Ärgre dich, o Seele, nicht, BWV 186
Ärgre thee, O soul, BWV 186, is a church cantata by Johann Sebastian Bach. It was written in Leipzig in 1723 on the basis of Advent cantata BWV 186a Weimar of Bach's time for the 7th Sunday after Trinity and listed on July 11, 1723 for the first time.
Emergence and text
Weimar
The cantata is based on a cantata text by Salomon Franck for the third Advent Sunday, 1717 published in Evangelical Sundays and feast -day devotions. The seal contained the sets 1, 3, 5, 8 and 10 of the later work and a different closing chorale of Ludwig Helmbold. Bach composed the work, BWV 186a, 1716 in Weimar, where it was listed on 13 December 1716.
A reconstruction of the cantata was published in 1963 by Diethard Hellmann.
Leipzig
As was observed in Leipzig in Advent tempus clausum and no cantatas were performed, Bach could work there do not list in Advent. He worked for a cantata in two parts for the 7th Sunday after Trinity to similar he had expanded immediately before Heart and Mouth and Deed and Life on 2 July 1723. He added recitatives, the lyrics of the arias changed slightly, replacing the final chorale by verse 11 of the chorale It is our salvation come from ( 1523) by Paul Speratus and added verse 12 of this hymn as a conclusion of Part 1 of the cantata added.
The readings for Sunday are Rom. 8:1-9 Mk 6.19 to 23 LUT and LUT, the feeding of the 4000. Recitatives therefore mention the lack of hunger or tasteth and see.
Scoring and structure
The cantata is set for four soloists, four -part choir, two oboes, taille ( tenor oboe ), strings and basso continuo with bassoon. The eleven sets are divided into two parts, which will play music before and after the sermon.
Music
The opening chorus is in rondo form, ABAB A. Part A deals with the first line of text, Part B, rows 2 through 4, Part A, is a complex structure of instrumental and vocal composition. The instruments begin with an eight-bar Sinfonia, followed by a short vocal " currency " that repeats the orchestra. Only then begins a fugue in the voices, which is embedded in the material of the Sinfonia. The first repetition of A is reduced in the Sinfonia, the second repetition begins immediately with the joint. In great contrast, Part B, a cappella is set and partially homophonic.
The occupation of the four arias increases, also begin the deep voices, while the high-pitched voices are used only in Part 2. The first aria is accompanied by continuo, the following two in the trio section, the final aria is a duet with orchestra. In the tenor aria ", pours the oboe in the joy motif". The last aria - a duet for soprano and alto - Gigue has character, the voices are often conducted in parallel to illustrate: Let, soul, divorced no suffering of Jesus you. Albert Schweitzer wrote, this duet "breathes Dionysian joy."
The four recitatives end all as arioso.
The final chorales, clause 6 and 11, have the same music in the form of a chorale fantasia. The orchestra plays a concerto in which the votes are embedded. The soprano sings the cantus firmus, while the lower voices in faster note values , sometimes imitating counterpoint.
Recordings
- The Bach Cantata Vol 43, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Arleen Augér, Helen Watts, Kurt Equiluz, Philippe Huttenlocher, Haenssler 1977
- J. S. Bach: The cantatas - Sacred Cantatas Vol 10, Nikolaus Harnoncourt, Tölz Boys Choir, Concentus Musicus Wien, Helmut Wittek ( soloist of the Tölz Boys' Choir ), Paul Esswood, Kurt Equiluz, Robert Holl, Teldec 1989
- J. S. Bach: Complete Cantatas Vol 6, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Ruth Ziesak, Elisabeth von Magnus, Paul Agnew, Klaus Mertens, Antoine Marchand 1997
- J. S. Bach: Cantatas Vol 4, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Katharine Fuge, Richard Wyn Roberts, Kobie van Rensburg, Stephan Loges, Soli Deo Gloria 2000