have a listen to the aria, Des Vaters Stimme liess sich hören, featuring tenor, Ian Bostridge and Europa Galante led by Fabio Biondi here. I guarantee you’ll feel like dancing!
Bach was a master of the gigue. This lively French dance originated from the British jig. Usually appearing at the end of a suite or other work, it was typically written in triple time (three beats per bar). The number 3 was certainly not lost on Bach.
For me, the gigue from Cantata No. 7 represents Bach at his ebullient best. The aria is scored for tenor voice, accompanied by two violins. The writing is intricate and challenging, with the violins sometimes imitating each other a bar apart.
Have a listen to the aria, Des Vaters Stimme liess sich hören, featuring tenor, Ian Bostridge and Europa Galante led by Fabio Biondi here. I guarantee you’ll feel like dancing!
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