About this work
The organ does not merely accompany this cantata: it is one of the protagonists. The sinfonia places it opposite the orchestra with concerto-like energy, and its obbligato lines later surround the alto voice. The balance is delicate. An over-present keyboard covers the words; an overly forceful singer loses the instrumental flexibility that animates the entire work.
In the title arioso, the phrase concentrates on a few words and should remain very simple. The following aria develops the same idea over a broader curve. To rehearse it, first identify shared points of support between alto, organ, and continuo. Ornaments remain part of the line, and consonants must not break long notes.
The second aria sets a tense inward movement against highly active instrumental writing. There is no need to make the words more dramatic than they already are: rhythmic precision and vocal colour are enough. The final chorale introduces the ensemble only at the close. Its restraint suddenly changes the scale and completes the cantata with collective clarity.
What the document containsthe alto part, obbligato organ, orchestra, and final chorale;a 23-page PDF;no accompanying MIDI file.The file presents the whole cantata, from the sinfonia to the chorale.