Desired joy light
| Bach cantata | |
|---|---|
| Desired joy light | |
| BWV: | 184 |
| Occasion: | 3rd day of Pentecost |
| Year of origin: | 1724 |
| Place of origin: | Leipzig |
| Genus: | cantata |
| Solo : | S, A, T |
| Choir: | (S, A, T, B) |
| Instruments : | 2Ft; 2Vl, Va; Bc |
| AD : | 25 minutes |
| text | |
| Anarg zu Wildenfels & anonymous | |
| List of Bach cantatas | |
Desired Freudenlicht ( BWV 184) is a sacred ( Protestant ) cantata by Johann Sebastian Bach , which he composed in Leipzig in 1724 for the third day of Pentecost . It was first performed on May 30, 1727. The work is probably based on an earlier secular cantata, BWV 184a . BWV 184a, largely lost, was composed in Koethen as a duet for soprano and figured bass with several dance elements.
Bach structured the cantata into six movements and set it to music for three solo voices , a four-part choir and a baroque instrumental ensemble consisting of two flutes , string instruments and the figured bass . Unusually for Bach's church cantatas, the work does not end with a chorale ; Instead, the last stanza of the hymn "O Lord God, your divine word" by Anarg zu Wildenfels is set to music in the penultimate position, followed by a refrain . The dance influence of the underlying cantata is reflected in the passepied of the second movement, the minuet of the fourth movement and the gavotte of the last movement.
Story and text
Bach composed the cantata Desires Freudenlicht for Pentecost Tuesday , the third day of Pentecost . It was probably based on an earlier secular New Year's Day cantata ( BWV 184a ) that had been composed in Koethen . The musicologist Szymon Paczkowski suggests two other possible occasions for the secular model: the birthday of Prince Leopold von Anhalt-Köthen on December 10, 1720 and the wedding of Leopold and Friederike Henriette von Anhalt-Bernburg on December 11, 1721.
The Bach scholar Alfred Dürr pointed out many similarities with Increased Flesh and Blood , BWV 173: Both were adaptations of secular cantatas, both written at Whitsun in Bach's first year in Leipzig and both performed again in 1731. While the underlying cantata for Increased Flesh and Blood was retained (the congratulatory cantata of the Highest Leopold , BWV 173a), that of Desired Freudenlicht is largely lost, with only a few instrumental parts available. It was a duet cantata with several dance moves.
The prescribed scriptures for this feast day came from the Acts of the Apostles of Luke , the Holy Spirit in Samaria ( Acts 8, 14–17 EU ) as well as from the Gospel according to John the Good Shepherd ( John 10, 1–10 EU ) The poet who adapted a text to the existing music is unknown. He may have kept the wording of the opening recitative and continued to describe Jesus as the shepherd of his "blessed flock." The librettist recorded the last (eighth) stanza of the hymn O Lord God, your divine word from Anarg zu Wildenfels as the penultimate movement of the cantata .
Bach performed Desired Freudenlicht on May 30, 1724 in Leipzig as an adaptation of BWV 184a and performed it there again on June 3, 1727 and May 15, 1731.
Occupation and structure
Bach composed the work for three soloists ( soprano , alto and tenor ) and a four-part choir . The cantata is occupied by an instrumental ensemble consisting of two transverse flutes , two violins , a viola and the figured bass . The length of the piece was given as 25 minutes.
Bach structured the cantata in six movements. A choral movement that finishes most of the cantatas originally conceived for church use is here the penultimate movement, followed by the cantata's only chorus. The first movements are written for the soloists: recitatives , a duet and an aria .
The New Bach Edition is presented in the following table of sentences . The key and time signature are taken from the book of the Bach scholar Alfred Dürr . The instruments are displayed by type (wind and string instruments), while the continuo playing figured bass is not displayed.
| No. | title | Author of the text | Type | vocal | Wind instruments | String instruments | key | Tact |
|---|---|---|---|---|---|---|---|---|
| 1 | Desired joy light | Anonymous | recitative | tenor | 2 transverse flutes | G major |
|
|
| 2 | Blessed Christians, blissful flock | Anonymous | Duet aria | Soprano, alto | 2 transverse flutes | instruments2 = 2Vl Va | G major | 3 ⁄ 4 |
| 3 | So rejoice, you chosen souls | Anonymous | recitative | tenor |
|
|||
| 4th | Happiness and blessings are ready | Anonymous | aria | tenor | Violin (solo) | B minor | 3 ⁄ 4 | |
| 5 | Lord I ever hope you will | Anarg to Wildenfels | Chorale | Soprano, alto, tenor, bass | 2 transverse flutes | 2 violins, 1 viola | D major |
|
| 6th | Good shepherd, consolation for yourselves | Anonymous | Choir | Soprano, alto, tenor, bass | 2 transverse flutes | 2 violins, 1 viola | G major |
|
music
Sentence 1
The opening recitative Desired Freudenlicht is sung by the tenor and accompanied by two transverse flutes . The movement of the New Year's cantata on which this cantata could be based may have been adopted unchanged. The “desired light” is represented by the rising music of the flutes, which is repeated throughout the movement. Dürr interprets the figure as the flames mentioned in the Pentecost story. The sentence ends with an arioso .
Sentence 2
The duet aria is written for soprano and alto voices: Blessed Christians, blissful flock, come, approach Jesus with gratitude! . It's a da capo aria in three time with long ritornellos . The musicologist Julian Mincham describes the sentence as “preserving a little more of the spirit of rustic dance”. The Bach scholar Klaus Hofmann called it a passepied . The movement was likely a pastoral in the underlying secular cantata and fits the image of the Good Shepherd and his flock. John Eliot Gardiner , who led the Bach cantatas pilgrimage in 2000 , believes that people actually danced to the secular cantata composed in Köthen.
Sentence 3
The third movement is a secco recitative sung by the tenor : Rejoice, you chosen souls! It concludes as Arioso and ends the movement in D major instead of the C major in which it began.
Sentence 4
The fourth movement is a tenor aria : luck and blessings are ready to crown the consecrated crowd . Paczkowski notes that the text deals with the Parousia , the second coming of Christ , and that it uses a symbolism of shepherds and a king common in the Middle East . Formally, it is a trio sonata for voice , violin and figured bass in an adapted ternary form . The movement is written in B minor , making it the only movement that is not in a major key. Gardiner describes this movement as a minuet .
Sentence 5
The penultimate movement is a four-part setting of a chorale verse: Lord, I hope you won't leave them in any need . [13] This is unusual for Bach, as his church cantatas usually use the chorale as the final movement .
Sentence 6
The final chorus, Good Shepherd, consolation for yourselves, leave us only your holy word! is a gavotte and is basically a duet of soprano and bass that is expanded by the chorus in the choruses . Bach reused the music of this movement to finish BWV 213 , Let's Worry, Let's Watch , which was performed on the birthday of Crown Prince Friedrich Christian on September 5, 1733.
Recordings
- Gächinger Kantorei Stuttgart / Bach Collegium Stuttgart , Helmuth Rilling . The Bach cantata . Hänssler Verlag , 1977
- Boys' Choir Hannover & Collegium Vocale Gent , Gustav Leonhardt . JS Bach: Das Kantatenwerk · Complete Cantatas / Vol. 42 , Teldec , 1987
- Amsterdam Baroque Orchestra & Choir , Ton Koopman . JS Bach: Complete Cantatas Vol. 7 . Erato, 1997
- Holland Boys Choir / Netherlands Bach Collegium , Pieter Jan Leusink . Bach Edition Vol. 14 . Brilliant Classics, 2000
- Monteverdi Choir / English Baroque Soloists , John Eliot Gardiner . Bach Cantatas Vol. 27 . Soli Deo Gloria, 2000
- Bach Collegium Japan , Masaaki Suzuki . JS Bach: Cantatas Vol. 20 . UP, 2001.
See also
literature
- Alfred Dürr , Richard DP Jones: The Cantatas of JS Bach: With Their Librettos in German-English Parallel Text . Oxford University Press , 2006, ISBN 978-0-19-929776-4 , pp. 364-368.
- Szymon Paczkowski: Polish Style in the Music of Johann Sebastian Bach . Rowman & Littlefield , 2017, ISBN 978-0-8108-8894-4 , pp. 364-368.
Web links
- BWV 184 Desired Freudenlicht Text, structure and composition on the personal homepage of Walter F. Bischof at the University of Alberta
- Desired Freudenlicht, BWV 184 : Sheet music and audio files in the International Music Score Library Project
- Desired joy light BWV 184.2; BWV 184; BC A 88 Bach Digital
Individual evidence
- ↑ a b Cantata BWV 184 Desired joy light . Retrieved December 14, 2012.
- ↑ a b James Leonhardt: Johann Sebastian Bach / Cantata No. 184, "Desired Light of Joy," BWV 184 (BC A88) . Allmusic. Retrieved June 4, 2013.
- ^ Klaus Hofmann: Awaited light of joy, BWV 184 . Bach Cantatas website. Pp. 9-10. 2001.
- ↑ a b c BWV 184 Desired joyous light . University of Alberta. Retrieved June 4, 2013.
- ↑ a b c d e f Mincham, Julian: Chapter 60 BWV 184 Desired Freudenlicht / The long desired light of joy. . Retrieved June 4, 2013.
- ↑ a b c d Pamela Dellal : BWV 184 - Desired joy light . Emmanuel Music . Retrieved May 24, 2017.
- ↑ a b c John Eliot Gardiner: Johann Sebastian Bach (1685-1750) / Cantatas Nos 129, 165, 175, 176, 184 & 194 . Soli Deo Gloria (at Hyperion Records website). 2008. Retrieved June 8, 2019.
