Talk:Tritt auf die Glaubensbahn, BWV 152

error in article
The sinfonia have nothing to do with BWV 61, and there's no such fugue's subject that relates to BWV 536 :

So all this is wrong :

The opening sinfonia in two sections is reminiscent of a French overture, which Bach had used with a meaning in Nun komm, der Heiden Heiland, BWV 61, a few weeks earlier. The theme of the fugue is similar to that of Bach's fugue for organ, BWV 536. The fugue is one of few instrumental fugues in Bach's cantatas.


 * Right or wrong:
 * The sinfonia is in the form of a French overture? (If yes, then it's similar to BWV 61.)

Yes, there's a small slow movement, followed by a faster one. But in style, it has nothing to do with a French overture.


 * The theme of the fugue is similar to BWV 536. If no, then please take it up with Christoph Wolff who says so.

Only similar in the very common rhythm pattern. You cannot compare a theme based on such a common ternary pattern.


 * The fugue is one of few instrumental fugues i Bach's cantatas. If no, take it up with John Eliot Gardiner who says so. --Gerda Arendt (talk) 19:46, 11 May 2019 (UTC)

I think I must agree here. There are many fughetta, fugue-like, movement in cantatas. But yes, rarely typical fugues in cantatas, in the sense of development and persistence of subject / counter-subject...


 * There are many vocal fugues in cantatas, sometimes three in one movement, usually in opening choral movements (not of chorale cantatas, but others), but there are fugues also of a tenor and two violins, for example. --Gerda Arendt (talk) 18:31, 15 May 2019 (UTC)