_crar ~cr- :xxh :2- -5: =-:.-:: 7' .ocr _o(ob -e __- ::Si2"a::-:cc--~ ,,::" JC' fC :::e;:: .--,: 2 Johann Sebastian BACH(1685-1750) COMPLETE CANTATAS/L'INTEGRALE DES CANTATES DAS KANTATENWERK .
VOLUME 3
BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHYON MAGNUS, soprano If, alto ANDREASSCHOU,alto(BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss
THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR
TON KOOPMAN
3 2 JohannSebastianBACH(1685-1750) COMPLETECANTATAS/L'INTEGRALEDESCANTATES DASKANTATENWERK
VOLUME3
BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHVON MAGNUS,sopranoII, alto ANDREASSCHOU,alto (BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss
THEAMSTERDAMBAROQUEORCHESTRA& CHOIR TON KOOPMAN
3 COMPACTDISC1 70'13 P~/ 5eite "Christen, iitzet diesen Tag" BWV 63 28'20 Feria 1 Nativitatis Christi
For the 1st day. of Christmas/Pour Ie I~ jour de Noel/Erster Weihnachtstag Text: Anon., Johann Michael Heineccios (?). 171.8 Ruth Holton, soprano
[I] Chorale (Chorus): "Christen, otzel diesen Ta~" £148 [43] Violins, Violas, Cel/o, Double bass, Oboes, Trumpets, Timpani, Bassoon, Organ W Recitative(Altol:"a seiger Tag! 0 ungemeines Heute" -< " [43J Violins, Violas, Cel/o, Double -bass, Organ OJ Duel (Soprano, Bassi: "Gott. du hast es wohl gefuget" v [45] Oboe, Cel/o, Organ ""':::,' m Recitative (Tenor): "So kehret sich nun heut das bange leid" [45] Cel/a, Organ
[]] Duet (Alto, Tenorl: "Run und flehl den Himmel an" [45] Violins, Violas, Cel/i, Double bass, Organ W Recitative(Bass): "Verdoppelt euch demnach" [45] Violins, Violas, Cel/i, Double bass, Oboes, Bassoon, Organ [[] Chorale (Chorus): "HOchsler,schau in Gnaden an" [47] Violins, Violas, Cel/i, Double bass, Oboes, Trumpets,Timpani Bossoor C>-F
"Ach, ich sehe, ilzt, do ich zur Hachzeit gehe" BWV 162 16"22 Dominica 20 post Trinitatis For the 20th Sunday aner Trinity/Pour Ie 20' Dimanche ap
[IT]Recitative IAltol: "Mein Jesu, loB mich nicht zur Hochzeil unbekleidet kommen" 1'38 [49] Violone, Organ
[U] Aria [Duet] (Alto, Tenor): "In meinem Gall bin ich erfreut" 4'35 [51] Cel/o, Organ lliJ Chorale IChorusl "Ach, ich habe schon erblicket" 1'06 [51] Violins, Via/a, Cel/o, Violone, Bassoon, Organ
"Mein Goff, wie lang', ach lange" BWV 155 13'14 Dominica 2 post Epiphanias , For the 2nd Sunday after Epiphany/Pour Ie 2' Dimanche apres l'Epiphanie Am 2 Sonnfag nach Epiphanias Text Salomon Franck, 1715 (14-17); Paul Speralus, 1524 (181 Caroline Stam, soprano
[HJ Recitative ISopranal: "Mein GoII, wie lang, ach lange2" 1'55 [51] Coraline Stam, soprano Violins, Via/os, Via/one, Organ
[li] Aria [DuetIIAlta, Tenarl: "Du muBt glauben, du muBt hoffen" 5'30 (53] Via/one, Bassoon, Organ
~ Recitative IBassl: "So sei, 0 Seele, sei zu!rieden" 1'57 [53] Via/one, Organ
[j1] Aria ISopranol "Wirf, mein Herze, wir! dich noch" 2'51 [55J Via/ins, Via/a, Violone, Organ
UID Chorale (Chorus) "Ob sichs anlieB, als wollt er nicht" 0'46 [55] Via/ins, Viola, Violone, Bassoon, Organ
"Christen, alzet diesen Tag" (Appendix) BWV 63 U2J Duet (Soprano, Bass): "Christen, atzet diesen Tog" 6'42 [55] Ruth Holton, soprano Cel/o, Organ
5 "Ach, ich sehe, int, do ich zur Hochzeit gehe" (Appendix) 8WV 162 5'31 2CL Aria (Boss) "Ach, ich sehe, itzt,do ich zur Hochzeit gehe" 4'14 [57] Violins, Viola, Via/one, Como do lirarsi,Bas500n, Organ
121] Chorale IChorus}: "Ach, ich habe schon erblicket "1' 13 VIOlins, Via/a, Cello, Via/one, Como do lirarsi, Bassoon, Organ [57]
COMPACT DISC 2 61'43
"Jesus nohm zu sich die Zwolfe" 8WV 22 DominicaEstomihi 16'24 For Quinquo~eSlmo/Pour Ie Dimanche Estomihi/Am Sonntag Estomihi Text:Anon. (2-4), luke 18, 31 and 34 II}; Elisabeth Creuziger, " HerrChrist, der einig Galles Sohn", 1524 (51
I Arioso & Chorus ITenor,BO$>,Chorusl: "Jesusnahm zu sich die Zwolle" 449 [57] Oboe, Vio/,ns, Via/os, Celli, Doub/e boss, Organ
2 i Aria(Altai:"MeinJesu,ziehemichnochdir" 44< [59] Oboe, Celli, Organ
! 3 J Recitative(Bossi: "Mein Jesu, ziehe mich" [59] Violins, V,olos, Celli, Double boss, Organ i 4 Aria ITenor): "Mein Alles in Allem" [59] Violins, Violas, Celli_ Doub/e boss, Organ
Chorale IChorus} "Ertot uns durch dein G0te" [61J Oboe, V,olins, Via/os, Celli, Double boss, Bos500n, Organ
"Du wohrer Gott und Davids Sohn" 8WV 23 16'40 Dominica estamihi For Quinquagcsima/Pour Ie Dimanche d'Estomihi/ Am Sonntag Estarn'" Text Anon. (6-81; Agnus dei, German, 1528 191 Barbaro Schlick, soprano
~ DuellSoprano, Altai: "Du wahrer Gall und Davids Sohn" ;611 Oboes d'ornore, Cello, Doub/e boss, Bassoon
6 ---
7 ! Recitative ITenor!: "Ach, gehe nicht voruber" 1'25 [61J Oboes d'amore, Violins, Violas, Celli, Double boss, Bassoon, Organ
L§j (Tenor, Bass, Chorusl: "Aller Augen warten, Herr" 3'26 [63] Oboes d'omore, Violins, Violas, Celli, Double boss, Bossoon, Organ
W Chorale IChorus): "Christe, du Lamm Golles" 4'25 [63] Oboes d'omore, Violins, Violas, Celli, Double boss, Bassoon, Cornett, Trombones, Organ
"Nur Jedem dos Seine" 8WV 163 16'41 Dominica 23 post Trinitatis For the 23rd Sunday after Trinity/Pour Ie 23' Dimanche apres 10Trinile/ Am 23.. Sonntag nach Trinitalis Text Salomon Franck, 1715 110-14); Johann Heermann, 1630 (151 Els Bongers, soprano
UQ: Aria (Tenor): "Nur jedem das Seine" 4'47 [63] Violins, Viola, Cello, Organ
J.1J Recitative (Bass) "Du bist, mein Goll" 1'27 [65] Cello, Organ
[IT Aria (Bass) "LaBmeinHerz die Munze sein" 3'46 [65] Cello, Violone, Organ
1131Recitative ISoprano, Altol: "Ich wellte dir, a Gall" 2'33 [65J Cello, Organ 3' 13 I ill Ana ISoprano, Altol "Nimm mich mir und gib mich dir" [671 Eis Bongers, soprano Violins, Viola, Cello, Organ
OJ:: Chorale (Chorusl "Fuhr ouch mein Herz und Sinn" 0'42 [67J Violins, Viola, Cello, Violone, Organ
"0 heilges Geist- und Wosserbad" 8WV 165 11'56 Festo Trinitalis For the Feast of Trinity/Pour 10Trinite/ Am Trinitotisfest Text: Salomon Franck, 1715 116-20); Ludwig Helmbold, 1575 (211 7 ~ Aria (Sopranol: "0 heilges Geist- und Wasserbod" 2'34 [67] Caroline Starn, soprano Violins, Viola, Cello, Bassoon
~ Recitative(Boss):"Die sundige Geburl verdammter Adorns Erben" 1'17 [691 Cel/o, Organ ~ Aria (Altai: "Jesu, der aus groBer Liebe" 2'12 [69] Cel/o, Organ ITIJ Recitative(Boss):"Ich habe, ia, mein Seelenbrduligam" 2'00 [69] Violins, Viola, Cel/o, Bassoon, Organ ~OJ Aria (Tenor: "Jesu, meines Todes Tod" 307 [71] Violin,Celo,!. Organ [1IJ Chorale (Chorus): "Sein Worl, sein Tauf,sein Nachtmahl" 04' [71] Violins, Viola, Cel/o, Bassoon, Organ COMPACT DISC 3 63'28
"Wiclerstehe doch der Siinde" BWV 54 11'06 Dominica Oculi For the 3rd Sunday in lent/Pour Ie Dimanche Oculi! Am Sonntag Oculi text: Georg Christian lehms, 171 1 Andreas Scholl, alto
[I] Aria (Alto): "Widerstehe doch der Sunde" 65 :73J Via/ins, Violas, Violone, Organ , W Recitative (Altai: "Die Art verruchter Sunden" J3] Via/one, Organ ""'- CI: Aria (Alto): oWer Sunde tut, der ist vom Teufel" 73] Violins, Violas, Violone, Organ
"Komm, du siiBe Todesstunde" BWV 161 18'48 Dominica 16 post Trinitatis/Festo Purificolionis Mariae For the 16th Sunday after Trinily/For the Feast of the Purification/Pour Ie '6 J ~:)-c-~ apres 10 Trinite et pour 10 Fete de 10 Purification de Marie/Am 16, Soootag nee" - - ':" , Zu Mariae Reinigung Text: Salomon Fronek, 1715 (4-8); Christoph Knoll, 1611 (91 8 W Aria IAltal: "Komm,du suBeTodesstunde" 4'57 [75J Recorders, Cel/o, Organ
LIJRecitativoITenor):"Welt, deine LustistLost" ]'54 [75J Cel/o,Organ
W Aria (Tenorl:"Mein Verlangenistden Heilandzu umfongen" 5'20 [75J Violins, Viola, Cel/o, Violone, Organ
[L RecitativeIAltol "DerSchluBistschongemacht" 2'09 [77J Recorders, VIOlins,Viola, Cel/o, Violone, Orgon
[8--,Chorus:"Wenn es meinesGalles Wille" 3'0] [77] Recorders, Vio/'ns, Violas, Cel/i, Violone, Organ
[JJ Chorale IChorus): "Der Leib zwor in der Erden" ]'11 [77] Recorders, Violins, Viola, Cel/o, Violone, Organ "Wasmirbehag!,is!nurdie muntreJagd"BWV208 33'34 Hunting Cantata lor the Birthday 01 Duke Christian 01 Saxe-Weissenfels/Cantate de 10Chasse pour I'anniversaire du duc Christian de Saxe-Weissenfels/Jagdkantate zum Geburtstage des Herzog Chris- tian Zu Sachsen WeiBenfels Barbaro Schlick, soprano I/Elisabeth van Magnus, soprano/I
UQJ Recitative ISoprano 'I: "Was mir behagt, is! nur die muntre Jagd" 0'32 [79J Cel/o, Harpsichord
OJ]Aria (Soprano I): "Jagen ist die Lustder Goller ]'59 [79J Cel/o, Double-boss, Horns, Bassoon, Harpsichord
ITI.J Recitative (Tenor): "Wie, schonste Gollin, wie?" ]'07 [79J Cel/o, Harpsichord
ITIJ Aria ITenor}: "Wi list du dich nicht mehr ergotzen" 4'59 [79] Cel/o, Harpsichord
ITiJ Recitative (Soprano, Tenorl "Ich liebe dich zwar nocht" 2']4 [81] Cel/o, Harpsichord
9 llsJ Recitative (Bass): "Ich, der ich sanst ein Gaff in diesen Feldern bin" {)'30 [81] Cel/o, Harpsichord
~ Aria (Bassi: "Ein Furstis! seines landes Pan" 2'59 [83] Oboes, Bassoon, Harpsichord
JlJ RecitativeISopranoII): "Solidann der PalesOpfer hierdas letztesein?" 0'36 [83J Cel/o, Harpsichord
~ Aria (Soprano II): "Schafe k6nnen sicher weiden wo ein guter Hirte wacht" 4'OB [83J ,~ecorders, Cel/o, Harpsichord
[li] Recitative ISoprano II: "So stimmt mit ein" 0'09 [831 Cel/o, Harpsichord
:IQJ ChoruslSopranaI & II,Tenor,Bass,Chorus):"lebe, SonnedieserErden" 2'30 [83] Violins, Violas, Cel/i, Double bass, Oboes, Horns, Harpsichord
[21 DuellSoprano I, Tenorl: "Entzucket uns beide" 1'52 [85] Violin, Cello, Harpsichord f22J Aria ISoprano III: "Weil die wollenreichen Herden" 2'28 [85] Cel/o, Harpsichord
'2t Aria IBass): "jhr Felder und Auen" 2'41 [85] Cel/o, Harpsichord
11.1JChorus ISoprana I & II, Tenor, Bassi "Ihr lieblichsten Bide" 444 [85J Violins, Violas, Cel/i, Double bass, Oboes, Horns, Bassoon, Harpsichord
10 THEAMSTERDAMBAROQUEORCHESTRA& CHOIR THE AMSTERDAM BAROQUE ORCHESTRA SOLOISTS: Marcel Ponseele, oboe & oboe d'amore Michel Henry, oboe d'amore Margaret Faultless, violin Fos~ien Kooistra, violin Jaap ter linden, cello Nicholas Pap, violone Jonathon Impell, como do tirarsi Tan Koopman, harpsichord & organ
THE AMSTERDAM BAROQUE ORCHESTRA: Margaret Faultless, leader Barbara Kiebel, Nicola Cleminsan, Marc Cooper, Foskien Kooistra, Carlo Marolla, Tjamke Roelofs, Sebastiaan van Vucht, violins Martin Kelly, Marina Ascherson, violas Jaap ter linden, Jonathan Manson, celli Nicholas Pap, violone & double boss Marcel Panseele, Michel Henry, oboes & oboes d'amore Ann Vanlancker, oboe Marion Verbruggen, Reine Marie Verhagen, recorders Sue Dent, Fran~ais Merand, liorns Jonathan Impett, como do firorsi Sue Addison, Ole-Krislian Andersen, Henning Plumeyer, trombones Gebhardt David, cornell Stephen Keavy, Jonathan Impett, James Ghigi, Robert Vanryne, trumpets luuk Nagtegaal, timpani Margreet Bongers, bassoon Jon KleinbuSSink, organ continuo
11 THE AMSTERDAM BAROQUE CHOIR SOLOISTS (Cantata BVW 221: Anne Grimm, soprano Peter de Groot, alto OUo Bouwknegt, tenor Donald Bentvelsen, boss Simon Schouten, chorus master
THEAMSTERDAMBAROQUECHOIR: EisBonger, Anne Grimm, Vera Lansink,Caroline Stam, Francine van der Heijden, sopranos Richard Bryon, Annemieke Cantor, Stephen Carter, Peler de Groot, altos Quo Bouwknegt, Henk Gunnemann, Joost van der linden! Geraint Roberts,Jeremy Ovenden, tenors Donald Bentvelsen,MaUhijsMesdag, Mitchell Sanaler, Rene Steur, Hans Wijers, bosses
TON KOOPMAN, organ, horpsichord & conductor
12 Digital recording Producer: Tini Mothot Sound engineer: Adriaan Verstijnen Editing: Adriaan Verstijnen Recorded: Waalse Kerk Amsterdam, September 1995 Chair Organ I: Garnier Chair Organ II: Klop Andreas Scholl appears by courtesy of Harmonia Mundi France
Design (except inner bookletl: Thierry Cohen & Jean-louis Meriel Front cover: photo Thierry Cohen Back cover: Ton Koopman, photo FransJansen
@ Erato Disques SA, Paris, France 1996
13 CONTENTS/TABLE/INHALT Pagel Seile Christoph Wolff FromKonzerlmeisler10Thomoskonlor:Boch'sconloloproduclion1713-1723: ...... 15 DeKonzerlmeisleraThomoskonlor. LoproductiondesconlolesdeBachde 1713a 1723 .24 YomKonzerlmeislerzumThomoskonlor:BachsKonlolenproduklionvon 1713-1723 .33
Sunglext/lexteschanhis/Gesangslexle 42 Compacldisc1 ...... 56 Compacldisc2 .72 Compacldisc3
14 Fromkonzertmeisrer10thomoskanlor: "Himmelsburg"onaccountof itsunusualarchitectural Bach'scanlalaproduction1713.1723 CHRISTOPHWOlfF design.(Foranillustrationof theducalchapel,seethe bookletaccompanyingVolume2, p. 36.1 e thirdvolumeof ourcompleterecordingof Bach's Of theWeimarcantatasrecordedhere,on~BWV54 cantatascomprisesworksdrawnfromthree and63 arenolbasedonwordsbyFranck.Cantata54 TIdifferentcategories.Firstcomesa groupof seven seemstopredatethecompaser'sintensiveinvolvement sacredcantatasfromtheyears1714-17, themajority withFranck'stextsin 1715,whileit remainsfarfrom of whichwerewrittenfortheWeimarSchlaBkirche. clearwhetherCantata63 waswrittenforWeimaratall, TakentogetherwiththecantatascontainedinVolumes rhelavishforcesforwhichit isscoredsuggesting,rather, 1and2, thesesevenworks- Cantatas54,63, 155, thatitwasintendedtobeperformedoutsiaethetown. 161, 162, 163and 165 - formthegroupof 23 Certainly,bathCantatas22 and23 werecomposed sacredcantatasrhathavesurvivedcompletefromrhe and perlormedaway homBach'snormalareaof yearsleadinguptorheendof Bach'stermof officeas responsability,inasmuchasrheywerefirstheardat KonzertmeistertotheWeimarcourtin 1717.The leipzigin thecontextof hiscandidatureforthepostof secondcategorycomprisesCantatas22 and 23, the Thomaskantor.At thatstage,itwasstillfar fromclear twoworkswithwhichthecomposer- now thatthecomposerwouldbeappointedtotheposl.In Kapellmeisterrothecourtof C6then- auditionedfor writingthesetwoworkshewasrequiredtoadapt thepostof Thomaskantorin leipziginthespringof himselftounusuallacalconditions,conditionsrhat 1723 andwhichrhusformthestarting-pointof the evidentlyprovidedhimwithsufficientstimulustoinspire extendedseriesof sacredcontatasthatwill be worksof exceptionalartisticmerit. launchedwithVolume6. Thethirdandfinalcategoryis Of Bach'smanyimportantguestappearances,oneof madeupofa singlework,thehuntingcantataBWV theearliestofanysignificancewasa visit10 208, whichwaswrittenfora guestperformanceatthe WeiBenfelsin 1713fora performanceof Cantara WeiBenfelscourtin 1713. like Cantatas203 and 208 thatbid thefoundationsforhisreputationat the 524 includedinVolume2, Cantata208 isnumbered lacalcourt,a reputationthatwastoculminate,in amongthesecularworksfromBach'spre-l.eipzigperiod. 1729, in hishonoraryappointmentasKapeflmeister MosloftheWeimarcantatasincludedherewerepartof vonHausaus.Evenasearlyas 1713, Bach's anannualcycleofworksbasedontheEvange/isches reputationwasevidentlyalreadyunchallenged,since Andachls-opfleroftheWeimarcourtpoet,Salomo hewouldotherwisehardlyhavereceivedsucha Franck,andwerefirstperformedinthetown's grati~ingcommissionasonetowritea cantatain SchloBkirche.Themarkedlychamber~iketexturesof these celebrationof DukeChristian'sbirthday.Eveninsucha worksmadethemideallysuited10theconditionsof the remotecentreasHamburg,Bachwasalreadyheldin SchloBkirche,anabnormallyhigh-ceilingedbuildingwith highregard,as isclearfroma referencetohimin a relalive~smallfloorareaanda musicians'gallerylet JohannMottheson'streatise,DosbeschiitzteOrchestre, inrotheroof.Thechapelwasknownasthe of 1717: "' haveseenthingsby rhefamousWeimar 15 organist,Herrjoh. SebastianBach,bothforthechurch vocalsoloists,withthecantata'sfesfivecharacterfurther [i.e., vocalmusic]andforthefist[i.e., kevboord underscoredby theunusualinclusionof !WOduets,the music],thatarecertainlysuchasmustmakeone firstfor sopranoandbass,thesecondforaltoand esteemthemanhigh~." tenor.Inkeepingwiththedifferentideasthatthey eXj:Jress,theseduetsaredistinguishednoton~ interms of theirtonalitylno. 3 isinA minor,no.5 inG major) Christen,iiIzet diesenTag BWV 63 was wriUenin butalsoin respectof theirtimbreIno.3 isscoredfor 1714 or 1715 for performance on Christmas Day. The oboeobbligato,no.5 forfullstrings). librenistisbelieved10havebeenthepostorof the Theprincipalsourceof Cantata63 isBach'sautograph Morienkirchein Holle,JohannMichaelHeineccius, scorefromhisyearsinWeimar,supplementedby parts who in 1713isknowntohavetokenonactiveinterest fromtheperformancematerialusedinWeimarand in Bach'sappticafionforthepost01organist01the leipzig.Bachperformedthecantatain L~ipzigat MorienkircheinsuccessiontoFriedrichWilhelm Christmas1723,duringhis~rstyearinoIIiceinthe ZachowlseeVolume21.It isunclearwhetherthework city,andrevivediton manysubsequentoccasions, waswriUenforperformanceinWeimaror elsewhere. frequentlymakingminorand,froma musicalpointof That it was wrinen to be performed outside Weimar - view,general~insignificantchangestothescore.Fora perhaps in Holle itself - is suggestedby the unusual~ performance in Leipzig around 1729hereplacedthe lavishforcesforwhichit isscoredIfourtrumpets, solooboein thefirstduetwithonobbligatoorgan,but timponiandthreeoboes,inadditiontotheusual withoutalteringthenature01thesolowrifing.Thislater strings)andforwhichthereisnoprecedentamongthe versionisheardasonappendixtoCantata63. workscomposedfortheducalchapelinWeimar. A festive,fanfare-likeframeworkisprovidedbythe!wo Ach! ich sehe, itzt, cia ich zur Hochzeit gehe BWV extendedcharalmovementslhatbeQinandendthe 162waswriUenlor thelwentiethSundayaherTrinity work.BothareinC mojor,andbathare notablefor andfirstperformedon25 October1716.Thewords theirdynamicinterplaybeiweenvirtuosoinstrumental are bySalernoFranck117151.Movement6 isa wrifingandcantabilechoralsections.With itsclear~ harmonisotionof a stanzafromthechoraleAile structured,ohensonglikecharacter,thechoralwritinQ N1enschenmiissensferbenbyJohannRosenmullerand revealsa wholerangeofcontrostivestylesfrompurety JohannGeorgAlbinusof 1652. Thefour-portvocal chordaltexturestosubrlecounterpointand,linal~,a ensembleappearson~ inthislinal movement.The choralfuoue.Inthefinolmovement,theIwolines"LoB ea~iermovementsareall solonumbersandtreatthe esniemalsnichtgeschehn,I DaBunsSatanm6ge lourvocalsoloistsasequalsIno. 1: bass;no.3: <1u6len"INever letSatantormentusldepartabrupt~ soprano;no.5: duetforaltoandtenor).The fromtheunderlyingsenseof gratitudeand pointa accompanyinginstrumentalensembleconsists portraitof Satan-inducedsufferingthatisassurprising exclusive~of strings,withon~ a singlebassoonto asit iseffective.Movements2-6areall scoredfor supptementtheconfinuogroup. 16 Whereasthefirstaria isaccompaniedbystring requiredby BVW162. Here,too,moreover,thefour' ensemble,theothertwoare scored,unusually,forthe partchorusisusedon~ inthefinalchorale.InWeimar, continuogroupalone.Inthecaseof theduetlno.51. thechoruswasmodeupof studentshomthelocal thisplain~reflectsthecompaser'sintentions,butin the grammarschool. caseof thesopranoariaIno.31theobbligatopartis Againas inCantata162,all fourvoicetypeshave clearlymissing.Sincethefullscoreisnolongerextant solodutiesto perform,althoughthedistributionof the andthepartsappeartobe incomplete,it is impassible parisrevealsa dialogueprinciple01work,withBach tosoyforcertainforwhatforcesthismovemenlwas treatingthevoicesina traditionalallegoricalmanner, ariginal~scored.Inordertorestorethesenseof lonal even though Franck - in contrast to his normal practice balance,thepresentrecordinghassoughtto providea - makesno suchprovisions: the soprano is the voice of solutiontothemissingpartby improvisinga partinthe thesoullvoxanimaelandthebassthevoiceof the righthandof theorganaccompaniment. RedeemerIvoxChris/ii,whilethealtoandtenor TheprincipalsourcesofCantata162 aretheoriginal representFaithandHoperespectively.InBach'ssenin~, parts,someof whichdoteback10Bach'sdaysin theopeningwords,"MeinGon,wie long,achlange Weimar,whiletherestwerepreparedin leipzig.Bach Ino. II, thusbecomea cryof anguishuneredby the revivedIhepieceduringhisfirstyearasThomaskantor troubledsoul."DumuBtglauben,dumuBthoffen"Ina. in 1723,whenhetooktheopparlunitytoodd a slide 21isconceivedasonadmonitionontheportof Faith trumpetintheopeningmovementtoreinforcetheviola andHopelunderlinedbyagilewritingforthe and inthesixthmovementtounderpinIhechorale obbligatobassoonl."Sasei,0 Seele,seizufrieden" melody.Thisversionmaybeheardasonappendixto Ino.31maybe interpretedaswordsof comfortspaken Cantata162. by theRedeemer,whohasnoqualmsinadoptingon urgent~emotionaltonelimpressivelysoat thewords Mein Gott,wie lang, aeh lange BWV 155 was written "beitrubenStundenweinel "Wirf, meinHerze,wirf for the second Sunday aher Epil?hanyand first michnochindesH6chstenliebesorme"Ino.41.finally, performed in the Weimar Schlol~kapelleon 19 January istheresponseof thecomfortedsoul,enfoldedand 1716. Thewords are by Salomo Franck 117151. The bornealohbya vibrantstringaccompaniment,as final chorale is a harmonisotionof the twelhh verseof thoughentwinedby lovingarms. Paul Speratus'sEsisl das Heil uns kommenher of 1524 Jesus nahmzusichdieZwO/feBWV22waswrinen Theprincipalsourceof BVW 155isBach'sautograph and firstperformed on 7 February 1723 score, the heading of which - "Concerto.a 5 strom.4 IOuinquagesima Sundayl in thecontext of Bach's VocieCont."- paintstorelativelymodestinstrumental application for the past01Thomaskantorin leipzig It resourcesbutfoilstoindicatethatthesecondmovement was heard imrnediate~before the sermon.Thelibrenistis includesonobbligatoportforthebassoon.Theforces not known. Thefirstmovementis based on words token onwhichIhiscantalacallsareIhesomeasthose hom luke 18:31 and 34, while thefihh movementis a 17 harmanisationofa strophefromCreutziger'sHerrChrist, Du wahrer Galt und Davids Sohn BWV 23 was dereinigGoffesSohnof 1524 wrinenandperformedincircumstancesidenticalto Thecantataisscoredforfour-partchorusltypicalforces thosedescribedaboveunderBVW22. It,too,was forleipzigl.togetherwiththreevocalsaloistslalto,tenor designedto beperformedonOuinquagesimaSunday andbossl.A fullcomplementof stringsissupplemented Onceagain,theidentity01thelibrenistisnotknown, bya singleoboe.Theopeningmovement,asalready althoughheispresumablyoneandthesameasthe noted,isa seningofa passagefromStluke'sGospel authorof Cantata22. Thefirstthreemovementsore skilfullyadaptedby Bachtosuggesta senseof musical seningsof linesfromluke 18:35-43,whilethefourth dramaturgy,withthealtafunctioningastheEvangelist borrowsitstextandmelodyframtheGermanAgnus recitingthenarrativetext/"Thenhetookuntohimthe Deiof 1528, Chris/e,dulammGoffes.Thesame twelve,andsaiduntothem'),aherwhichtheboss melodyhadalreadybeenquotedin theorchestrain entersasthevoxChristi,declaimingthewordof the thesecondmovement,whichtakestheformof an lord intheformofdirectspeech:'Behold,we go upto accompaniedrecitative. Jerusalem.'Thechorusthenreactstothelord'swords BachbroughtCantata23 withhimIromCbthenfor his I'Andtheyunderstoodnoneofthesethings'l,a reaction audition,whereasheappeorstohavewrinenBVW22 treatedbyBachasa choralfugue.Bach'sautograph inleipzigor at leastto havecompleteditaherhis scoredistinguishesbetween'concertists'and'ripienists' arrivalinthecity.Cantata23 cleorlyreHectsthesortof inthevocalwriting,i.e., betweensoloandtunisingers, compasitionalstyleandperformingpracticeassociated sothaithefirstexpasitionof thefugueisheardonsalo withCbthen.Amongtheprincipalfeaturesof thisstyle voicesbeforethetunisingersenter.Thealtooria,no.2, ore thechamber-liketexturesof theopeningmovement, featurestheoboeasa soloinstrumentin triotextures, thefactthatit iscastintheformof a duetandthe whilethetenoraria,no.4, isaccompaniedbythefull extendedpassagesforvocalduelinthethird strings.InthefinalchoraleIno 51.oboeandfirstviolins movement,inwhicheachsuchpassageprecedesa combineina figureduppervoicethatprovidesa choralritornelloAlltheseelementsmaybefoundinthe contrapuntalaccompanimenttothefour-part seculorcantatasthathavesurvivedfromBach'syearsin hormonisotion. Cbthen.Theduetiikechoracteristicsof thefirst Of thework'soriginalsources,boththeautograph movementoreconscious~underlifl€dbyBach's scoreandtheperformingpartshavesurvived.A copy decisiontoaccompanythevocoldue'ofsopranoand of thefullscorepreparedunderBach'ssupervisionin altawithan instrumentalduoof twooboes.sathat, 1723 includestheexplicitnote 'Thisistheleipzig togetherwiththecontinuo,themovemer-Jrfoldsin auditionpiece.'A revivalon20 Februory1724 is denselywroughtfive-parttextures. anesledbyanoriginalcopyof theprintedlibreno,but Bach'sautographscoreandtheorigi",opeeSprovide it islike~ thattheworkwasperformedonsubsequent uswithimportantinformationontheaecesisorCantata occasions,too.Bachevidentlymadenofurther 23. Itwouldappearfromthesethort\cc" Motethefirst changestothescore. threemovementsinCbthen(theyare0' ;. --e keyof 18 C minor!andthatitwasonlyshortlybeforethefirst ensemble,albeitwiththenoveldifferencethattwo performanceinLeipzigthathedecidedtoadd a fourth obbligotocellosareheordinthethirdmovemenl.There movement.Thisextendedchoralmovementderives isnoaocumentoryevidencethattheworkwasrevived fromanolderwork- mostproboblyBach'slosl in Leipzig,butit seemssafe10ossumethatit was. WeimarPassionof 1717.Thecantataisscoredfor Thefirstoriaisnotableforthefactthattheincipitof the twooboesinadditiontotheusualstrings,togetherwith text("NurjedemdasSeine"1istreatedby Bachasa a cornettandthreetrombonesto reinforcethechoirin separatemotifthatisprefacedtothemovementin the thefinalmovemenl.Becauseof theluningof the formof a mottothataffectsitsstyleingeneral.Inthe trombones,BachhadtoperformtheentirecantatainB secondaria Ino.31.thelistenerwill bestruckin minorand,inconsequence,replacethenormaloboes particularbythelow-lyingsonoritiesprovidedby boss, byoboesd'amoreThethirdmovementdistinguishes twocellosandcontinuo- a singularcombinationin betweensoloandtuttisectionsin thechoralwriting.At Bach'scantatas.Thekeywordsin thetextare "heart", laterperformances,thefirstofwhichisbelievedtodate "coin"and"beautifullustre",whichinspiredBachto fromaround1728, Bachrevertedtotheoriginalkeyof indulgeinanunusualdisplayof colourandtimbre.No C minor(withnormaloboes)andomittedtheextra lessexceptionalare theariosoforsopranoandalto brassfromthefinalmovemenl.Thepresentrecording (no.41.inwhichBachexplorespreviouslyuncharted preferstheB minorversionof thework,butdispenses territory,andthefollowingduet(alsoforsopranoand withthebrassreinforcementsinIhefinalchorale. altol,whichisbosedonanexistingchoraletune, MeinenJesumlaBichnichl,themelodyof whichis NurjedemdasSeine8WV 163waswrittenforthe usedtocomplementandcommenton thewordsof the twenty-thirdSundayafterTrinity,whichin 1715 fellon duet("Nimmmichmirundgib michdir"! Theduetand 24 November.ItswordsoretakenfromSalomo concludingchoraleare inD major,whereasthework Franck's1715 cycleof cantatas,withthefinalchorale hadbegunin B minor(no.I) andmodulatedtoE a four-partharmonisotionof a strophefromJohann minorforthesecondaria(no.31,a tonalschemethat Heermann'sWo so/lichf/iehenhinof 1630.The Cantata163 doesnotsharewithanyof thewarksthat previousmovementIno 51quotesthemelodyof the are relatedto il. choraleMeinenJesumlaBichnichlin theinstrumental writing. o heilgesGeist-undWasserbad8WV 165 isa AlthoughthemostreliablesourceisBach'sautograph settingof wordsby SalomoFranck117151andwas score,thislattercontainsonlythecontinuoportfor the writtenforTrinitySunday,whichin 1715 fellon finalchorale,togetherwiththenote:"Chorale. 16June.IIconcludeswitha harmonisotionof a strophe Semplicestylo."AswithCantatas155, 162and 165, fromLudwigHelmbold'sNunloBIunsGoff,demHerren all fourvocalcategoriesare usedassoloistsIthechoir of 1575. like mostof thecantataswrittenafterEaster appearson~ in thefinalmovementlandthe 1715, Cantata165 dispenseswilhlarge-scale instrumentalaccompanimentislimitedtostring instrumentalandvocalforcesandisscoredfor
19 resourcesidenficalto thosefoundinCanlatas155, beginningof thecomposifioninasmuchas it is 162 and 163.Thelour1JOrtvocalensemblesimilarly launchedbydissonantchordsonIremolandoslrings. appearsonlyin thefinolchorale,whereasall fourvoice Thesiringtexturesosa wholeore modelledonthe typesaretreatedassoloistsintheearliermovements. olderFrenchtypeoflive-portwritingIlwoviolins,Iwo Theprincipalsource01Cantata165 isa copymade violasandcello/violonel,a type01writingthatwas byJohannChrisfianK6ppingduringBach'syearsin graduol~replacedin Bach'scantatas~omtheyears leipzigandpreparedinconnectionwitha revival01 belween1115and 1717bylour-portwritinglortwo theworkin 1724. TheWeimorautographhasnot violins,violaandcello. survived,sothatthedoteof composition- the summer Wordsand musicgo handin handinconveyingthe of 1715- mustremaina ma~erlorconjecture. canlata'smessa.ge.'Sin', 'poison"and'curse"arethe Intermsof itsformalstructure,Cantata165consistsof solientwords01theopeningaria,andtheydu~ inspire threeoriasIAI,tworecilofivesIRIanda choraleICIin thecomposertostrikea corresponding~graphicarid theorderA-R-A-R-A-Candisthustypicalof the vividnote,hence,lor example,thedissonant 1715 annualcycle.Bachunderlinesthesymmetryof hormonies01theopeningbars.Thesecondaria,with thefive-partmetricallyfreetextby meansofa lonal whichthisbriefcantataconcludes,isnotableforthe planthattreatsthethreeoriasaspaintsof repaseinG densepolyphonictexturesof itsfour"('Ortwriting,witha major,EminorandlagainlG major,whilethe chromaticsubjectcombinedwilha rhythmical~ inslrumentaltuffifromtheopeningoriaIno. 11is animatedcountersubjectat thewordsWer SUndetut, repealedinthefinalchorale.Thesecondariais der istvomTeulel'IHewhosinsisof meDevil!.Inits accompaniedbycontinuoalone,whereasthethirdis compasitionalstyle,Cantata54 recallsthemotet notablefor itsdensethree-parIwritingforunisonviolins, FiirchledichnichlBVW228, whichmayhavebeen lenorandcontinuo.Thetwoextende 21 Cantata208 isscorednoton~ for!wo recorders,three 1713 February:Bachinvitedtoperfarmatthe oboesondtheusualstrings,itolsaincludesfor thefirst WeiBenfelscourt,wherehisprogrammeincludes timein Bach'scareer!WOportsfor hondhorns. Cantata208 Referencesinthescoreto.Violonse BaBons.indicate December:Bachaudifionsfor thepostof a reinforcedcontinuogroup.Itseemslikelythotwhen organistat theMarienkircheinHalleinsuccessionto performedasa festivework,Canlata208 begannot FriedrichWilhelmZachow;performanceof a lost withthemodestrecitativethatwouldotherwiselaunch cantata thepiecebutwitha longerinstrumentalsinfoniaof a 1714 2 March:BachappointedKonzertmeisterto kindrepresentedbytheearlyversionof theFirst theWeimarcourtwithcontractualobligationto perform BrandenburgConcerto- a workwhich,it maybe cantataseverymonth odded,isscoredforforcesidentical10thosefoundin March:rehearsalsofcantatastransferred thepresenthuntingcantata. fromKapellmeister'slodgingsto SchloBkirche 25 MarchIPaimSunday):Cantata182 isthefirstcantatatobe performedby\~eneWly JohannSebastianBach(1685-1750): Chronology of installedKonzerlrneister the pre-Leipzigworks 1703-07 Organist at the Neue Kirche, Arnstadt 1715 SalomoFranck'sEvangeliscresAndachts' OpHerpublishedinWeimar . 1705-06 Three-to four1T1onthtrip to LUbeckto hear Augusl-October:periodor "C':ono DietrichBuxtehude maurningfollowingdeathof P.inceJo':"" :rnsiIno 1707 24 April(EasterDay):Bachauditionsfor cantatasperformed) postasorganistatMOhlhausen,probablywitha 1717 SalomoFranck'sEvongelisc"-eY-J1r:-und performanceofCantata4 Fesffages'Andachtenpublished;" ',\'e -,,- 26 March:lostPOSSio":>e-"y-.ec" -he 1707-8 Organist at the Blasiuskirchein Muhlhausen SchloBkircheatGotha 1708 4 February:Cantato 71 performed to mark 5 August:Bac~aooo;r'ec-.:c':::€11eister theinaugurationof theMOhlhausentowncouncil at C6then June:Bachappointedorganistandchamber 2 December:Boer.disr-s= -:,- --e musiciantotheducalcourtatWeimar serviceoftheWeimarcour !:)0Y."(;--* ...oee<.; 1708-17 Court organist and chamber musician in incarcerationfordernancing;,:;::€,~--= ~:r hispost Weimar December:Boer'(J 22 17J8 Moy-June:BachvisitsKorlsbodwithPrince Leopoldandmembersaf theOjthenHafkapelle 1720 Moy-Ju~:BachvisitsKarlsbodwithPrince Leopoldandmembersof theC6thenHofkapelle Navember:BachauditiansforIhepostof organistattheJacabikircheinHamburgwitha revival of BWV211?j 1722 December:Bachappliesforthepostof Thomaskantorin LeipziginsuccessiontoJohann Kuhnau 1723 7 FebruaryIQuinquagesimal:Bach auditionsfor IhepostasThomaskantorwith performancesof Cantatas22 and23 23 Kolhen.Schlol'> (Residenz der Herzoge von Anhalt-Kothen; nach Brand 1547 Wiederauflau 1597-1606). Photo: AKG, Paris. 24 COMPACT DISC 1 COMPACT DISC 1 Christen, Cine! diesen Tag BWV63 CHORUS UJ CHOR Christians,markyeall thisday, Christen,btzetdiesenTog CarveitwellinbronzeandmarbleI InMetallundMormosteine! At Hiscradlemanrejoices, KommtundeiltmitmirzurKrippen Hastentherewithhappyvoices, UnderweistmitfrohenLippen ThankstoGod forHimconvey! EurenDankundeurePflicht! SeetherayfromHeavendarts, Dennder Strohl,soda einbricht, 'tisthesignof graceandmercy ZeigtsicheuchzumGnadenscheine. RECITATIVE w REZITATIV o blissfulDayl0 day ofgreatrejoicing, o seigerTag!0 ungemeinesHeute, On whichtheworldwassaved; An demdasHeilderWek, TheShiloh,whomthelord, fromParadise, DerSchilo,denGo" schonimParodies Alreadyhadassuredto man, DemmenschlichenGeschlechtverhieB, At lastappearedamongusintheFlesh, Nunmehrasichvallkommendargestellt Thathemightransomusfromourcaptivity,andrend UndsuchetIsraelvonderGefangenschahund ourfe"ers; Sklavenke"en FromSotan'spowersaveus.Ah!dearestGod! DesSatanszuerretlen. What sorryfolkarewel DuliebsterGo"! wassindwir Armedoch? A faithlesspeaplewhichhavequiteforgotThee EinabgefallnesValk,sadichverlassen. AndyetThoudostnotnowdespiseus! Unddennochwillstduunsnichthassen! Thatmortalsmightnotall, aswell-deserved,belehto Dennehwir sollennochnachdemVerdienstzu perish, Bodenliegen, HisGodheadhasthelord divested, EhmuBdie Go"heitsichbequemen, A mortalformandfiguremanifested, DiemenschlicheNaturon sichzunehmen And ina stable UndaufderErden, beenborna child 1mHirtenstall,zueinemKindzuwerden. Tocompassoursolvation. o unbegreifliches,dochseligesVergnugen! o unbelievable,yetblessed, Consummation! 25 DUET CDDUET God we thankTheelorourSaviour Gall, duhosteswohlgeluget, Who wasborntoustoday. Wasunsjetzowiderlahrl Saletus,inHimconfiding, DrumlaBtunsaufihnstetstrauen TrustHisSavingGroceabiding; UndoufseineGnadebouen; WhichshollbeourGuideand Stay, Denner hotunsdiesbeschert, Bringingpeaceandjoyforever Wasunsewig nunvergnugel RECITATIVE [!] REZITATIV Todaythefearonddread Sokehretsichnunheuf Wassweptawoy Dasbongeleid, WhichoncetoIsraelwaswoeondconsternation. Mit welchemIsroelgeangstetundbeladen, Todaybroughtoursalvation InlauterHeilundGnaden. Thelion, sprunglromDavid'sline,appeareth. Derlow ausDavidsStammeislerschienen, Hisbow isreadydrown,theswordisinHishand SeinBogenislgesponnt,dasSchwerlistschon Withwhich,for us,ourFreedomtocommond gewetzt, Womiter unsin vor'ge Freiheitsetzl DUET UJ DUET Come,yeChristians,praiseandpray, RultundIlehtdenHimmelon, Praisethelordwithsanganddancing; Kommt,ihrChristen,KommtzumReihen, Joyful~yourproiseenhoncing Ihrsollteuchob demerfreuen, ForHisgilt toustodoy; WasGall hotanheutgetanl ThanksIhatlileitselfHegaveus, Da unsseineHuldverplleget ThanksforChristwhocometosaveus, UndmitsovielHeilbeleget, Thank>!:x morethantonguecansay. DaBmannichtgnugdankenkann. RECITATIVE UJ REZITATIV SaIonye holleryetthelIamesof yourdevotion, Verdoppelteuchdemnoch,ihrheiBen Inspiredwithhumbleyetwithdeepemotion. Andachtsllammen Comejovlulev'ryone Undschlaglin Demutbrunstiglichzusomen! AndthonkyourGod lorallthot Hehasdone SteigIrohlichhimmelan UnddanketGall vordies,wosergetan! 26 CHORUS [l] CHOR Master,praywith pityview H6chsler,schouinGnadenon Allthewarmth01ouraffection. DieseGlutgebuckterSeelen! Letourthanks,in loveabounding, LoBdenDank,denwir dir bringen, InThygraciousearsbesounding, An£jenehmevordir klingen, Makeusinabundancethrive, LoBunsstefsin Segengehn, NevermaytheFiendcon'trive Aberniemalsnichtgeschehn Toreduceus10subjection. DaBunsSatanmbgequolen. Ach,ichsehe, ilzt,do ichzur Hochzeitgehe BWV162 ARIA [i] ARIE Saintsandsinners Ach,ichsehe, Tothebonquetall arebidden. liz!,do ichzurHochzeilgehe, WohlundWehe. Ahyea!andsinners,goodandevil. Highandlow~,smallandgreat, SeelengihundLebensbrot, BlessingCursing,LoveandHate, Himmel,Holle,Leben,Tod, Soulsexalted,spiritsblighted, HimmelsglanzundHollenflammen All invited Sindbeisommen. Jesus,help, that I be steadfast, help Jesu,hilf,daBichbestehel RECITATIVE [I] REZITATIV o wondrous Feast01 Love o groBesHochzeidest, To which the King of Heaven Darzuder Himmelskonig Has called us from above' DieMenschenrufenloBI! Butare not we, poor souls 1stdenndie armeBraut, 01 cloy and common clod, DiemenschlicheNatur,nichtvielzuschlechtund By lar too mean and humble wenig, To sitat table with the Son 01God? DaBsichmitihrder SohndesH6chstenkaul? o wondrous Feast01Love, o groBesHochzeidesl, Howcanit bethatmortalfleshaslowly Wie istdasFleischzusolcherEhrekommen, May bethehonouredguest01Him01all mostholy? DaBGottesSohn ForHeavenisHisThrone, Eshotaufewig angenommen? AndEarthbeneathbutserveshimlora lootstool; DerHimmelistseinThron, AndyetHe bidsuscome DieErdeclientzumSchemelseinenFuBen, 27 Andwelcomeuswithhonour! Nochwill erdieseWelt TheFeastof loveisrichlyspread, AlsBrautundliebslekussen! Theviandsall provided, DosHochzeitmahlistangeslellt. Completeareall thesumptuouspreparations! DosMoslviehistgeschlachtet; HowblesttheFaithfulastheytoketheirstations, Wie herrlichis!dochalleszubereitet! Butthriceaccursedhe Wie seligiSI,denhierderGlaubeleitet, Who hosthisFeastderided! Undwie verfluchlisldach,derdiesesMohl verachtet! ARIA [!!J ARIE Jesus,fountofev'ryblessing, Jesu,BrunnquellollerGnaden, Feedmetho'I betheleast lobe michelendenGast, ThouhostbiddentoThyfeast! Weil dumichberufenhost! I amfaint,weak,heavy/aden, Ichbinman,schwachundbeladen, QuickenThouthesoulwithinme, Ach!erquickemeineSeele, Ah, howI hungersoforThee. Achlwie hungertmichnachdir! Breadof lifewhichI wouldwin me, lebensbrol,dasicherwahle, ComeandbeThouonewithme. Komm,vereinedichmilmir! RECITATIVE ,TIJ REZITATIV lordJesus,leImenotappearin MeinJesu,loBmichnicht Unbefininggarments, lur Hochzeitunbekleidetkommen. lestI disgraceThyHa~ Place; DoBmichnichttreffedeinGericht; ForI observewithperturbation Mit Schreckenhobichja vernammen, Howoncea bold,presumptuousguest Wie dudenkuhnenHochzeitgast, IncurredThineindignofian DerohneKleiderschienen, When heappeareanotfitlydressed. Verworfenundverdammelhast! I knowmyownunworthiness: IchweiBouchmeinUnwurdigkeit: leI loveandFaiththenbemybanquetdress, Ach!schenkemirdesGlaubensHochzeilkleid; lelloyoltyandservicebemyjewels, loB deinVerdienslzumeinemSchmuckedienen! My cloakbeThysolvation, Gib mirzumHochzeitkleide And Innocencemycoatofwhitestsotin. DenRockdesHeils,der UnschuldweiBeSeide! Ah, whenThoudiedil wipedoutev'ryblemish Ach!loBdeinBlul,denhohenPurpur,decken With whicholdAdam'scursebesponedmyapparel, DenaltenAdamsrockundseinelaslerAecken, AndleMmefairandpure, Sowerdichschonundrein AndofThywelcomesure; Unddirwillkommensein, 28 SomayI comeinworthygarb10shoreThybanquet. So werd ich wurdiglich dos Mohl des lommes schmecken. ARIA lliI ARIE InGod thelord ismydelighl InmeinemGonbinicherfreutl ThroughmylifeHisGrocehasblestme, DieliebesmochthOIihnbewogen, Moveaby Hislove'striumphonlmight; DaBer mirinderGnadenzeit InbrightestgarmentsHehasdressedme AuslouterHuldhotongezogen Spofless~clothedin Righteousness. DieKleiderderGerechtigkeit. AssuredamI of life Eternal IchweiB,erwird nochdiesemleben Arrayedinwhitestdress, DerEhreweiBesKleid And joyin Heov'nsupernal. Mir ouchimHimmelgeben. CHORAlE [UJ CHORAL Now thelord'seternalkingdom Ach,ichhabeschonerblicket InitsgloryI willview, DiesegroBeHerrlichkeit. Clod in richandfairapporel, Ilzundwerdichschongeschmucket Heoven'sgarbof brightesthue, Mit demweiBenHimmelskleid; Wilh a goldenCrownuponme, Mit der guldnenEhrenkrone ByrheThroneof God Almighty, Stehichdo furGonesThrone, Ah,whotjoywill fillmethen, SchoueseicheFreudeon, Joybeyondall mortolken. DiekeinEndenehmenkonn Mein Golt, wie lang, ach lange BVN 155 RECITATIVE [!] REZITATIV Ah,God, mywoy isweory, MeinGon,wie long,achlange2 My troublesaretoogreot DesJammersistzuviel, It seemsthatcruelfate Ichsehegar keinZiel Tochastenmeisbidden. DerSchmerzenundderSorgen' Thykind~glanceisgone, DeinsuBerGnadenblick Inblockestnightondcloudsof dorknesshidden, HotunterNachlundWolkensichverborgen, 29 Dieliebeshandziehlsich,achl ganzzuruck, The loving hand which helped me is withdrawn: UrnTroslislmirsehrbange. My life and hope are drearyl Ichlinde,wasmichArmenloglichkronkel, Each day my cares and many woes are growing, DerTronenMaBwird slelsvalleingeschenket My tears in endlessstreamsare ever flowing, DerFreudenWeingebrichl; The joy of life has fled, Mir sinklfaslaileZuversichl. And sinking hope will soon be dead! ARIA [TI] ARIE We mustlruslHim,we muslheedHim, DumuBtglauben,dumuBthoffen, We mustheartheSaviour'svoice, DumuBtGattgelassensein! JesusweiBdie rechlenSiunden, Jesusknowswhenwe shallneedHim, DichmilHillezuerfreun. InHisMercywe rejoice. Wenndie !rubeZeilverschwunden, CoreandIroublemayassailus, SiehlseinganzesHerzdir offen. Hiscompassionwill nolfail us. RECITATIVE [l§J REZITATIV Sosei,a Seele,seizufrieden! FretnOI,mysoul,norbedownhearted! WennesvordeinenAugenscheinl, Although01limesil mayappear Aisob deinliebslerFreund ThaiGod, thydearestFriend, Sichganzvondirgeschieden; Hasquile!romIheedeparted; Wenner dichkurzeZeitverioBt, Farbetterlimesare near, Herzlglaubefesl, FearnOI,hearl,persevere, Inbuta littlewhile Eswirdeinkleinessein, Doer furbitlreZohren Thybitterlamentalion DenTrosl-undFreudenwein Will bea happysmile, UndHonigseimfurWermutwill gewohren! Thybitternesswililurn10jubilation! Ach!denkenicht, Ahl fancynollhatGod DaBer vanHerzendichbetrube, Intrulhinlends10grieveus; 'TismerelyIhat,beforeHecanreceiveus, ErprufelnurdurchLeidendeineliebe, Hetriesourfaith Ermochel,daBdeinHerzbei trubenStunden weine, Andprovesourhearatsby trialand!rouble, DamitseinGnadenlicht WherebyIhegloryof HisGrace Dirdeslolieblichererscheine; May shinewilhsplendourdouble Erhal,wasdichergblzl, ThyGod reservesforthee01lastmysoul'smost Zuletzl preciousioyandpleasure, ZudeinemTrostdir vorbehalfen; SoyieldthyhearltoHiminfullestmeasure. 30 DrumloBihnnur,a Herz,inollemwolten! ARIA Up myheartandgivethysell (!1J ARIE WhollytotheLord'sprotection, Wirf, meinHerze,wirfdich noch Restsecurein Hisaffection; IndesH&hstenLiebesorme, Costlhyburdenon theLord, DaBer deinersicherborme LetHimshoulderthineaffliction, legedeinerSorgenJoch, SeekHissavingBenediction. UndwasdichDisherbeloden, Aufdie AchselnseinerGnoden. CHORALE Tho'God atlimesmaychastenyou, IilI CHORAL Benotthenyeaffrighted, Ob sichsonlieB,olswollter nichl, ForHe remainsforevertrue, LoBdichesnichterschrecken, Inlovewithusunited. Dennwo er istambestenmit, Soholdye steadfast10HisWord, Dawill ersnichtentdecken. Le!notyourheartswithdoubtbestirred, SeinWort loBdirgewissersein, Nor thinkthatyouare slighted. UndobdeinHerzsprachlouterNein, SoloBdochdir nichtgrouen. Christen,Cilze!diesenTag (Appendixl 8WV63 CHORUS Christians,markyeall thisday, lliI CHOR Carveitwellin bronzeandmarble! Christen,atzetdiesenTog AI Hiscradlemanrejoices, InMetollundMormorsteine! Hastentherewithhappyvoices, KommtundeiltmitmirzurKrippen ThankstoGod forHimconvey! Underweislmitfrohenlippen SeetheroyIromHeavendarts, EurenDankundeurePflichtt 'tisthesignofgraceandmercy. Dennder Strohl,sodo einbricht, ZeigtsicheuchzumGnodenscheine. 31 Ach, ich sehe, itzt, do ich zur Hochzeit gehe (Appendix) BWV 162 ARIA [lQ] ARIE Saintsandsinners Ach,ichsehe, Tothebanquetall are bidden. Ilzt,do ichzurHochzeitgehe, Ahyea!andsinners,goodandevil. WohlundWehe Highandlowly,smallandgreat, Seelengiltundlebensbrol, BlessingCursing,loveandHate, Himmel,Holle,leben,Tad, Saulsexalted,spiritsblighted, HimmelsglonzundHollenAommen All invited. Sindbeisommen. Jesus,help,thatI besteadfast,help. Jesu,hill,daBichbestehe! CHORALE !llI CHORAL Now thelord'seternalkingdom Ach,ichhobeschonerblicket InitsgloryI willview, DiesegroBeHerrlichkeil. Clod in richandfairopporel, Itzundwerdichschongeschmuckel Heaven'sgarbof brightesthue, Mil demweiBenHimmelskleid; With a goldenCrownuponme, Mil derguldnenEhrenkrone BytheThroneof God Almighly, Stehichdo furGanesThrone, Ah,whatjoywill fill methen, SchouesolcheFreudeon, Joybeyondall mortalken. DiekeinEndenehmenkonn. COMPACT DISC 2 COMPACT DISC 2 Jesus nohm zu sich die Zwolfe BWV 22 ARIAANDCHORUS UJ ARIE UND CHOR JesuscollingthenthetwelvetoHim,soid:comenow, JesusnohmzusichdieZwolfeundsproch:Sehet, we go uphencetoJerusalemandthuswiseall things wir gehnhinoufgenJerusalem,undeswird olles will happenwhichwereprophesiedof theSonof vollendetwerden,dosgeschriebenistvondes NIon MenschenSohn. ButtheyunderstoodnotHismeaning,nordid they Sieobervernohmender keinesundwuBtennichl, knowwhatthingsHe spoketothem. wasdo gesogetwar. 32 [l] ARIE ARIA MeinJesu,ziehemichnachdir, My Saviourtokeme,takeThoume, Ichbinbereil,ichwill vanhier I wouldawaywithTheetoday UndnachJerusalemzudeinenleidengehn. AndinJerusalemwouldshoreThyCrosswithThee Wahlmir,wennichdie Wichtigkeit Ah me!!wereweill knewtheprice Vandieserleid.undSterbenszeit ThatThouhastpaid,Thysacrifice, ZumeinemTrosfekanndurchgehendswahl TogainmePoradise, verstehn! Ahlthiswerewellforme. [l] REZITATIV RECITATIVE MeinJesu,ziehemich,sowerdichlaulen, lordJesus,bid mego, and1will hasten, DennFleischundBlutversfehetganzundgar, Tho'fleshandblooClcannotwellapprehend, NebstdeinenjUngernnicht,wasdo gesagetwar. AsThydisciplesthe,all thatThywordsportend EssehntsichnochderWell undnachdem Theyyearnstillfortheworld,therabble'sacclamaion, groBtenHoufen; AndhopedthatThoumightrear, Siewollenbeiderseits,wennduverkli:iretbist, Whenthouwerlglorified, ZwareinelesteBurgaufTaborsBergebauen, A mightyfortresshereonTabor'sloftymountain. HingegenGolgotha,sovollerleidenist, Golgothaall abhor,sofraughtwithpainandwoe, IndeinerNiedrigkeitmitkeinemAugeschauen. WhereThouwertbroughtsalow, inshameful AchkreuzigebeimirinderverderbtenBrust degradation ZuvorderstaieseWeltunddie verbolnelust, Ah! crucifyinme,in mybenightedheart, Sowerdich,wasdusagst,vollkommenwahl Thisworldof ill repute,withitsforbiddenfruil! verstehen Thenwilli, unlikethem,knowwellwhatThouort UndnachJerusalemmitlausendFreudengehen. saying, AndseekJerusalem,Thycall withjoyobeying. [1] ARIE MeinAllesinAllem,meinewigesGut, ARIA VerbessredasHerze,veri:indredenMut; My blestbenefactor,forevermyfriend, Schlagallesdarnieder, RelreshThoumycourage,mylailingsamend; WasdieserEntsagungdesFleischeszuwiderl Putdownmytemptations, Dochwennichnungeisriichertotetdo bin, Andhelpmerenounceall myboseinclinations. Soziehemichnachair in FriededohinI Andwhenmyill natureat lasl1forswear, ThentakemetoHeavenin peacewithTheeThere. 33 CHORALE IT] CHORAL TransformusbyThykindness, ErrotunsdurchdeinGiite, AwokeUSIhroughThyGroce, ErweckunsdurchdeinGnad; Thaiwe putontheNew Man, DenaltenMenschenhonke, TheOld Man'spow'refface DaBder neu'lebenmag While hereasmortalslivewe, WohlhieauldieserErden, Ourheartsandthankswe giveThee, DenSinnundall Begehren OurlrustinTheewe place UndGedankenhabenzudir. Du wahrer Galt und Davids Sohn 8WV 23 ARIA W ARIE ThouveryGod andDavid'sSon, DuwahrerGall undDavidsSohn, Thouwho,ereAdornwas,or limehodyetbegun, DerduvanEwigkeitinder En~ernungschon foresawmywoes,mybillermortalplighl MeinHerzeleidundmeineLeibespein Who all mysorrowknows;bekind10me! Umsl6ndlichangesehn,erbormdichmein' DaThouwithThyMagician'shandhelpmeall evil10 UndloBdurchdeineWunderhand, wilhsland, DiesovielBasesabgewandl, AndgivemefaithandHopeandComlorl. Mir gleichfallsHill undTroslgeschehen. RECITATIVE W REZITATIV Ah, passThounotnowby me, Ach,gehenichtvariiber; Thouwho01all mankind DuollerMenschenHeil, HaslbeentheSaviour, Bislja erschienen, for Thoudidslcometo healthesickandnollhe DieKrankenundnichtdie Gesundenzu healthy bedienen. I prayTheelikewise01Thystrenglhgivemea share. Drumnehmichebenfallson deinerAllmachlleil; WhenI wilhmanmadeillsamcoping, IchsehedichaufdiesenWegen, And inIhedarkamblindlygroping, Woraufman ThenmayI findTheeIhere. Mich halwollenlegen, ReceiveThoume, AuchinderBlindheiton. 34 Nor leave I Thee Ichfassemich Until Thoushalt have blest me. Undlassedich NichtohnedeinenSegen CHORUS UJ CHOR All men'seyesarewaiting,lord, AllerAugenwarten,Herr, Wailing, mighlyGod, lord,onThee, DuallmochtgerGo~,aufdich, Mine01all mosteagerly. Unddiemeinensonderlich. Giveus01Thysliength,andlight, Gib denselbenKraitundlicht, leaveusnot laB sienicht Evermoretobein darkness. ImmerdarinFinsternissen! Thineapprovalistheprize, KunltigsolideinWinkallein Cynosure01all men'seyes, DergeliebfeMitlelpunkl Theirdelight,whichcomforteth AllerihrerWerkesein, Bidewithusunlilindeath BisdusieeinstdurchdenTod OnedoyThoushaltwill 10closethem. WiederumgedenkstzuschlieBen CHORALE UJ CHORAL lambofGod, lordJesus, Chrisle,du lammGo~es, Thouwho borethesinsofMan, Derdutrogstdie SundderWelt, Erbormdichunser! Havemercyonusl lambofGod, lordJesus, Christe,du lammGo~es, ThouwhoborethesinsofMan DerduIrogstdie SundderWelt, Gib unsdein'Frieden.Amen GrantusThypeace,lord.Amen. Nur jedem das Seine 8WV 163 ARIA lliI ARIE Dojusticetoall men. Nur jedemdasSeine! Sopaywhatthouawest MuBObrigkeifhaben Tohighestor lowest, Zoll,SteuernundGoben, Todulybe true, Manweigresichnichl GiveCaesarhisdue, DerschuldigenPfljcht! DochbleiootdasHerzedemH6chstenalleine ThyheartshaltthourenderfaGod in theHighesf,none ofher. 35 RECITATIVE I!!I REZITATIV Thouart, myGod, the50urce01ev'ryblessing; Dubist,meinGon,derGeberollerGoben; Thetreasuresthatwe cherish Wir hoben,waswir hoben, Areowingall toThee, AlleinvandeinerHand. life, homeanddoilyration, Du,du hostunsgegeben Heart,body,soul,andstation, Geist,Seele,LeibundLeben Allwe possess,or hopeto be. UndHob undGulundEhrundStand! What istherethenthatwe Wassollenwir With thankfulheartsmaylaybeforeThee Denndir Toshowhowwe adoreThee2 ZurDonkborkeildoflirerlegen, Ourall isnotourownbutThine DounsergonzVermbgen YetthisonethingThoumoyestwishof mine, Nurdeinundgar nicnlunserisl? My heartI offerThee, Dochistnacheins,dosdir,Gon,wohigefolll: LordletThouthismytributebe DosHerzesoliollein, Ah,woe ismetforSatan'sfiendishface Herr,deineZinsemlinzesein. Isstompedthereon,andworthlesscoin Ach!oberoch! istdosnichtschlechtesGeld? Will makeit. DerSotanhotdeinBilddaranverletzet, Nor will theLordastributetokeit. DiefalscheMlinz istabgeselzet. ARIA li1I ARIE Letmyheartmytributebe, LaBmeinHerzdieMlinzesein, All toThee,toTheeI payit. Dieichdir,meinJesu,sleure It isnotfromalloyfree, 1stsiegleichnichtollzurein, Smeltit, workit, newassayit, Ach,50kommdachunderneure, Lustrebrightto it impart. Herr,denschonenGlanzbei ihr! Come,mytributeTheeI render, Komm,arbeite,schmelzundproge, StompThineimageonmyheart DoBdeinEbenbildbeimir Deepengravedin brightestsplendour Gonzerneuertgli:inzenmbge! RECITATIVE WI REZITATIV TogivetoThee Ich wolle dir, My heart,I strive,0 Lord,forever, o Gon, das Herze gerne geben; With spiritready,yetthefleshis Der Will ist zwar bei mir, 36 Weakandthwartsmybestendeavaur. DochFleischundBlulwill immerwiderstreben. Thewarldtoday DieweildieWelt, Hassnatchedmyheartaway, DasHerzgefangenhalt, Nor will theworldreleasemetho'I hateiI, SowillsiesichdenRaubnichtnehmenlassen; Anddeepabominateit. JedochichmuBsiehassen, let mebewhol~Thine, Wennichdichliebensoil. Mt hearttoTheeresign, SomochedochmeinHerzmitdeinerGnadevoll; Andfill mewilhThyGraceIheworldtoface,and leeresganzausvonWeltundalienLUsten scornitsemplypleasure UndmachemichzueinemrechtenChristen. ThatI moytruetoChristianstaturemeasure. ARIA [!] ARIE TakeThoume,Thineowntobe! Nimmmichmirundgib michdid Takemywill infullsubjection, NimmmichmirundmeinemWillen, I amThineforThydirection. DeinenWillenzuerlullen; NothingTheehornmedividing, Gib dichmirmitdeinerGute, let myspiritbeabiding, DaBmeinHerzundmeinGemute Ever,evermorewithThee. Indir bleibefurundfur, TakeThoume,Thineown tobe! Nimmmichmirundgib michdid CHORAlE ~ CHORAL lead Thoumyheartandwill, FuhrauchmeinHerzundSinn Thybiddingtofulfil, DurchdeinenGeistdahin, AndgrantthaInothingever DaBichmOgallesmeiden, Can mehornTheedissever; Wasmichunddichkannscheiden, Inloveforeverplighted Undichandeinemleibe With Theeasoneunited. EinGliedmaBewig bleibe. o heilgesGeist- unciWasserbad 8WV 165 ARIA IT§] ARIE o holvfountain,sanctified, o heilges Geist- und Wasserbod, Whic~opensGad'seternalKingdom Das Gettes Reichuns einverleibet And intheBookof life inscribeus! Und uns ins Buchdes lebens 37 o Fount,whichswallowssinandpride, schreibetl Whosemagicdrownsall evildoing, o Flut,dieaileMissetat Ourstrengthandhopeandliferenewing! DurchihreWunderkrahertranket o ho~Iountoin,sanctified. UndunsdasneueLebenschenket, o heiligesGeist-undWosserbad! RECITATIVE IT1I REZITATIV Theowfulohermath01Adorn'sbaseseduction DiesundigeGeburtverdammterAdornsErben WosGod'seternalwroth,ourdeathondour GebieretGattesZorn,denTadunddas destruction! Verderben. Allthatisbarnof Adorn'sflesh DennwasvomFleischgeborenist, Isnoughtbutflesh,fromevilloullyrotted, istnichtsalsFleisch,vonSundenangestecket, Envenomed,andbespotted! Vergihetundbeflecket. Howblestwe Christiansall! Wie seligisteinChrist! BaptisedintoChristwe dress Erwird imGeist-undWasserbade Inwhitestsilk01blessedness EinKindder SeligkeitundGnode, We putonChristHimself, ErziehetChristumon AndHisunsulliedpurity, UndseinerUnschuldweiBeSeide, And50will we bedressed Erwird mitChristiBlut,der EhrePurpurkleide, Inbrightestpurpleraiment, 1mTaufbadangetan Andglorymanifest. ARIA [llJ ARIE Jesus,whohaslovedmedearly Jesu,derausgroBerLiebe Who throughbaptismpromisedclearly InderTaufemirverschriebe Lifead hopeandblessedpeace; Leben,HeilundSeligkeit, Letus,inthisriterejoicing, Hilf,daBichmichdessenfreue Faithandfirmallegiancevoicing, UnddenGnadenbunderneure Ourdevotionnevercease InderganzenLebenszeit. RECITATIVE 1111 REZITATIV Thouart indeedbelovedof mysaul, Ichhabeia, meinSeelenbrautigam, ThroughTheeamI reborn Dodumichneugeboren, AndtruetoTheeforeversworn, Direwig treuzuseingeschworen, ThouholyLomb01God! HochheilgesGatteslammI YethaveI, oh,baptismalpledgesbroken, DochhODich,ach,denTaufbundohgebrochen 38 Norhavefulfilledthevowsbespoken. Undnichterlullt,was ichversprochen Inpily,Lord,bemercifultomet ErbormedichausGnodenubermich! Forgivemyfauhsandindiscretions, Vergibmirdie begangneSunde, Thouwhodastknow,mysorrowfultransgressions, DuweiBt,meinGon,wie schmerzlichich Pluckoutthesepent'ssting, emplinde Whoseevilvenomtaintsmysoulandbody, DerahenSchlangeStich; KeepThoumesteadfast,trueandtrusting. DosSundengiHverderbtmirLeibundSeele, solikewise,ontheCross, hilf,daBichgl6ubigdicherwohle, TheSonof manwaslifteduptosaveus. BlutrotesSchlangenbild, DosondemKreuzerh6het, DosaileSchmerzenstillt Undmicherquickt,wennaileKroftvergehet. ARIA Ilm ARIE jesus,Saviourof mysoul, jesu, meines TodesTod, Throughmylifepreserveme, LoBin meinem Leben When I nearmyfinalgool Und in meiner letzten Not Letnotanguishswerveme; Mir fur Augen schweben, KeepmeevertruetoThee; DoB du mein Heilschlonglein seist FoiltheevilSchmer, Vor das Gift der Sunde. Helpandhealandcomfortme, Heile, jesu, Seel und Geist, BeThoumyRedeemer. DaB ich Lebenfinde! CHORALE [ll) CHORAL ThyWard, communion,sacrament, SeinWort, seinTauf,seinNachtmahl Will wordoffall disaster; DientwideralienUnfall, OurfaithinTheunshaken, DerheilgeGeistimGlauben DirectThouus,aearMoster. Lehrtunsdaraulvertrauen. 39 COMPAa DISC3 COMPAa DISC3 Widerstehe dochder Sunde 8WV 54 ARIA [1] ARIE Holdthoufirmagainstall evil, Winderstehe doch der Sunde, Lesllhylifeenvenomedbe. Sonstergreifet dich ihr Gih. HewhomSoton'swiledeceiveth, LoBdich nicht den Sofon blenden; Who God'stv\ojeslyoggrieveth Denn die Gones Ehreschanden, Isaccursedeternally. Trifhein Fluch, der todlich ist. RECITATIVE IT] REZITATIV Theway 01sinissub~e; DieArlverruchterSunden AI firstwe finditwondrousfair; IslzworvonouBenwunderschon, AlleinmanmuB At lost,whenall isdone,by sorrow And remorsethesinnerisafflicted. HernochmilKummerundVerdruB Tho'sinbegildedo'er, VielUngemachempfinden. If we butlookwithin VanoullenislsieGold,dochwill manweiler We seetherebutonemplyshadow, gehn, A whitedsepulchre. SozeigtsichnureinleererSchonen UnduDertiinchlesGrab. Whosotowedwithsinwoulddeign As inGomorrohandin Sedam SieistdenSodomsapfelngleich, tv\oynotabidein God'sdomain. Unddiesichmitderselbengonen, Forsinislikea sword01steel, GelangennichtinGonesReich. Tocleavethehomehomheadto heel Sieistolswie einschorfesSchwerl, Dosunsdurchleib undSeelefahrl. ARIA ITJ ARIE AllevildeedsbeQinwithSoton, Wer SUndetut,der islvomTeufel, Tishetholcousethall ourwoes; Denndieserhotsieoufgebrocht; Butif, withfirmdevotionstriving, DochwennmanihrenschnodenBonden We butwithstandhisfellcontriving, Mil rechterAndachtwiderstanden, Infullretrealawayhegoes! Hatsiesichgleichdavongemacht. 40 Komm, du suBe Todesslunde BVN 161 ARIA W ARIE Come,sweetdeoth, Komm,du suBeTodesstunde, ThoublessedHealer, Da meinGeist Welcomerest,perfectpeoce, Honigspeist Quieteverlasting. AusdesLowenMunde; Makemypossingswiltandeosy, MachemeinenAbschiedsuBe, Tarrynot,Come0 comel Soumenicht, Takemetomyfinalhoven. LetztesLicht, DaBichmeinenHeilandkusse. RECITATIVE [i] REZITATIV World,all thyjoysare brief, Welt,deineLustistLast, A sugaredpoisonbringingnaughtbutgrief, DeinZuckeristmiralseinGilt verhaBt, A flashingstar, DeinFreudenlicht Thatburnstocinder, 1stmeinKomete, Thyrosesfilledwithhiddenthorns, Undwo mandeineRosenbricht, Unnumbered,whichwill prick SindDornenohneZahl My soultotouchthequick. ZumeinerSeeleQual Tomepoledeathislikea rosymorning, DerblasseTodistmeineMargenrote, When,overgloomynightvictorious, Mit solchergehlmiraufdie Sonne Thesunarisesbrightandglorious DerHerrlichkeitundHimmelswonne So,tho'I sigh,I eogerwelcome DrumseulzichrechtvonHerzensgrunde Thefinalhourwhendeothshalltakeme. Nur nachder letztenTodesstunde Ah,whata joytoleavethisValeof Sorrow, IchhabeLustbeiChristobaldzuweiden, And joinmySaviouronthathappymorrow. IchhabeLustvondieserWeltzuscheiden. ARIA IT] ARIE Ah whatrapturemine, MeinVerlangen, AI last10gainsalvation, 1st,denHeilandzuumfangen TherewithChristsosoontobe. UndbeiChristobaldzusein. Tho'toearthlydustandashes Ob ichsterblich'AschundErde ThismybodyI mustrender, DurchdenTodzermalmetwerde, Yetmysoulwill thenbefree, Wird der SeelereinerSchein With theAngelscladin splendor. DennochgleichdenEngelnprangen. 41 RECITATIVE W REZITATIV I hearmylosthourknell; DerSchulBistschongemachl, World,fareIheewell! Well, guteNocht! Andsofor solacesweetI sigh Undkonnichnul.denTroslerwerben, InJesus'lovingarmstodie, InJesuArmenboldzusterben: Andtherein peacetosleep. ErislmeinsanherSchof. Uponmygrovea bedof rosesmakeme, DoskuhleGrabwirdmichmitRosendecken, WhereI maylietill Heawokeme BisJesusmichwird auferwecken, ToleadHissheep BiserseinSchaf Throughheavensfar andfertilemeadows, Fuhrtaufdie suBeLebensweide, There10beonewithHimforever. DaBmichdel.Todvanihmnichtscheide. SocomeIhousoon,thouDayof myrelease, Sobrichherein,du froherTodeslog, AndstrikethehourwhenI mayreslin Peace! Soschlagedoch,duletzlerStundenschlog! CHORUS ITJ CHOR If myGod todayshollwill it WennesmeinesGallesWille, WouldI thatmybodyrest Wunschich,daBdesLeibesLasl Quietwiththeearlharoundme; Heutenochdie Erdefulle, Thatmysoul,mybody'sguesl, Unddel.Geisl,desLeibesGosl, Riseto Heav'nfor lifeeternal, Mit Unslerblichkeilsichkleide clod in majeslysupernal. Indel.suBenHimmelsfreude. Jesus,come,andlakeThoume' Jesu,kommundnimmmichfarl! Thismyfinalwordshollbe. DiesesseimeinlelztesWort. CHORALE CD CHORAL Tho'wormsourfleshdevour Del.Leib zwar in der Erden deepburiedin Iheearth, Van Wurmern wird verzehrl, Oursoulswillall awoken Doch auferweckt soil werden, ThroughChristassuredrebirth; Durch Christum schon verklOrl, WithGod inradiantglory, Wird leuchtenalsdie Sonne Fromcoreforeverfree, UndlebenohneNot Inheav'nlyjoyandrapture. InhimmlischerFreudundWonne. What fearhasDeathtorme? Wasschadmil.denndel.Tod? @TeldecClassicsInternationalGmbH 42 Was mir behag!, is! nur die muntre Jagd BWV 208 HUNTING CANTATA jAGDKANTATE RECITATIVE(S II 10 REZITATIVIS I) What givesmepleasure Wasmirbehagt, IsthemerrychasealoneI 1stnurdie muntrejagdl EreAurorodownsinherglory Eh'nochAuroraprangel, Anddaresascendtoheovens'heights, Eh'siesichandenHimmelwagt, Thisorrowhasbroughtdowna welcomecatch hatdieserPfeilschonangenehmeBeu'erlangel. ARIAISI) .It ARIEISI) Huntingisthegods'delight, jagen isldie LuslderGoller, Huntingislit forheroes. jagen siehldenHeidenan. Away,youwhomockmynymphs, Weichet,meinerNymphenSpbller, AwayfromDiana'spath! WeichetvonDianenBahnI RECITATIVE IT) 12, REZITATIVITI What, fairestgoddess,what? Wie, schonsleGollin,wie? Younolongerknowhimwhooncesharedyourlife? Kennstdunichlmehrdeinvormalsha/besLeben? DidyounotgiveEndymion Hastdu nichtdemEndymion Manya sweetkiss InseinersonNenRuh' /nhisgentlerepose? SomanchenZuckerkuBgegeben? Fairestofwomen,areyounow Bistdudann,Schonste,nur Freefromlove'sbonds Vonliebesbandenfrei, Andfollowonlythechase? Undfolgestnurderjogerei? ARIAITI I~ ARIEIT) Will younolongerdelight Willsldudichnichtmehrergotzen Inthesnares AndenNetzen, ThatCupidlaysfaryou? DiedirAmorlegt? Where,whenoneiscaptured Wo monouch,wennmangefangen, 43 And heldinchains,onemaystillindulge Nach Verlangen Inpleasureandlovetoone'sheart'scontent. lust und Lieb' in Banden pflegl RECITATIVE IS, TI WI REZITATIVIS, T! IndeedI loveyoustill! Ich liebe dich zwar noch! But Jedoch A greatlighthasappearedtoday 1stheul'einhohesLichlerschienen, ThatI, aboveall, DosichvorallemmuB Muslwelcomeandserve Mil meinemLiebeskuB With mylovingkiss. Empfangenundbedienenl BelovedChristian, DerteureChristian, WoodlandPan, derWalderPan, May nowcelebratehisnalalday KanninerwunschlemWohlergehen AmidsltheprosperiI)'Ihatwe wishfor him. SeinhohesUrsprungsfeslletZIsehen. Thenallowme, Sogonnenur, Diana,10ioin Diana,daBichmichmildir Withyounow Jelzundverbinde And makea io~ulsacrifice Undan .einFreudenopfer"zunde. Yes,yesllei usunite Ja,jal Mir IragenunsreFlammen Ourtlamesindesireand ioy. Mit WunschundFreudenjetzlzusammen. RECITATIVE IB! lLS] REZITATIVIBI I, whoamolherwisea god Ich,der ichsonsleinGall InIhesefields, IndiesenFeldernbin, 1101'downmyshepherd'sslall IchlegemeinenSchaferslab BeforeChristian'srulingsceplrel VorChristiansRegierungs-Zepterhinl SinceauguslPanmakesIhelandsohappy Weil derdurchlauchtePandasland saglucklich Thaiwoodsandfieldsandall elselivesandlaughs! mochel, DoBWold undFeldundalleslebtundlachet! 44 ARIAIBI [liJ ARIEIBI A princeisPanin hisowncountry. EinFurstistseinesLandesPan, Justasthebodycannotlive Gleichwieder KorperohneSeele Or movewithouta soul, Nichtleben,nachsichregenkann, Soa landwithoutsovereignand princes SoistdasLanddie Totenhohle, 15a valeof death, DossonderHauptundFurstenisl, Andilslineslpartis missing. UndsodasbesteTeilvermiBI RECITATIVEISII) [UJ REZITATIV(SIII ShallPales'sacrificebeIhelast2 SolidannderPalesOpferhierdasletztesein2 No' No' Nein! nein! I tooshalldo myduty, Ichwilldie Pllichtouchniederlegen, And,whenthewholelondringswiththecryof "Viva!" Unddo dasgonzeLondvomVivatschollt, Shollrousethislair land,too, AuchdiesesschoneFeld Tojoyanddelight Zu EhrenunsermSachsenheld Inhonour01ourSoxonhero. ZurFreud'undLustbewegen! ARIAISII) U!I ARIEISIII Sheepmaysofel graze Schafekonnensicherweiden, Where0 goods epherdkeepswatch. Wo einguterHirtewachl Whererulersrulewell, WORegentenwohlregieren, Onecanfeelpeaceandcalm KannmanRuh'undFriedenspruren, Andall thatmokesnationshappy. UndwasLonderglucklichmochl. RECITATIVE(SII lliI REZIZATIVISII Sostimmtmitein AnSOtnleithewithday'susindelightsong beperfectl UndlaBtdesTagesLustvollkommensein! ARIA(Chorus! [llJ ARIEIChorl live, sun01theearth, Lebe,SonnedieserErden, While Dionawatchesby night Weil DionobeiderNacht Overheaven'scitadel, Ander BurgdesHimmelswacht, 45 As long as the woods will turn green, Weil die Walder grunen werden, lebe, Sonne dieser Erden! live, sun of the earth! ARIA IDuet) IS I, T) !llI ARIE IDueniiS I, T) Entzucket uns beide, Transport us bath, Yau rays of joy, Ihr Strahlen der Freude, And deck the heavens with diamonds, Und zieret den Himmel mit Demantgeschmeide, FurstChrislian weide May Prince Friedrich gaze On the loveliest roses, free from care. Auf lieblichsten Rosen, befreiet vom Leide! [UJ ARIE IS III ARIA ISIII Weil die woIlenreichen Herden As long as the fleecy flocks Are gaily herded Durch dies weitgeprie' ne Feld Through these far-famed postures, lustig ausgelrieben werden, lebe dieser Sochsenheld! So long may the Soxon hero live! ARIAIBI ~ ARIE IB) You fields and meadows, !hr Felder und Auen, let us see you verdant, laBI grunend euch schauen, Now cry out 'Vivat'! Ruh Vivat ietv zu! Long live the Duke amid blessings and peace! Es lebe der Herzog in Segen und Ruh'. CHORUS ~ CHOR Most Iove~ sights, Ihr lieblichsten Blicke, You joy-filled hours, Ihr freudigen Stunden, Euch bleibe das GIUcke Nv:Iy Qood fortune always Attendyou. Auf ewig verbunden! Euch krone der Himmel mil suBesier lust! Moy Heaven reward you with sweetest delight! long live Prince Christian! May he ever know Furst Christian lebe! Ihm bleibe bewuBt, What rejoices the heart Was Herzen vergniigef, And vanquishes sadness! Was Trauern besieget! Translated by Stewart Spencer 46 Therecordingsof TheCompleteBach Cantatasare organisedin threegroups. Theorder 01worKswithin thesegroupsis, however,not strictlychronological. Churchand secularcantatasfromArnstadt,Mi.ihlhausen,Weimar, and Cothenperiods (ca. 1706-1723): Volumes" 2, 3 /I Secularcantatasfromthe Leipzigperiod: Volumes4, 5. 11/ Churchcantatasfromthe Leipzigperiod (/723.1750) Vois6-20. Printed In The U.SA. 47