Wachet auf ruft uns die Stimme, Cantata 140 - J.S. Bach
The main setting is the seventh movement of Cantata 140: 'Wachet auf ruft uns die Stimme'. This justly famous cantata is built around one of Philip Nicolai's famous hymns. (The other one is our beloved 'Wie schön leuchtet der Morgenstern'.) The hymn (and the cantata) is a response to the parable of the wise and foolish virgins (Matthew 25:1-13), a cautionary tale of the importance of being ready to roll when the time comes. (Like we want to be when we can finally sing together again.)
Bach's cantata is structured symmetrically around the three chorale verses:
1) Large setting of chorale verse 1
2) Tenor recitative
3) Soprano/Bass duet (with violino piccolo solo!)
4) Trio instrumental setting with verse 2 sung by tenors (later turned into a chorale prelude)
5) Bass recitative
6) Soprano/bass duet (with oboe solo)
7) Fabulous traditional 4-part setting of verse 3
And there is a bonus this week: I'm also including score and recording for the fourth movement. The noble melody (for you to sing) is here set against a very catchy tune in violas and violins, accompanied by a walking bass. If you want to hear the chorale prelude (and perhaps sing to it, too), here's a link to Rodney Gehrke's performance on the Flentrop instrument at All Saints Episcopal in Palo Alto.
Seventh Movement
The main setting is the seventh movement of Cantata 140: 'Wachet auf ruft uns die Stimme'. This justly famous cantata is built around one of Philip Nicolai's famous hymns. (The other one is our beloved 'Wie schön leuchtet der Morgenstern'.) The hymn (and the cantata) is a response to the parable of the wise and foolish virgins (Matthew 25:1-13), a cautionary tale of the importance of being ready to roll when the time comes. (Like we want to be when we can finally sing together again.)
Bach's cantata is structured symmetrically around the three chorale verses:
1) Large setting of chorale verse 1
2) Tenor recitative
3) Soprano/Bass duet (with violino piccolo solo!)
4) Trio instrumental setting with verse 2 sung by tenors (later turned into a chorale prelude)
5) Bass recitative
6) Soprano/bass duet (with oboe solo)
7) Fabulous traditional 4-part setting of verse 3
And there is a bonus this week: I'm also including score and recording for the fourth movement. The noble melody (for you to sing) is here set against a very catchy tune in violas and violins, accompanied by a walking bass. If you want to hear the chorale prelude (and perhaps sing to it, too), here's a link to Rodney Gehrke's performance on the Flentrop instrument at All Saints Episcopal in Palo Alto.
Seventh Movement
Fourth Movement