Erfreute Zeit im neuen Bunde | |
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BWV 83 | |
Church cantata by J. S. Bach | |
![]() Simeon's Song of Praiseby Aert de Gelder, c. 1700–1710 | |
Occasion | Purification |
Chorale | " Mit Fried und Freud ich fahr dahin " by Martin Luther |
Performed | 2 February 1724 : Leipzig |
Movements | 5 |
Vocal |
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Instrumental |
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Erfreute Zeit im neuen Bunde (Joyful time in the new covenant), BWV 83, [lower-alpha 1] is a church cantata by Johann Sebastian Bach. He wrote it in 1724 in Leipzig for the feast Mariae Reinigung (Purification) and first performed it on 2 February 1724.
Bach wrote the cantata in his first year in Leipzig for the feast Purification of Mary. The prescribed readings for the feast day were from the book of Malachi, "the Lord will come to his temple" (Malachi3:1–4), and from the Gospel of Luke, the purification of Mary and the presentation of Jesus at the Temple, including Simeon's canticle Nunc dimittis (Luke2:22–32). The gospel mentions the purification of Mary, but elaborates on Simeon who had been told he would not die without having seen the Messiah. The canticle ("Lord, now lettest Thou Thy servant depart in peace") is a constant part of the services Compline and Evensong. The unknown poet also concentrates on this aspect of the gospel and connects it to the listener's attitude to his own death. In the second movement, he comments the words of the canticle "Herr, nun lässest du deinen Diener in Friede fahren" by recitative. [1] He shapes movement 3 as a close paraphrase of Hebrews4:16. Movement 4 recalls the last verse of the gospel, the closing chorale expresses the same thought in Martin Luther's words, the fourth stanza of his hymn " Mit Fried und Freud ich fahr dahin ". [2] [3]
The cantata was possibly Bach's first cantata for the occasion. [4] He first performed it on 2 February 1724 and again in 1727. In 1725 he composed a chorale cantata Mit Fried und Freud ich fahr dahin, BWV 125 , on Luther's German version of the Canticle of Simeon, in 1727 he wrote the solo cantata Ich habe genung, BWV 82.
The cantata in five movements is festively scored for alto, tenor and bass soloists, a four-part choir in the chorale, two horns, two oboes, solo violin, two violins, viola, and basso continuo. [2]
The first da capo aria is richly scored for the full orchestra. Its first section celebrates the "joyful time". The ritornell presents a first motif in upward coloraturas, which is later picked up by the voice, then playful contrasting "choirs" of instruments, and virtuoso figuration of the solo violin. In great contrast the middle section concentrates on "our resting place, our grave", the violin imitating funeral bells by repetitions on open strings. [2]
Movement 2 is singular in Bach's cantatas. It contains the canticle of Simeon, sung by the bass on the eighth psalm tone of Gregorian chant, while a canon is played by all strings in unison and the continuo. After the first verse of the canticle, three sections of secco recitative are interrupted by the canonic music, finally the other two verses of the canticle are treated as the first. The use of psalm tones was already considered an archaism in Bach's time. [1]
In Movement 3 the concertante violin plays endless runs in triplets, to illustrate "Hurry, heart, full of joy", the voice imitates the runs. A short secco recitative leads to the four-part chorale. [2] Bach had used this chorale already in his early funeral cantata Actus tragicus (1707 or 1708).
Ich habe genug, BWV 82, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig in 1727 for the Feast Mariae Reinigung and first performed it on 2 February 1727. In a version for soprano, BWV 82a, possibly first performed in 1731, the part of the obbligato oboe is replaced by a flute. Part of the music appears in the Notebook for Anna Magdalena Bach. It is one of the most recorded and performed of Bach's sacred cantatas. The opening aria and so-called "slumber aria" are regarded as some of the most inspired creations of Bach.
Wir müssen durch viel Trübsal, BWV 146, is a cantata by Johann Sebastian Bach, a church cantata for the third Sunday after Easter. Bach composed it in Leipzig in 1726 or 1728.
Der Friede sei mit dir, BWV 158, is the shortest of the cantatas by Johann Sebastian Bach and features a bass soloist. It survives as a cantata for the third day of Easter but might be a fragment of a work originally written for Purification. Given this background, and the fact that it was copied by Christian Friedrich Penzel, one of Bach's last students, there is a confusing variety of proposed composition dates. It may date back to Bach's Weimar period, although a date as late as 1735 has been suggested.
Jesus schläft, was soll ich hoffen?, BWV 81, is a church cantata by Johann Sebastian Bach. He composed it in 1724 in Leipzig for the fourth Sunday after Epiphany and first performed it on 30 January 1724.
Wer da gläubet und getauft wird, BWV 37, is a cantata by Johann Sebastian Bach, a church cantata for the feast of the Ascension of Jesus. Bach composed it in Leipzig and first performed it on 18 May 1724.
Johann Sebastian Bach composed the church cantata Was frag ich nach der WeltBWV 94 in Leipzig for the ninth Sunday after Trinity and first performed it on 6 August 1724. It is a chorale cantata, based on the hymn by Balthasar Kindermann (1664) on a melody by Ahasverus Fritsch.
Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1723 for the third day of Christmas, which is also the Feast of John the Evangelist, and first performed it on 27 December 1723.
Wahrlich, wahrlich, ich sage euch, BWV 86, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Rogate, the fifth Sunday after Easter, and first performed it on 14 May 1724.
Johann Sebastian Bach composed the church cantata Ihr Menschen, rühmet Gottes Liebe, BWV 167 in Leipzig for the Feast of St. John the Baptist and first performed it on 24 June 1723. It is part of his first cantata cycle in Leipzig.
Ich hab in Gottes Herz und Sinn, BWV 92, is a cantata by Johann Sebastian Bach for use in the Lutheran service. He composed the chorale cantata in Leipzig for Septuagesimae and first performed it on 28 January 1725. It is based on the hymn "Ich hab in Gottes Herz und Sinn" by Paul Gerhardt (1647), and is the only chorale cantata Bach based on a hymn by Gerhardt.
Johann Sebastian Bach composed the church cantata Nimm von uns, Herr, du treuer Gott, BWV 101 in Leipzig for the tenth Sunday after Trinity and first performed it on 13 August 1724. The chorale cantata is based on the hymn by Martin Moller (1584).
Johann Sebastian Bach composed the church cantata Herr Jesu Christ, du höchstes Gut, BWV 113 in Leipzig for the eleventh Sunday after Trinity and first performed it on 20 August 1724. The chorale cantata is based on the hymn "Herr Jesu Christ, du höchstes Gut" by Bartholomäus Ringwaldt (1588).
Johann Sebastian Bach composed the church cantata Christus, der ist mein Leben, BWV 95 in Leipzig for the 16th Sunday after Trinity and first performed it on 12 September 1723.
Ich freue mich in dir, BWV 133, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1724 for the Third Day of Christmas and first performed it on 27 December 1724. The chorale cantata is based on the 1697 hymn by Caspar Ziegler.
Johann Sebastian Bach composed the cantata Mit Fried und Freud ich fahr dahin, BWV 125, for use in a Lutheran service. He composed this chorale cantata in Leipzig in 1725 for the feast for the Purification of Mary, which is celebrated on 2 February and is also known as Candlemas. The cantata is based on Martin Luther's 1524 hymn "Mit Fried und Freud ich fahr dahin" and forms part of Bach's chorale cantata cycle, written to provide Sundays and feast days of the liturgical year with cantatas based on a related Lutheran hymn.
Ich liebe den Höchsten von ganzem Gemüte, BWV 174, is a church cantata by Johann Sebastian Bach. He composed the cantata in Leipzig for the second day of Pentecost and first performed it on 6 June 1729.
Wer mich liebet, der wird mein Wort halten, BWV 74, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Pentecost and first performed it on 20 May 1725.
Ich steh mit einem Fuß im Grabe, BWV 156, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the third Sunday after Epiphany and first performed it on 23 January 1729. The cantata is well known for its opening sinfonia for orchestra and oboe solo.
Ich lasse dich nicht, du segnest mich denn, BWV 157, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1726/27 to a libretto by Picander. The first known performance was on 6 February 1727 during a memorial service for Johann Christoph von Ponickau in Pomßen near Leipzig. The work was later assigned to the feast of the Purification celebrated on 2 February.
"Mit Fried und Freud ich fahr dahin" is a hymn by Martin Luther, a paraphrase in German of the Nunc dimittis, the canticle of Simeon. Luther wrote the text and melody, Zahn No. 3986, in 1524 and it was first published in the same year. Originally a song for Purification, it has been used for funerals. Luther included it in 1542 in Christliche Geseng ... zum Begrebniss.