Title | Vor harpe er bleven til sorrig |
Alternative title | Passions-Cantata (1768) |
Creators | Johann Adolph Scheibe (composer) and Johannes Ewald (librettist) |
Opus | SchWV B 2:306 |
Instrumentation | voices, mixed chorus and orchestra |
Number of movements | 19 |
Keys | E flat major |
Composed | 1768 |
First published | — |
Dedication | — |
Tempo markings | — |
Metronome markings | — |
Time signatures | — |
Average duration (sec) | — |
Number of measures | — |
Composition types | Sacred cantatas, Passions |
Language | Danish |
Period | Classical |
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Code | ![]() |
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Metronome | Key | Measures |
---|---|---|---|
1. Coro. Adagio lamento | — | E flat major | — |
2. Arioso (cantocoro). Affettuoso | — | E flat major | — |
3. Accompagnato (basso). | — | C major | — |
4. Aria (tenore). Poco adagio e languido | — | G minor | — |
5. Recitativo (tenore). | — | D minor | — |
6. Aria (bassocoro). Poco allegro | — | E flat major | — |
7. Recitativo (tenore) − Accompagnato − Recitativo. | — | F minor | — |
8. Coro. Adagio e lagrimoso | — | E flat major | — |
9. Coro. Andante | — | B flat major | — |
10. Aria (tenorecoro). Andante affettuoso | — | B flat major | — |
11. Accompagnato (tenorecoro). | — | A minor | — |
12. Aria (tenorecoro). Andante ed affettuoso | — | A major | — |
13. Accompagnato (tenorecoro). | — | F major | — |
14. Aria (tenore). Andante e moderato | — | E flat major | — |
15. Recitativo (tenore) − Accompagnato. | — | F major | — |
16. Arioso (cantocoro). Affettuoso | — | G major | — |
17. Accompagnato (tenore). Pomposo | — | E flat major | — |
18. Coro. Larghetto pomposo | — | C minor | — |
19. Arioso (tenorecoro). Affettuoso | — | E flat major | — |
(No arrangements)
Details | Section | Type | Publisher | Date | File |
---|---|---|---|---|---|
view | Complete | — | Manuscript | 1768 | Complete Score · view |
view | Complete | — | Manuscript | 1770 | Segment 1 · view Segment 2 · view Segment 3 · view Segment 4 · view |
view | Complete | — | Danish Centre for Music | — | Complete score · view Preface and Critical Commentary · view |
(No recordings)
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