Get ready, my ghost, BWV 115

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Bach cantata
Get ready, my ghost
BWV: 115
Occasion: 22nd Sunday after Trinity
Year of origin: 1724
Place of origin: Leipzig
Genus: Choral cantata
Solo : SATB
Choir: SATB
Instruments : Co Ft Oa 2Vl Va Vp Bc
text
Johann Burchard Freystein , unknown
List of Bach cantatas
Parable of the scoundrel , etching by Jan Luyken

Get ready, my spirit, ( BWV 115) is a church cantata by Johann Sebastian Bach . He composed the choir cantata in Leipzig in 1724 for the 22nd Sunday after Trinity and performed it for the first time on November 5th, 1724. It is based on the hymn by Johann Burchard Freystein (1695).

Story and words

Bach composed the cantata in his second year in office in Leipzig in 1724 for the 22nd Sunday after Trinity. The prescribed readings for Sunday were Phil 1: 3–11  LUT , “Thanks and petition of Paul for the church in Philippi”, and Mt 18 : 23–35  LUT , the parable of the scoundrel . The cantata is based on the hymn of the same name in ten stanzas by Johann Burchard Freystein (1695). His theme, being alert and ready for the coming of the Lord, covers part of the gospel.

The unknown lyricist kept the wording of the first and last stanzas as sentences 1 and 6 of the cantata and reworked the internal stanzas into an alternating sequence of arias and recitatives . From stanza 2 he developed sentence 2, from stanzas 3 to 6 sentence 3, from stanza 7 sentence 4, leaving the first two lines unchanged, and from stanzas 8 and 9 sentence 5. The song becomes the anonymous melody of “Straf mich not in your anger ”(1681).

Bach first performed the cantata on November 5, 1724.

Occupation and structure

The cantata is made up of four vocal soloists ( soprano , alto , tenor and bass ), four-part choir, horn to reinforce the soprano in the chorale, flauto traverso , oboe d'amoren , two violins , viola , violoncello piccolo and basso continuo .

  1. Coro: Get ready, my ghost
  2. Aria (old): Oh sleepy soul, eh? are you still resting?
  3. Recitativo (bass): God, so watch over your soul
  4. Aria (soprano): But pray along with it
  5. Recitativo (tenor): He longs for our screams
  6. Chorale: So leave us forever

music

The opening choir is a chorale fantasy in the form of a chaconne . The instruments play independent concertante chamber music in three voices, flute, oboe d'amore and strings in unison . The soprano sings the melody as cantus firmus , the lower voices sing partly homophonically , partly in imitation.

The alto aria begins, as Klaus Hofmann notes, “as a musical slumber scene, as it would have done any opera of the time credit”. The beginning is marked with Adagio , the oboe d'amore plays a solo in siciliano rhythm, which leads to a long "quasi sleeping tone". The warning to be vigilant is underlined in a contrasting Allegro section.

In the soprano aria “Pray but also here”, the flute and violoncello piccolo play chamber music, in which the soprano joins with “noble cantilena”. The final chorale is a simple four-part movement with the request for truth and freedom.

Recordings

LP / CD
DVD

literature

Web links

Individual evidence

  1. ↑ Get ready, my ghost / Text and Translation of Chorale ( English ) bach-cantatas.com. 2006. Retrieved November 18, 2012.
  2. ↑ Chorale Melodies used in Bach's Vocal Works / Don't punish me in your anger ( English ) bach-cantatas.com. 2006. Retrieved October 30, 2012.
  3. ↑ a b Klaus Hofmann: Get ready, my spirit, BWV 115 (PDF; 3.3 MB) bach-cantatas.com. P. 12, 16. 2005. Retrieved November 18, 2012.
  4. ↑ Booklet (PDF file) on the JS Bach Foundation website, accessed on May 17, 2017.
Cantatas (BWV), oratorios and passions by Johann Sebastian Bach
Sacred cantatas

1 • 2 • 3 • 4 • 5 • 6 • 7 • 8 • 9 • 10 • 12 • 13 • 14 • 16 • 17 • 18 • 19 • 20 • 21 • 22 • 23 • 24 • 25 • 26 • 27 • 28 • 29 • 30 • 31 • 32 • 33 • 34 • 35 • 36 • 37 • 38 • 39 • 40 • 41 • 42 • 43 • 44 • 45 • 46 • 47 • 48 • 49 • 50 • 51 • 52 • 54 • 55 • 56 • 57 • 58 • 59 • 60 • 61 • 62 • 63 • 64 • 65 • 66 • 67 • 68 • 69a • 70 / 70a • 71 • 72 • 73 • 74 • 75 • 76 • 77 • 78 • 79 • 80 • 80a • 81 • 82 • 83 • 84 • 85 • 86 • 87 • 88 • 89 • 90 • 91 • 92 • 93 • 94 • 95 • 96 • 97 • 98 • 99 • 100 • 101 • 102 • 103 • 104 • 105 • 106 • 107 • 108 • 109 • 110 • 111 • 112 • 113 • 114 • 115 • 116 • 117 • 118 • 119 • 120 • 121 • 122 • 123 • 124 • 125 • 126 • 127 • 128 • 129 • 130 • 131 • 132 • 133 • 134 • 135 • 136 • 137 • 138 • 139 • 140 • 143 • 144 • 145 • 146 • 147 / 147a • 148 • 149 • 150 • 151 • 152 • 153 • 154 • 155 • 156 • 157 • 158 • 159 • 161 • 162 • 163 • 164 • 165 • 166 • 167 • 168 • 169 • 170 • 171 • 172 • 173 • 174 • 175 • 176 • 177 • 178 • 179 • 180 • 181 • 182 • 183 • 184 • 185 • 186 • 187 • 188 • 190 • 191 • 192 • 193 • 194 • 195 • 196 • 197 • 199 • 244a

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Secular cantatas

30a • 34a • 36c • 134a • 173a • 198 • 201 • 202 • 203 • 204 • 205 • 206 • 207 • 207a • 208 • 209 • 210 • 210a • 211 • 212 • 213 • 214 • 215 • 216a • 249a

Cantatas not preserved

App. 1 • App. 2 • App. 3 • App. 4 • App. 4a • App. 5 • App. 6 • App. 7 • App. 8 • App. 9 • App. 10 • App. 11 • App. 12 • App. 13 • App. 14 • App. 15 • App. 16 • App. 17 • App. 18 • App. 19

Passions

St. Matthew Passion (BWV 244) • St. John Passion (BWV 245) • St. Luke Passion (BWV 246) (Bach's authorship questioned) • St. Mark Passion (BWV 247)

Oratorios

Ascension Oratorio (BWV 11) • Christmas Oratorio (BWV 248) • Easter Oratorio (BWV 249)