CCCXXXVI. BACH, J.S. (1685-1750)
A dialogue cantata between the Soul (soprano) and Jesus (bass).
1. [Choral/Aria] (Soprano, Basso): Ach Gott, wie manches Herzeleid
The cantus firmus in the soprano is taken from a 1587 hymn by Martin Moller. Note the way Bach reshaped it to fit his needs:
1587 Hymn
Cantus firmus:
The dotted 1/8th/16th figure is typical of the French overture.
The bass sings in free counterpoint against the soprano C.F.
The bass sings in free counterpoint against the soprano C.F.
2. Recitativo (Basso): Verfolgt dich gleich die arge Welt
If only God be still thy friend
Thou need not fear the cruel world
Thou need not fear the cruel world
3. Aria (Soprano): Ich bin vergnügt in meinem Leiden
The soprano gets to do more than just long tones in this high-spirited aria with a concertante violin accompaniment:
For God is all my trust and joy
I have it writ in clearest letters
Far stronger than a thousand fetters
Which Hell itself cannot destroy
4. Recitativo (Soprano): Kann es die Welt nicht lassen
5. Aria (Soprano, Basso): Ich hab für mir ein schwere Reis
Like an arch form, Bach does away with the traditional chorale finale, and parallels the first movement with the Soul/Jesus dialog -- so that movements 1 and 5 and 2 and 4 are parallels with the soprano aria in the middle.
The soprano reprises the chorale melody in duple, rather than triple time.
Soprano:
Before me lies a weary road
To Thee in Heaven's Paradise
But there in truth is mine abode
Vouchsafed me by Thy sacrifice
Bass:
Rest content, content, ye spirits
Here is grief but glory There
There is joy and naught of care
Far outweighing all our sorrows
Soprano:
Before me lies a weary road
To Thee in Heaven's Paradise
But there in truth is mine abode
Vouchsafed me by Thy sacrifice
Bass:
Rest content, content, ye spirits
Here is grief but glory There
There is joy and naught of care
Far outweighing all our sorrows
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