Es wartet alles auf dich, BWV 187
These wait all upon thee ( BWV 187) is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1726 for the 7th Sunday after Trinity. Later, he used four of their sentences for his Mass in G Minor.
Emergence and words
Bach wrote the cantata in Leipzig in 1726 in his third cantata cycle for the 7th Sunday after Trinity. He led three times, first on 4 August 1726 a second time between 1735 and 1740, and finally on July 26 in 1749. Prescribed readings are Rom. 6.19 to 23 8.27 to 28 LUT LUT and Mk, the feeding of the four thousand. The opening chorus to Psalm 104.27-28 LUT is directly related to the gospel. The second part begins with a bass aria on Mt 6.31 to 32 LUT from the Sermon on the Mount. The cantata will be decided with the verses 4 and 6 Hans Vogels chant we sing from the heart base (1563 ). The poet of the remaining sets is unknown, Walter Blankenburg beat Christoph helmet before. The poet further paraphrased Psalm verses from Psalm 104 and in the third set Ps 65,12 LUT
Bach used the music of four movements, the opening chorus and three arias, for sentences in the Gloria of his Mass in G Minor.
Scoring and structure
The cantata is set for three soloists, soprano, alto and bass, four -part choir, two oboes, two violins, viola and basso continuo.
Music
In the opening chorus of Bach achieved a unity of form, but also the different treatment of the four ideas of Psalm verses in motettischer form. The motives of the instrumental Sinfonia of 28 beats are present the whole set on almost continuously and establish unity. The first half-verse These wait all upon thee ( a) is represented in free polyphony, which is embedded in the orchestral writing. It is that while you are playing instruments repeated, together with the continuation gibest them food ( b ) in free polyphony canonic imitation on two issues, mainly colla parte. Then a and b are repeated, embedded in the Sinfonia, which is continued instrumental. In the following second section If you gibest them ... ( c ) the subject of a fugue, If you open your hand ... ( d) the counter-subject. The instruments play colla parte initially and then throw a motives of the Sinfonia. In the third section of the text is repeated, embedded in a part of the Sinfonia.
The first aria praising God as sustainer of life, accompanied by the whole orchestra in a dance rhythm with an irregular grouping of clocks in the ritornellos.
In the fourth movement, the Bible words from the Sermon on the Mount are entrusted to the bass as the Vox Christi ( voice of Christ ), accompanied by the violins in unison and the continuo, which is involved in the motifs.
The soprano aria consists of two contrasting parts, the first is accompanied by solemn dotted rhythms and a wide-ranging melody of the oboe, the second, un poco allegro, is back dance. Thereafter, only the instruments repeat the dotted rhythms of the beginning. The last words of the soloist in the recitative accompanied by strings as the words of Jesus in Matthew Passion.
The final chorale is in four parts for chorus and all instruments.
Recordings
- The Bach Cantata Vol 44, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Maria Friesenhausen, Hildegard Laurich, Wolfgang Schöne, Haenssler 1971
- Bach Cantatas Vol 4 - Sundays after Trinity I, Karl Richter, Munich Bach Choir, Munich Bach Orchestra, Edith Mathis, Julia Hamari, Dietrich Fischer- Dieskau, Archiv Produktion 1977
- J. S. Bach: The cantatas - Sacred Cantatas Vol 10, Gustav Leonhardt, Hannover Boys Choir, Collegium Vocale Gent, Leonhardt Consort, boy soprano of the Hannover Boys Choir, Paul Esswood, Max van Egmond, Teldec 1989
- J. S. Bach: Complete Cantatas Vol 18, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sandrine Piau, Bogna Bartosz, Klaus Mertens, Antoine Marchand 2002