Die Zeit, die Tag und Jahre macht, BWV 134a

The time that makes day and years, BWV 134a, is a secular cantata or serenata by Johann Sebastian Bach. It was written for the court of Leopold of Anhalt- Köthen as a congratulatory cantata for New Year 1719.

Emergence and text

The cantata was written on a seal that Christian Friedrich Hunold Hall in 1719 published in Exquisite and partly never printed poems under various famous and skilful men, Part 2 Bach used the music in Leipzig in 1724 as the basis for his Easter cantata Ein Herz, that his Jesus alive knows. The music of the earlier work was lost because Bach parts of the performance material used in Leipzig. Therefore, only a fragment in the first edition of the Bach Gesellschaft Leipzig under the title was with grace of heaven bekröne edited the times. But Philipp Spitta found the printed text, which enabled a reconstruction.

The text of the Serenata is a dialogue between two allegorical figures, time for the past, and Divine Providence, for the future in most sets.

Scoring and structure

The cantata is set for two soloists, four -part choir, two oboes, strings and basso continuo. The time sung by the tenor, the Divine Providence from the Old, only the final chorus is in four parts.

Music

Unlike most church cantatas of Bach cantata, the increases in a sequence of recitatives and arias to a large-scale final chorus.

The dialogic recitatives are accompanied mainly secco recitatives by continuo. The first aria of the time is dominated by the first oboe. The second aria is a duet that speaks of the contest of the times, which is illustrated by figurations in the first violin. In the final aria, the voice of the Divine Providence is accompanied only by continuo and can expressive singing the harmony of souls.

The cantata culminates in a choral setting, the tenor opened Ergetzet on earth, followed immediately by Alt rejoice from above, then sing all the voices homophonic Blissful times vergnüget this house! The pattern is repeated twice, each time slightly enlarged. The central part of the sentence is started again from the alto and tenor, this time simultaneously. In the words flourish, she begins living a fugal development, similar to the opening chorus to Heart and Mouth and Deed and Life: a rapid deployment sequence of votes and an extensive melisma live on the word create very lively music. Two more times begin alto and tenor a fugal section by themselves increasingly the words illustrious souls embellish. At the end of the middle section, the word calls twice proclaimed simultaneously by all voices and accentuated by a subsequent break. Then the whole of the first part is repeated as capo.

Recordings

Bach-Werke-Verzeichnis Homophony Werner Neumann Christoph Wolff Ach Gott, wie manches Herzeleid, BWV 3 Allein zu dir, Herr Jesu Christ, BWV 33 Brich dem Hungrigen dein Brot, BWV 39 Am Abend aber desselbigen Sabbats, BWV 42 Also hat Gott die Welt geliebt, BWV 68 Alles nur nach Gottes Willen, BWV 72 Alles, was von Gott geboren, BWV 80a Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 Ach, lieben Christen, seid getrost, BWV 114 Christum wir sollen loben schon, BWV 121 Auf Christi Himmelfahrt allein, BWV 128 Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 Bereitet die Wege, bereitet die Bahn! BWV 132 Erforsche mich, Gott, und erfahre mein Herz, BWV 136 Bringet dem Herrn Ehre seines Namens, BWV 148 Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 Barmherziges Herze der ewigen Liebe, BWV 185 Mein Herze schwimmt im Blut, BWV 199 Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a St Mark Passion (Bach)
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