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

interaction of suffering and redemption. Scenic treatment, so to speak, is applied in the following
aria, the visionary Adagio cantilenas (C major) which provide the framework for the painting of an
apocallptic ruin. Finally, to the crowning effect of the full orchestral setting, the vision of the
individual is answered by the final chorus, here representing those redeemed.
Wachet auf, ruft uns die Stimme, BWV 140, based on a hymn by Philipp Nicolai, was written for
the Twenty-seventh Sunday after Trinity, which only occurs in the liturgical year if Easter falls before
27 March. During the time that Bach spent at Leipzig this Sunday fell on 25 November l73L (for
which the cantata was composed) and occurred again in L742.The hymn's three long stanzas and
expansive melodic line, and also the concept of ]esus' love, with the faithful soul as his bride,
inspired Bach to an exceptionally grand design. The three stanzas constitute the beginning, middle
and end, interspersed with two recitatives and two duets (called "arias") for which an anonymous
librettist made extensive use of Bible quotations, particularly from the Song of Songs. In the great
opening chorus, accompanied by oboes and strings, the lines oftext and the orchestral interludes are
arranged, somewhat in the manner of a chorale prelude, into seven sections, corresponding to the
seven movements of the whole cantata. The twelve knocks (dotted notes) in the first four bars,
repeated several times, probably symbolise the midnight bell. The other choral parts and the motivic
work in the orchestra have been developed from the hyrnn tune. The recitative (No.2) "Er kommt,
der Bräutgam kommt" is followed by a duet (No.3) in which ]esus appears as the bridegroom of the
soul, represented as one of the "wise virgins". The violino piccolo, tuned a third higher, endows this
duet with special brilliance. The accompanied recitative (No.5) describes the bridegroom, fesus,
taking his bride unto himself. Unusual harmonies introduce the second duet in which heavenly and
earthly love merge into one. Like No.3 it is one of the most beautiful love duets ever written, almost
ardent yet relaxed and dance-like, while No.3, is yearning and mystical. Equidistant between the
great opening chorus and the final chorale, where the violino piccolo imparts splendour to this
"sacred bridal song" (Philipp Nicolai's title), there is a three-part chorale concerto (No.a). The
unison strings and the continuo bass play an instrumental piece into which the hymn stanza is
interwoven line by line. Bach transposed this movement for the organ (BrvW 645) and placed it at