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BWV 144-92-84;Johan Sebastian Bach Cantatas; Netherlands Bach Collegium, directed by Pieter Jan Leusink
Music:Classical:MP3:Bach:Cantatas
Cantatas were composed for use in the Lutheran church by Johann Sebastian Bach. Here are the cantatas for the Septuagesima Sunday (third Sunday before Ash Wednesday).
List:
Nimm, was dein ist, und gehe hin, BWV 144, 6 February 1724
Ich hab in Gottes Herz und Sinn, BWV 92, 28 January 1725
Ich bin vergnügt mit meinem Glücke, BWV 84, 9 February 1727
BWV 144: Nimm, was dein ist, und gehe hin - Take what is yours and go away
For Septuagesima Sunday
Bach wrote the cantata in his first year in Leipzig for Septuagesimae and first performed it on 6 February 1724
The cantata is scored for soprano, alto and tenor soloists, a four-part choir, two oboes, oboe d'amore, two violins, viola, and basso continuo
List:
1-Coro: Nimm, was dein ist, und gehe hin
2-Aria (alto): Murre nicht, lieber Christ
3-Chorale: Was Gott tut, das ist wohlgetan
4-Recitativo (tenor): Wo die Genügsamkeit regiert
5-Aria (soprano, oboe d'amore): Genügsamkeit ist ein Schatz in diesem Leben
6-Chorale: Was mein Gott will, das g'scheh allzeit
BWV 92: Ich hab in Gottes Herz und Sinn - I have to God's heart and mind
For Septuagesima Sunday
Bach composed the chorale cantata in Leipzig for Septuagesimae and first performed it on 28 January 1725.
The cantata is scored for Soloists (SATB), Chorus (SATB), two oboes d'amore, strings, and basso continuo
List:
1-Chorale: Ich hab in Gottes Herz und Sinn. The longest movement by far. The opening ritornello is a beautiful alternation of oboes d'amore (in their favorite key) and strings. The themes are not derived from the chorale this time. b minor
2-Recitativo (Bass): Es kann mir fehlen nimmermehr! A strange movement, blending the bass singing the chorale with arioso-recitative passages. The continuo players get plenty of work in this movement. e minor
3-Aria (Tenor): Seht, seht! wie reißt, wie bricht, wie fällt. An animated, "passionate" aria with strings1. Overall, the "jumpy" nature of the tenor line adds to the nervous energy. b minor
4-Choral (Alto): Zudem ist Weisheit und Verstand. The alto now gets to sing the chorale, with two oboes d'amore to lead the way. f♯ minor
5-Recitativo (Tenor): Wir wollen nun nicht länger zagen. Secco recitative. D Major-b minor
6-Aria (Bass): Das Brausen/Stürmen von den rauhen Winden. A continuo aria, also with a "busy" continuo part. In contrast to the tenor aria, long melismatic runs dominate the movement. D Major
7-Recitativo (SATB): Ei nun, mein Gott, so fall ich. Akin to the second movement, the entire soloistic ensemble delivers verses of the chorale as a unit, while each in turn gives a recitative interjection. b minor-D Major
8-Aria (Soprano): Meinem Hirten belieb ich treu. For an inspired instrumentation of oboe d'amore and plucked cellos and basses (no organ, presumably no harpsichord). The lilt of this movement gives it a dancing quality. D Major
9-Choral: Soll ich denn auch des Todes weg. A plain chorale setting. b minor
BWV 84: Ich bin vergnügt mit meinem Glücke - I am content with my Fortune
For Septuagesima Sunday
Bach composed the solo cantata for soprano in Leipzig in 1727 for the Sunday Septuagesima and first performed it on 9 February 1727.
The cantata is intimately scored for a soprano soloist, a four-part choir only in the closing chorale, oboe, two violins, viola, and basso continuo
List:
1-Aria: Ich bin vergnügt mit meinem Glücke. This lyrical slow movement has a beautiful starring role for the obbligato oboe. A da capo aria. e minor
2-Recitativo: Gott ist mir ja nichts schuldig. Secco recitative. b minor-d minor
3-Aria: Ich esse mit Freuden mein weniges Brot. The only movement on a Major key. A gracefully joyful aria with obbligato oboe and solo violin. The unison opening is particularly striking. G Major
4-Recitativo: Im Scheiße meines Angesichts. Recitative with string accompaniment. e minor-f♯ minor
5-Choral: Ich leb indes in dir vergnüget. A plain chorale setting. b minor
