Durchlauchtster Leopold, BWV 173a

Durchlauchtster Leopold ( BWV 173a ) is a secular cantata by Johann Sebastian Bach. It was composed in Köthen for the birthday of Leopold of Anhalt- Köthen. It is not certain whether the Bach cantata at the beginning of his term aufführte 1717 or 1722, in the Year of the score.

History and words

Bach composed the cantata for the birthday greeting of his employer, Prince Leopold of Anhalt- Köthen, on 10 December. It is also called Serenata. The relatively simple work may be incurred in a hurry already 1717, when Bach was appointed Kapellmeister, as Alfred Dürr. The score was written later, probably in 1722, which also comes as a composition year in question. The unknown poet wrote eight sets. Only two of them, 1 and 5, recitatives, but even they have regular verse, and may have been intended for arias. The first recitative even includes a da capo of the first line, the salutation " Durchlauchtster Leopold ". The two vocal parts were perhaps intended as allegorical figures, such as in the New Year cantata The time that makes day and years, but it is not specified in the text.

1724 Bach used six of the eight sets to shape his Cantata for the 2nd day of Pentecost Increased flesh and blood, and in 1725 he set kit 7 in his cantata for the 3rd day of Pentecost, He calleth his sheep one by name.

Scoring and structure

The cantata is occupied by two soloists, soprano and bass, two flauti traversi, bassoon, two violins, viola and basso continuo, with violone and harpsichord. The last sentence is indeed called a chorus, but was probably sung by the two soloists.

Music

Bach composed multiform music on a rather monotonous text. The incipient recitative is accompanied by the strings and leads to a virtuoso coloratura on the repetition of the first line that appeals to Leopold. Sentence 2 is reminiscent of a dance, two flutes and strings play triplets. Theorem 3 is a short praise, called vivace. Sentence 4 is a duet, overwritten " Al tempo di minuetto ", which deals with three stanzas in itself -enhancing variations: the first verse is for Bass and Strings in G major, the second one for soprano a fifth higher in D major with additional flutes which last for two voices, again a fifth higher in A- flat major and in livelier movement. The structure of this duet is unique in Bach's cantatas, the increase on several levels suppresses the increase of the ruler of. Theorem 5 ends in an arioso. Theorem 6 is a Bourrée, dominated by the flute, which sometimes doubles the violins, then silent again. Theorem 7 is set in stark contrast for low voice and deep instruments, bassoon and cello play in unison, while the continuo of violone and harpsichord is formed. The last sentence shows hints of a polonaise. His two parts each begin with an instrumental concerto, which is repeated with built-in voices.

Recordings

• Bach Made in Germany Vol 4 - Cantatas V, Hans -Joachim Rotzsch, St. Thomas Boys Choir, the Gewandhaus Orchestra, Regina Werner, Siegfried Lorenz, Eterna 1974
• J. S. Bach: Secular Cantatas, Bernard Labadie, Les Violons du Roy, Dorothea Rosch husband, Kevin McMillan, Dorian Recordings 1994
• J. S. Bach: Secular Cantatas BWV 173a & 201, Gustav Leonhardt, Choir & Orchestra of the Age of Enlightenment, Monika Frimmer, David Wilson - Johnson, Philips 1995
• J. S. Bach: Complete Cantatas Vol 9, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Lisa Larsson, Klaus Mertens, Antoine Marchand 1998