Background Information
Performer Bios

Poet/Composer Bios

Additional Information

Recordings & Discussions of Cantatas: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Cantatas BWV Anh | Order of Discussion
Discussions of General Topics: Cantatas & Other Vocal Works | Performance Practice | Radio, Concerts, Festivals, Recordings

Cantata BWV 179
Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei
Discussions - Part 4

Continue from Part 3

Discussions in the Week of August 16, 2015 (4th round)

William Hoffman wrote (August 15, 2015):
Cantata BWV 179, 'Siehe zu, daß deine Gottesfurch' Intro. & Trinity 11

Cantata BWV 179 “Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei” (See that your fear of God is not hypocrisy) was first performed on a double bill with Cantata 199 on August 8, 1723, for the 11th Sunday after Trinity, at the early main service of the Leipzig Nikolaikirche, sermon preacher Deacon M. Friedrich Werner (1659-1741), says Richard Petzoldt in BACH Kommentar, Vol. 1, Trinity Sundays.1 It is a chorus cantata in mirror form with 2 oboes, 2 oboes da caccia, strings, and bc, lasting about 19 minutes and possibly set to a Christian Weiss Sr. text. The Gospel reference is Luke 18:13b, when the Publican says, “God be merciful to me a sinner,” in the Parable of the Pharisee and the Publican (Luke 18:9-14.). The closing chorale, Christoph’ Tietze’s pietist 1663 “Ich armer Mensch, ich armer Sünder” (I poor man, I poor sinner,) is set to the melody, “Wer nur den lieben Gott läßt walten” (Who only the loving God lets govern).2

Textually and theologically, the theme of hypocrisy is repeated from Cantata 136, “Erforsche mich, Gott, und erfahre mein Herz” (Search me, God, and know my heart, Psalm 139:23), for the Eighth Sunday After Trinity, observes Eric Chafe in “Bach and Hypocrisy: Truth and Appearance in Cantatas 136 and 179.3 The opening motet chorus sets the theme of hypocrisy with a quote from Ecclesiaticus. The “musical theme is clearly related to the text” and the rest of Cantata 179 deals with the day’s Gospel, says Walter Blankenburg in the Karl Richter recording liner notes.4

“In the two recitatives and arias which follow,” says Blankenburg, “the story of the Pharisee and the Publican is handled in such a way that the Pharisaical spirit is vividly present and then contrasted with the publican’s humility which, in the second recitative, is set before the listener as a model for the Christian. The Publican’s prayer appears in the second aria and is echoed in the final chorale-verse, ‘Ich armer Mensch’…. Especially noteworthy from the musical point of view among the solo pieces is the second aria, ‘Liebster Gott, erbarme dich,’ which summarizes with great expressiveness the spirit of the Publican’s prayer.”

Composition, Contrafaction, Texts

Cantata 179 involves several compositional distinctions as Bach began to master his settings of sermon-like texts in the first cycle. The opening chorus and both arias in Cantata 179 were set as contrafaction to Latin texts in the Kyrie-Gloria Masses. The opening chorus was Bach’s first use of the old-fashioned motet style with alle breve 2/2 tempo style beginning in strict fugal form here with four episodes. Of particular note is the technique of chromatic word- painting on “with false heart” (mit falschem Herzen –see Julian Mincham’s comments below).

The tenor aria (no. 3), “Falscher Heuchler Ebenbild / Können Sodomsäpfel heißen” (The appearance of false hypocrites / can be called Sodom’s apples), in its later version in the “Short Mass” in A, BWV 234 shows Bach’s rare use of non-continuo writing. For the previous Sunday, Cantata 46 has an alto aria in the so-called “bassetto” texture. The soprano aria (no. 5), “Liebster Gott, erbarme dich” (Dearest God, be merciful), is reminiscent of the love aria, “Aus Liebe,” also with “bass-less” technique, found in the 1727 St. Matthew Passion. The theme of having mercy is explored in Chafe’s article, “Bach and Hypocrisy” (Ibid.).

The opening chorus of Cantata 179 has Bach’s rare use of Apocrypha, (Ecclesiasticus 1:28) as a biblical quote, to set the theme, observes W. Gillies Whittaker in The Cantatas of JSB.5 The others are the 1707 memorial Cantata 106, “Gottes Zeit ist die allerbeste Zeit” (God's time is the very best time), in the Chorus (no. 2d), “Es ist der alte Bund: / Mensch, du mußt sterben!” (It is the old covenant: / Man, you must die!, Ecclesiasticus 14:17), and 1729 wedding Cantata 120a, “Herr Gott, Beherrscher aller Dinge” (Lord God, ruler of all things), Chorus (no. 2), “Nun danket alle Gott, der große Dinge tut an allen Enden” (Now thank the God of all who does great things everywhere, Ecclesiaticus 1:22).

The essential penitential/judgment theme for these early-middle Trinity Time Sundays motivated Bach to create choruses and arias which he found appropriate to recycle as contrafactions in his settings of the Kyrie-Gloria Masses, MBV 232-236 in the 1730s, as well as, possibly, parodied biblical turba choruses in the St. Mark Passion, BVW 247.

Contrafaction is found in the following: Cantata 179/1, chorus “Siehe zu” became the Kyrie eleison (Lord, have mercy, no. 1) of the Mass No. 4 in G Major, BWV 436; the tenor aria (no. 3), “Falscher Heuchler Ebenbild / Können Sodomsäpfel heißen” (The appearance of false hypocrites / can be called Sodom’s apples) became the “Quoniam tu solus sanctus” (For Thou only art holy, no. 5) in same Mass; and the Cantata 179 soprano aria (no. 5), “Liebster Gott, erbarme dich” (Dearest God, be merciful), became the “Qui tollis pecca mundi” (Thou that takes away the sins of the world), no. 4, in the Mass No. 2 in A, BWV 234.

Just previously, Bach had set the opening chorus of Cantata 136, “Erforsche mich Gott (Search me, God) for the Eighth Sunday after Trinity, as the chorus, “Cum sancto spiritu (With the Holy Spirit), no. 6, in Mass No. 2), and the opening chorus of Cantata 46, “Schauet doch und sehe” (Behold ye and see), for the 10th Sunday after Trinity as the “Qui tollis” chorus, no. 9) in the Mass in B Minor, BWV 232.

The closing hymn text, “Ich armer Mensch, ich armer Sünder,” is an <omnes tempore>7-stanza general plea for mercy not found in the <NLGB>. Further details are found in the recent BCW discussions of Chorale Cantata BWV 93 (Trinity 8) and Cantata 88 (Trinity 9). For the text and Francis Browne English translation, see BCW The chorale melody (<omnes tempore>) is Georg Neumark’s (1657) “Wer nur den lieben Gott läßt walten” (Who only the loving God lets govern). [See, BCW:, Chorales for the 5th Sunday after Trinity (Cantata 93)]

Trinity 8-11 Cantatas: Shared Structure, Themes

The chorus cantatas for Trinity 8-11 have shared structures and similar themes, says Julian Mincham Introduction and opening chorus, Chapter 13 BWV 179, “Siehe zu.6 << The interesting group of four rather more compact texts that Bach was (presumably) given to set at this stage of the church year [Trinity 8-11] all tend to have depressing themes (Cs 136, 105, 46 and 179). This is equally true of C 199, the work that follows this cantata but as we shall see, with that work Bach breaks with the practice he had instituted and presents his first Leipzig solo cantata. C179 shares its structure with the three that preceded it, beginning as it does with a chorus, thence alternating recitatives and arias and closing with the expected chorale. But Bach being Bach, could wrest enormous degrees of variety even from a relatively fixed format.

C 179 is, perhaps, less about sorrow and misery than its predecessors and more about the justifiable anger which is vented at the hypocrites who say one thing but act and feel otherwise. Drawn from this rant is an observation about the sorry state of Christianity and a final plea for God to have mercy on a poor sinner.

Opening Chorus. Bach both breaks with, and re-establishes, traditions with his opening chorus; the form is archaic, the harmonic language modern. To date, he has not presented at Leipzig an opening movement in the form of a traditional German motet. The strings have no interdependence of their own and merely double the singers; only the continuo line displays a degree of autonomy. But although the form is antique and tra, Bach′s display of contrapuntal and harmonic techniques within a framework of tonality rather than modality is very up to date.

The text of the chorus is short and direct----ensure that your fear of God is not rooted in hypocrisy and do not serve Him with a heart that is false. The key to Bach′s sophisticated structuring lies with the word----falschem. It is usually translated as ′false′ but it also has intimations of forging or counterfeiting; in other words producing a copy or fake of an original. It would seem that this inspired Bach to introduce the four voices not in the conventional fugal manner but with voices in mirror opposites of each other i.e. the bogus imitation, the copy which is not quite true to the originals.

Thus the basses enter with the main subject, to be answered by the tenors′ inversion of it i.e. turning it completely upside down.>>

Trinity 11 Theme, Readings Motets & Hymns7

The church music of Bach for the 11th Sunday after Trinity is grounded in traditional Lutheran teaching and music, with the dominant theme of repentance as part of the Lutheran concept of the “New Life of Righteousness.” It is the last of the six Sundays of this Trinity Time conceptual cycle that began on the Fifth Sunday after Trinity, preceded by the initial cycle dealing with “The Kingdom of Grace and the “Call” to enter therein.

The 11th Sunday after Trinity, closes the six-Sunday Trinity Time internal cycle of the “New Life of Righteousness.” The previous five Sundays after Trinity had focused on the “New Life of Righteousness” in Jesus, replacing the Old Righteousness of the Law of the Scribes and Pharisees; the “holding out” for a “better righteousness”; adding to it the “gift of God”; warning of the false doctrines and prophets; and exhorting to that new life the necessity of faith, loyalty, fidelity, and stewardship [Paul Zeller Strodach, <The Church Year>, United Lutheran Publication House, Philadelphia PA, 1924: 211].

The texts and chorales relate to the Sunday Gospel, Luke 18: 9-14, the “Parable of the Pharisee and the Publican,” found only in the third Gospel. They show the contrast between the Old Testament law observance of the proud, priestly Pharisee and the Gospel of the humble Publican, a Roman contractor and servant, with his plea of mercy as a sinner and his need for the personal Jesus. The parable of the two contrasting men also represents the Middle Trinity Time Gospel pairing of Jesus’ parables and miracles, in this case with the Gospel for the subsequent 12th Sunday after Trinity: Mark 7: 31-37, “Miracle of the Deaf Man,” the first of Jesus’ healing miracles at the beginning of his public ministry. Thus the theme of repentance is couple with healing.

Re-enforcing the theme of repentance is the central Christian doctrine of the Resurrection of Christ, found in this Sunday’s Epistle, 1 Corinthians 15: 1-10, the Apostle Paul’s testimonial of Christ’s Resurrection. Together with other readings, they reflect on penitential themes of the sinner’s forgiveness. Epistle and Gospel Readings for the 11th Sunday after Trinity are found at BCW, The German text is that of Luther’s translation published in 1545, the English is the Authorised (King James) Version 1611.

The Introit Psalm for the 11th Sunday after Trinity is penitential Psalm 130, De profundis (Out of the depths have I cried to thee, O Lord, KJV ), says Petzoldt (Ibid.: 249. Petzoldt calls Psalm 130 the “Prayer for the Forgiveness of Sins.” Bach set Psalm 130 as Cantata 131, “Aus der Tiefen rufe ich, Herr, zu dir,” for a Mühlhaüsen memorial service in 1707 and it includes the Ringwaldt chorale, “Herr Jesu Christ, du höchstes Gut.” The KJV English text of Psalm 130 is found at

For the 11th Sunday after Trinity, the Leipzig cantor presented four different cantatas between 1723 and 1726, utilizing a variety of texts and associated penitential chorales: Cantatas BWV 179, (chorus) and 199 (soprano solo repeat) on a double bill, August 8, 1723, and BWV 113 (chorale cantata, 1724), as well as a Rudolstadt one-part cantata of cousin Johann Ludwig (JLB 15) in 1726. In addition, based on the psalm and texts appropriate for this Sunday, Petzoldt’s BACH Commentary (Ibid.) includes texts and discussions of two Bach general sacred works: chorus Cantata 131, “Aus der Tiefe, Rufe ich, Herr” (Out of the Depths, Call I, Lord, penitential Psalm 130), and Bach's 1740s German motet setting, "Tilge, Höchester, meine Sünden" (Blot out, Highest, My Sins, penitential Psalm 51, BWV 1083.

Trinity 11 Cantatas 179, 199

The titles of the four Trinity 11 cantatas and their chorales reveal the various facets of humility and penitence:

*Chorus Cantata 179, ”Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei” (See that your fear of God is not hypocrisy) to the opening hymn stanza, “Ich armer Mensch, ich armer Sünder” (I poor man, I poor sinner,) set to the melody, “Wer nur den lieben Gott läßt walten” (Who only the loving God lets govern);

*Solo Cantata 199, “Mein Herz schwimmt im Blut” (My heart swims in blood), with the hymn stanza No. 3, “Ich, dein betrübtes Kind, / Werf alle meine Sünd” (I, your troubled child / cast all my sins) from “Wo sol lich fliehen hin?” (Where should I fly from here?);

*Chorale Cantata 113, “Herr Jesu Christ, du höchstes Gut” (Lord Jesus Christ, you highest good) with the closing Stanza 8, “Stärk mich mit deinem Freudengeist” (Strengthen me with your joyful spirit); and

*Cantata JLB-15, “Durch dein Erkenntnis wird er, mein Knecht” (Through thy recognition will he, my servant) with two different chorales: “Zion klagt mit Angst und Schmerzen” (Zion mourns with anxiety and pain) and stanza 10, ““Darum allein auf dich,/ Herr Christ, verlaß ich mich” (Therefore on you alone, / Lord Christ, I rely” from ““Wo sol lich fliehen hin?,” also found in Cantata 199.

For the 11th Sunday after Trinity in 1725 (August 12), no cantata performance is documented.

In addition, for the 11th Sunday After Trinity in 1728 (August 8), the Picander published cycle lists Cantata P-54, “Ich scheue mich, Gerechter Gott” (I shy away, righteous God) to the Johann Rist chorale “Werde munter, meine Gemüte” (harmonized in plain chorales BWV 359-60). It is listed in the <NLGB> as No. 208, “Morgengesänge (Morning Song), melody to various texts. The Cantata text closes with Stanza 6, “Laß mich diese Nacht empfinden/ Eine sanft und süße Ruh” (Let me experience this night/ a sweet and gentle rest. Although Bach did not set this text, it appears that Picander, probably with the blessing of Bach and the Consistory, approved the text for publication.

In summary, the cantatas Bach presented or considered for the 11th Sunday After Trinity in Leipzig between 1723 and 1728 are a balance between law and gospel, moving toward the affirmative, as are the Trinity Time chorales prescribed for the 11th Sunday After Trinity in Leipzig which Bach did not use in the cantatas he presented on that Sunday. They rely primarily on repentance hymns prescribed in the Dresden hymn schedules for this day, observes Günther Stiller, <JSB and Liturgical Life in Leipzig>: 243f.

Trinity Time Chorales Repeated

“The chorales are less specifically prescribed for this Sunday, having all been options for earlier Sundays in the Trinity season, observes Douglas Cowling’s 10/6, [Bach Cantatas] Motets & Chorales for Trinity 11;BCW:

In< Das Neu Leipziger Gesangbuch> (1682), for the 11th Sunday after Trinity, four thematic chorales featured in previous Trinity Time Sundays are listed, as well as the repeat appearances of two Trinity Time Luther Catechism chorales: the penitential hymn setting of Psalm 130, the <De profundis>, ”Aus tiefer Not Schrei ich zu dir” (Out of the depths I cry to thee), and the setting of the Lord’s Prayer, “Vater unsim Himmelreich” (Our Father in the heavenly kingdom).

1. “Erbarm dich mein, o Herre Gott,” penitential Psalm 51 (Prayer for Forgiveness), NLGB 256, (Tr. 3, 13, 14, 22)
2. “O Herre Gott begnade mich,” Psalm 51 meditation, NLGB 257 (Tr, 13, 19, 22)
3. “Allein zu dir, Herr Jesu Christ (Catechism-Confession), NLGB 178 (Tr. 3, Tr. 22, Tr. 24)
For Bach’s uses of these chorales, see BCW:; Motets & Chorales for 3rd Sunday after Trinity, CHORALES for Pulpit and Communion Hymns.
4. “Es ist das Heil uns kommen her” (It is the salvation that comes to us); omnes tempore proclamation) NLGB p. 230 (no hymn number) (Eph. 4, Setuagesima; Tr. 6, 13, 18), see BCW:; Musical Context of Bach Cantatas: Motets & Chorales for 6th Sunday after Trinity, Hymn of the Day.
5. “Aus tiefer not Schrei ich zu dir" (Tr. 1, 19, 21), NLGB No. 270; Motets & Chorales for 6th Sunday after Trinity, William Hoffman wrote (June 10, 2011), Trinity Time Chorales for Various Services:
‘Bach also set another Luther Psalm chorale: "Aus tiefer Not schrei ich zu dir" (Out of the depths I cry to Thee) the <de profundis" (Psalm 130) as Chorale Cantata BWV 38 for Trinity +21, as well as the organ chorale preludes BWV 686 Clavierübung (Catechism), and BWV 1099 (Neumeister). The melody is listed in the Orgelbüchlein as an <omne tempore> Catechism chorale, No. 67, "Confession, Penitence, and Justification," but not set.’ See, BCW:,
6. “Vater unser im Himmelreich” (Tr. 7, 15, 25), NLGB No. 175; see BCW,, Motets & Chorales for 7th Sunday after Trinity.

Bach Psalm 51 setting, ‘Tilge, Höchester’

Motet BWV 1083, BCML Discussions Parts 2, including full English translation (Psalm 51, 20 verses, Z. Philip Ambrose),

Bach’s German setting of Pergolesi’s Stabat Mater, motet "Tilge, Höchester, meine Sünden" (Blot out, Highest, My Sins), could have come during <omne tempore> Trinity Time Sunday services when two chorale settings of Psalm 51, according to <Das Neu Leipziger Gesangbuch> (NLGB) of 1682, were authorized as Communion and Pulpit hymns. They are:

1. "Erbarm dich mein, O Herre Gott" (Be merciful to me, O Lord God), Erhart Hegenwalt 1524, 5 stanzas, melody Johann Walter Gesangbuch 1521 (NLGB No. 256 for use with the Third, 11th, 13th, 14th and 22nd Sundays after Trinity), setting of Psalm 51, Prayer for Forgiveness (penitence). Bach's uses: plain chorale in BWV 305 in E Major, and miscellaneous organ chorale prelude in F-Sharp Minor, BWV 721, a composite c.1700 by others; and it was listed in the Orgelbüchelin (Little Organ Book) chorale preludes for <omne tempore> Catechism (No. 68, Confession) but not set.

Erbarme dich mein, o Herre Gott,
Nach deiner grossn Barmherzigkeit.
Wasch ab, mach rein mein Missetat,
Ich kenn mein Sünd und ist mir leid.
Allein ich dir gesündigt hab,
Das ist wider mich stetiglich;
Das Bös vor dir niht mag bestahn,
du bleibst gerecht, ob du urteilst mich.

Have mercy, Lord, my sin forgive;
For Thy long-suffering is great!
O cleanse and make me fit to live,
My sore offence do thou abate
With shame do I my fault confess,
'Gainst Thee alone, Lord, have I sinned.
Thou art the source of righteousness,
And I the sinner just condemned.
--tr. Charles Sanford Terry

2. "O Herre Gott begnade mich" (O Lord God, pardon me), NLGB No. 257, Tr.+8, 11+, 13+, 19+, is the Bishop Coverdale setting of Psalm 51 (Prayer for Forgiveness) 5 stanzas; psalm tune, Matthias Greitter 1525 (Calvin published in 1539). No Bach use is extant. Greitter, BCW Short Biography: Greitter, cf Trinity +2, "Es wolle Gott uns gnädig sein" 1524 (Psalm 67, Martin Luther text) (NLGB No. 258). BCW, Motets & Chorales Trinity 3,

<Miserere mei, Deus>

Have mercy upon me, O God, after thy great goodness; according to the multitude of thy mercies do away mine offences. Wash me throughly from my wickedness, and cleanse me from my sin. For I acknowledge my faults, and my sin is ever before me. Against thee only have I sinned, and done this evil in thy sight, that thou mightest be justified in thy saying, and clear when thou shalt judge.

Behold, I was shapen in wickedness, and in sin hath my mother conceived me. But lo, thou requirest truth in the inward parts, and shalt make me to understand wisdom secretly. Thou shalt purge me with hyssop, and I shall be clean; thou shalt wash me, and I shall be whiter than snow. Thou shalt make me hear of joy and gladness, that the bones which thou hast broken may rejoice. Turn thy face from my sins, and put out all my misdeeds.

Make me a clean heart, O God, and renew a right spirit within me. Cast me not away from thy presence, and take not thy holy Spirit from me. O give me the comfort of thy help again, and stablish me with thy free Spirit.

Then shall I teach thy ways unto the wicked, and sinners shall be converted unto thee. Deliver me from blood-guiltiness, O God, thou that art the God of my health; and my tongue shall sing of thy righteousness. Thou shalt open my lips, O Lord, and my mouth shall show thy praise. For thou desirest no sacrifice, else would I give it thee; but thou delightest not in burnt offerings. The sacrifice of God is a troubled spirit; a broken and contrite heart, O God, shalt thou not despise.

O be favourable and gracious unto Sion; build thou the walls of Jerusalem. Then shalt thou be pleased with the sacrifice of righteousness, with the burnt-offerings and oblations; then shall they offer young bullocks upon thine altar. (Bishop Cloverdale Translation).

Provenance Trinity 11 Cantatas

The original score of Cantata 179 survives from the estate of Emmanuel Bach while the parts set, presumably inherited by Friedemann, is lost. Copies of Cantata 179 were available in the 1761 catalogue of Leipzig publisher Breitkopf.

Only the original score of chorale Cantata 113, inherited by Fridemann Bach, survives. The original parts set was copied by Bach student and Thomas prefect Christian Friedrich Penzel on July 29, 1755, and performed on the 11th Sunday after Trinity. The set is not found in the Thomaskirche archives with most of the other sets from the chorale cantata cycle originally inherited by Anna Magdalena in the 1750 cantata estate division. Three other Trinity Time sets are lost: BWV 115 (Trinity 22), 135 (Trinity 3), and 180 (Trinity 20). It is assumed that these sets were lost by Friedemann or dispersed by Anna Magdalena to other Bach children.

The score and parts set of Cantata 199 in the third cycle division survives from the estate of Emmanuel Bach and also was listed in the Breitkopf 1761 catalogue.


1 Petzoldt, Bach Kommentar: Die geistlichen Kantaten des 1. Bis 27. Trinitas-Sontagges, Vol. 1; Theologisch Musikwissenschaftlicke Kommentierung der Geistlichen Vokalwerke Johann Sebastan Bachs, Internationale Bachakademie Stuttgart (Kassel: Bärenreiter, 2004: Trinity 11 Commentary 249-55; Cantata 179 text, 272f, Commentary, 273-78.
2 Cantata 179 BCW Details & Discography,; BCW Text and Francis Browne English translation, Scoring: Soloists: Soprano, Tenor, Bass; 4-part Chorus; Orchestra: 2 oboes da caccia, 2 violins, viola, continuo.
Score Vocal & Piano [1.51 MB] ,; Score BGA [1.47 MB], References: BGA XXXV (Cantatas 171-180, Alfred Dörffel 1888), NBA I/20 KB (Trinity 11, Klaus Hofmann (1985), Bach Compendium, BC A-121, Zwang K 38.
3 Chafe, in The Century of Bach and Mozart: Perspectives in Historiography, Composition, Theory and Performance, Ed. Sean Gallagher & Thomas Forrest Kelly (essays for Christoph Wolff festschrift; Cambridge MA: Harvard Univ. Press: 2008: 121ff).
4Blankenburg, “Bach’s Cantatas for the Middle Sundays after Trinity” (trans. Martin Cooper), BCW Recording details,
5 Whittaker, The Cantatas of Johann Sebastian Bach (Oxford University Press: London, 1958: 1:594).
6Mincham, The Cantatas of Johann Sebastian Bach: A listener and student guide, Revised 2014; Home Page,
7 Source: “Chorales and Sacred Texts for 11th Sunday After Trinity, William Hoffman wrote (November 8, 2011), BCW; see “Musical Context of Bach Cantatas, Motets & Chorales for 11th Sunday after Trinity,


To Come: Chafe in “Bach and Hypocrisy: Truth and Appearance in Cantatas 136 and 179.”

Aryeh Oron wrote (August 18, 2015):
Cantata BWV 179 - Revised & updated Discography - Corrected

The discography pages of Cantata BWV 179 “Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei” for the 11th Sunday after Trinity on the BCW have been revised and updated.
The cantata is scored for soprano, tenor & bass soloists; 4-part chorus; and orchestra of 2 oboes da caccia, 2 violins, viola & continuo. See:
Complete Recordings (11):
Recordings of Individual Movements (5):
The revised discography includes many listening/watching options to recordings directly from the discography pages, just below the recording details.

I also put at the BCW Home Page:
2 audios and 2 videos of the cantata. A short description below the audio/video image is linked to the full details at the discography pages.

I believe this is the most comprehensive discography of this cantata. If you are aware of a recording of BWV 179 missing from these pages, or want to correct/add details of a recording already presented on the BCW, please do not hesitate to inform me.

You can also read on the BCW the recent discussion of the cantata in the BCML (4th round):


Cantata BWV 179: Details & Complete Recordings | Recordings of Individual Movements
Part 1 | Part 2 | Part 3 | Part 4

Recordings & Discussions of Cantatas: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Cantatas BWV Anh | Order of Discussion
Discussions of General Topics: Cantatas & Other Vocal Works | Performance Practice | Radio, Concerts, Festivals, Recordings


Back to the Top

Last update: Sunday, May 28, 2017 07:13