Bach Cantatas, Vol. 2 - F. Werner (Erato 10-CD)

links up the opening hymn verse with two freely written recitatives and arias which paraphrase the
basic concept of the Sunday Gospel (God helps those in distress who believe in Him). A final chorale
is lacking, so that an approach is made in form to the normal layout of the secular chamber cantata.
The chamber music-like intimacy suggested by this is also reflected in the compositional detail. The
opening chorus (in B flat major) encompasses the simple choral movement, emphatically extended
only in the concluding line, with an equally simple string movement entirely dominated by the
concertante first violin. The soprano aria (in C minor) sings in elegiac tones of patience in suffering,
graphically transforming the antithesis of weeping and living. The bass aria (in B flat major) is
enriched by the fact that the continuo also participates in the motivic work. Furthermore it hints at
the absence of a final chorale by rendering in slightly ornamented form in the first line the text
belonging to the chorale melody ("Meinen Iesum laß ich nicht") -
the voice of the individual and
voice ofthe congregation in unison.
Ach wie flüchtig, ach wie nichtig, BWV 26 is a chorale cantata from Bach's second yearly series for
Leipzig, and was first performed on 19 November l724.The unknown text editor has adhered to the
usual practice of rewriting the inner verses into recitatives and arias: verses two and ten have each
become an aria, whereas the recitatives verses 3-9 and 11-12 had to be condensed so that the text
would not become too lengthy. The reason for the choice of this hymn was the Gospel reading for
that Sunday on the raising oflairus's daughter, though apart from general thoughts on death they
have little in common. The basic idea is evidently that lesus, who proves himself lord of life and
death, will also awaken the believing Christians, and that in view of this hope all trust in "earthly
treasures" is proved vain.
Bach's composition ams to illuminate the text. In the opening chorus the hyrnn tune (soprano
and "corno") is embedded line by line in concertante inslrumental writing with a theme of its own.
The theme's upward- and downward-rushing semiquaver scales reflect life's fleeting quality. The
same imagery is enhanced by the agitation of the vocal counterpoints that support the chorale
melody only to conclude each line in unison with the melody's opening notes. This movement is the
ultimate in clarity.
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