Erfreut euch, ihr Herzen, BWV 66
Rejoice, ye hearts ( BWV 66) is a church cantata by Johann Sebastian Bach.
Occasion and content
Bach composed the cantata for the 2nd of Easter ( Easter Monday ) in Leipzig. It goes back to a secular cantata, which he had composed in Köthen on 10 December 1718 and whose music is lost. The Easter cantata was first performed on 10 April 1724.
The unknown poet had a difficult task with the Neudichtung the text. This was mainly because that the original text was followed by a strong dialogue character in single sentences. He solved this problem by the fact that he neglected in some places this character, on the other a dialogue between " confidence " and " weakness " einfügte. These personifications modified stream in a later performance on " hope" and "fear". The text underlay it was limited to the general consideration of Jesus' death and resurrection. You can not relate to the gospel realize the walk to Emmaus (Luke 24:13-35 LUT).
Construction
The cantata is divided into six sets:
- Chorus: Rejoice, her heart
- Recitative (Bass): It breaks the grave and thus our emergency
- Aria ( Bass): Let a song of thanksgiving to the Most High resound
- Recitative ( of 2) ( Alto, Tenor ): be happy In Jesus' life
- Aria ( of 2) ( Alto, Tenor ): Although I'm afraid / not the grave eclipses
- Chant: Alleluia! alleluia! alleluia!
Music
The opening chorus of Bach developed from the final chorus of the birthday cantata. He is one of the longest and most vibrant choral movements from Bach's early creative period. The set begins with an instrumental introduction of 24 bars, which show figurations in thirty-second up to the three painted a aufbrechendes life. The Oldest first cries, " Pleased to her heart," the tenor continues " Entweichet, her pain," all voices unite homophonic: " There lives the Savior and have dominion in you". In stark contrast to sing the alto and tenor voices of grief and fear in the middle part of the da capo form. These attitudes are musically painted in expressive sighing motifs and chromatic lines on a bass, who imagines a throbbing heartbeat, as in the recitative " O pain! Here the tormented heart trembles " in Bach's St. Matthew Passion, although the text of which speaks to scare them: " Ye can chase away the mourn, the fear, the fearful trembling ". The choir performs added consolingly: " The Savior restores his spiritual kingdom ," while the voices enter one after the other and keep on " savior " long, so that a chord is built up gradually.
After a short recitative, the bass continues with a general invitation to sing a song of thanksgiving. The aria in balletic gesture reveals the origin of the congratulatory cantata. In the middle of long sustained notes are at "peace" with coloratura contrasts " live " on.
The fourth movement begins the tenor, who also wants to sing a " victory and thanksgiving song." In ' My eye sees the Saviour raised up " the revival is represented by a long melisma. But after a clock falls the Old doubtful a " No eye sees ... " After prolonged singing together the different poses alternate, with finally the Old wants to join the Easter faith: "I believe, but help my weakness ."
In the following duet, the two voices sing predominantly homophonic, but small rhythmic variations express their different attitude to " the grave eclipses " from. The Old sings " Although I fear " in uniform long notes, while the tenor in the ornate character of the solo violin sings " I'm not afraid ." The swinging 12/8-Takt and the virtuoso violin voice reminiscent of the Köthener birthday music and watch especially the content of the central part, in the match both voices " Now my heart is full of consolation ."
Bach added the cantata as a final chorale in the last section of the hymn Christ is risen, which begins with a triple Alleluia, which originated from the Easter Sequence Victimae Paschali Lauds in the 12th century. It is the only use of this chorale in Bach's vocal works.