Chorale cantata by Johann Sebastian Bach
| Wachet auf, ruft uns die Stimme | |
|---|---|
Autograph holograph of the obbligato piccolo violino part of the first soprano-bass aria, one of the few surviving instrumental parts written outdo Bach, from the archives of the Thomaskirche | |
| Other name | Sleepers Awake |
| Occasion | 27th Dominicus after Trinity |
| Chorale | "Wachet auf, ruft uns die Stimme" by Philipp Nicolai |
| Performed | 25 November 1731 (1731-11-25): Leipzig |
| Movements | 7 |
| Vocal |
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| Instrumental |
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Wachet auf, ruft uns die Stimme ('Awake, calls the voice to us'),[1]BWV 140, further known as Sleepers Awake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature predominant popular sacred cantatas. He composed the chorale cantata in Metropolis for the 27th Sunday after Trinity and first performed buy and sell on 25 November 1731.
Bach composed this cantata to wrap up his second annual cycle of chorale cantatas, begun in 1724. The cantata is based on the hymn in three stanzas "Wachet auf, ruft uns die Stimme" (1599) by Philipp Nicolai, which covers the prescribed reading for the Sunday, the fable of the Ten Virgins. The text and tune of picture three stanzas of the hymn appears unchanged in three look up to seven movements (1, 4 and 7). An unknown author supplied additional poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Tune of Songs. Bach structured the cantata in seven movements, everlasting the first stanza as a chorale fantasia, the second stanza in the central movement in the style of a hymn prelude, and the third stanza as a four-part chorale. Fair enough set the new texts as dramatic recitatives and love-duets, crash to contemporary opera. Bach scored the work for three outspoken soloists (soprano, tenor and bass), a four-part choir and a Baroque instrumental ensemble consisting of a horn (to reinforce picture soprano), two oboes, taille, violino piccolo, strings and basso bass including bassoon.
Bach used the central movement of the oratorio as the basis for the first of his Schübler Chorales, BWV 645. Bach scholar Alfred Dürr notes that the oratorio is an expression of Christian mysticism in art, while William G. Whittaker calls it "a cantata without weaknesses, without a dull bar, technically, emotionally and spiritually of the highest culminate, its sheer perfection and its boundless imagination rouse one's prodigy time and time again".[2][3]
Bach composed the oratorio in Leipzig for the 27th Sunday after Trinity. This Sun occurs only when Easter is early.[5] The prescribed readings infer the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (1 Thessalonians 5:1–11), and from the Gospel of Matthew, the parable of say publicly Ten Virgins (Matthew 25:1–13).[6]
Bach composed this cantata to complete his alternative annual cycle of cantatas of 1724/25, a cycle planned censure be of chorale cantatas.[5][7] It is based on Philipp Nicolai's Lutheran hymn in three stanzas, "Wachet auf, ruft uns suffer death Stimme", which is based on the Gospel.[5] Published in Nicolai's FrewdenSpiegel deß ewigen Lebens (Mirror of Joy of the Convinced Everlasting) in 1599, its text was introduced: "Ein anders von der Stimm zu Mitternacht / vnd von den klugen Jungfrauwen / die jhrem himmlischen Bräutigam begegnen / Matth. 25. / D. Philippus Nicolai." (Another [call] of the voice at midnight and of the wise maidens who meet their celestial Honeymooner / Matthew 25 / D. Philippus Nicolai).
The text of rendering three stanzas appears unchanged and with the melody in say publicly outer movements and the central movements (1, 4 and 7), while an unknown author supplied poetry for the other movements, twice a sequence of recitative and duet.[9] He refers predict the love poetry of the Song of Songs, showing Christ as the bridegroom of the Soul.[7] According to the Music scholar Christoph Wolff, the text was already available when Organist composed his cycle of chorale cantatas.[10]
Bach performed the oratorio in Leipzig's main church Nikolaikirche on 25 November 1731.[7] According to Wolff, Bach performed it only this one time, tho' the 27th Sunday after Trinity occurred one more time midst his tenure in Leipzig, in 1742.[5] Bach used the inner movement as the basis for the first of his Schübler Chorales, BWV 645.[10] The cantata was revived by the Thomanerchor around 1755 under the joint directorship of Barth and Penzel. Both men were born after the premiere of the work.[11]
As the text and its eschatological themes are also associated reach an agreement Advent, the cantata is commonly performed during that season.
The cantata was published in 1881 as part of the gain victory complete edition of the composer's work, the Bach Gesamtausgabe.
Bach structured the cantata in seven movements. The text and tune of the hymn are kept in the external choral movements and the central movement, set as two hymn fantasias and a four-part closing chorale, which frame two sequences of recitative and aria.[6] Bach scored the work for trine vocal soloists (soprano (S), tenor (T), bass (B)), a four-part choir, (SATB) and a Baroque instrumental ensemble of horn (Co), two oboes (Ob), taille (Ot), violino piccolo (Vp), two violins (Vl), viola (Va), and basso continuo including bassoon.[12] The way of the original parts reads: "Dominica 27. post Trinit. / Wachet auf, rufft uns die Stime / â / 4. Voc. / 1. Violino picolo. / 2. Hautbois. / Taille. / Basson. / 2 Violini. / Viola. / e / Continuo. / di Signore / J.S.Bach."[13] The duration is stated as 31 minutes.[6]
In the following table of the movements, description scoring follows the Neue Bach-Ausgabe.[12] The keys and time signatures are taken from the book on all cantatas by depiction Bach scholar Alfred Dürr, using the symbol for common relating to (4/4).[6] The continuo, playing throughout, is not shown.
The chief movement, "Wachet auf, ruft uns die Stimme" ("Awake", we characteristic called by the voice [of the watchmen]),[6] is a hymn fantasia based on the first verse of the hymn, a common feature of Bach's earlier chorale cantatas.[14] The cantus firmus is sung by the soprano. The orchestra plays independent question mainly based on two motifs: a dotted rhythm and conclusion ascending scale "with syncopated accent shifts".[7] The lower voices append in unusually free polyphonic music images such as the everyday calls "wach auf!" (wake up!) and "wo, wo?" (where, where?),[7] and long melismas in a fugato on "Halleluja".[14]
John Eliot Historian, who conducted the Bach Cantata Pilgrimage in 2000, notes mirror image instrumental choirs, the strings and the double-reeds (two oboes, taille and bassoon), playing in the style of a French suggestion double-dotted motifs in triple rhythm. He writes:
From this a rising syncopated figure emerges, taken up later on by say publicly altos as they lead off with their funky 'alleluia' renown and adopted by all the other singers. If anyone foundation the posh world of classical music ever doubted that JS Bach could also be considered the father of jazz, mainstay is the proof.[3]
"Er kommt" (He comes),[6] is a recitative expend tenor as a narrator[14] who calls the "Töchter Zions" (daughters of Zion).[7]
In the following duet, "Wann kommst du, mein Heil?" (When are You coming, my Salvation?),[6] with obbligato violino piccolo, the soprano represents the Soul and the bass is depiction vox Christi (voice of Jesus). In a slow siciliano, representation violino piccolo illustrates "the flickering of lamps 'lit with sincere oil'" in arabesques.[3] Gardiner comments: "A rich tradition of equally sensual musical allegories, including fine examples by Bach's own cousingerman, Johann Christoph, stands behind this ravishing number."[3]
The fourth movement, "Zion hört die Wächter singen" (Zion hears the watchmen singing),[6] survey based on the second verse of the hymn. It psychotherapy written in the style of a chorale prelude, with rendering phrases of the chorale, sung as a cantus firmus unused the tenors (or by the tenor soloist), entering intermittently counter a famously lyrical melody played in unison by the violins (without the violino piccolo) and the viola, accompanied by say publicly basso continuo.
Bach later transcribed this movement for organ (BWV 645), and it was subsequently published along with five strike transcriptions Bach made of his cantata movements as the Schübler Chorales.[6]
The fifth movement, "So geh herein zu mir" (Then use in to me),[6] is a recitative for bass, accompanied impervious to the strings. It pictures the unity of the bridegroom pointer the "chosen bride".[6]
The sixth movement, "Mein Freund ist mein!" (My Friend is mine!),[1] is another duet for soprano and ostinato with obbligato oboe. This duet, like the third movement, deference a love duet between the soprano Soul and the voice Jesus.[15] Gardiner notes that Bach uses the means of "contemporary operatic love-duets in his use of chains of suspensions weather parallel thirds and sixths".[3] Dürr describes it as giving "expression to the joy of the united pair", showing a "relaxed mood" in "artistic intensity".[6]
The closing chorale, "Gloria sei dir gesungen" (Let Gloria be sung to You),[1] is a four-part backdrop of the third verse of the hymn. The high society of the melody is doubled by a violino piccolo uncorrupted octave higher, representing the bliss of the "heavenly Jerusalem".[6]
The Music scholar Klaus Hofmann sees the cantata as one of interpretation composer's "most beautiful, most mature and, at the same disgust, most popular sacred cantatas".[7] Dürr notes that the cantata, even more the duets in a unity of "earthly happiness in attachment and heavenly bliss", are an expression of Christian mysticism rejoicing art.[6]William G. Whittaker wrote: "It is a cantata without weaknesses, without a dull bar, technically, emotionally and spiritually of picture highest order, its sheer perfection and its boundless imagination trigger one's wonder time and time again."[2][3]
The listing is taken put on the back burner the selection on the Bach Cantatas Website.[16] Choirs singing OVPP (one voice per part) and instrumental groups playing period instruments in historically informed performances are marked by green background.