Von der Welt verlang ich nichts, Aria, No. 7 from Cantata No. 64: Sehet, welch eine Liebe (Piano Sco
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They are a faithful document of the pilgrimage, though never intended to be a definitive stylistic or musicological statement. It is true that there is nothing in its opening movement, constructed as a four-voiced motet over an independent continuo line, that would not sound perfectly respectable and effective on the organ.
We can savour the pleasure Bach holds in store for his listeners being called the children of God at Christmas time. Profiting from the fact that December 27 is also the Feast of St John, his favourite evangelist, Bach permits himself to develop the characteristic Johannine view of the Incarnation further than the set readings would normally have allowed.
Johann Sebastian Bach (1685–1750)
The soprano steps forward and the strings strike up a rather stylised courtly gavotte with its characteristic double upbeat. The continuo initially falls silent. There is felicity of word-setting and a catchy play on the ambiguity of its swinging rhythms: Another composer might so easily have made heavy weather of this pious text, but not Bach. Bach has many ways of celebrating the Christmas season in music. It is hauntingly beautiful. Though unmistakably Bach-like and ineffably peaceful in mood, there are musical pre-echoes of both Gluck and Brahms, while the arabesques of the solo flute suggest something authentically Levantine or even Basque in origin.
Flute, soprano and the first violins momentarily exult in elegant triplet fioriture—similar in style and mood to the kind of music Handel wrote as a young man when he first encountered the works of Scarlatti and Steffani in Italy—before the return of the opening cradle song. Inevitably this inspirational aria overshadows the sequel.
A little like Hymns Ancient and Modern, it needs an extra dose of festive spirit to come alive, a measure of brandy to set the Christmas pudding aflame. The concept of a spiritual dialogue between Jesus and the Soul seems to make some commentators uncomfortable, particularly at this time of year. The phrase "klettenweis an ihm zu kleben" cling to him like a burr is illustrated by all three lower voices holding a note for three measures as if clinging to it. A short secco recitative leads to a tenor aria, which is accompanied by the oboe, while the strings play "a persistent four-note drumming" to express "Furcht und Schrecken" fear and terror.
In another secco recitative the term "nach vollbrachtem Lauf" after my completed course is pictured by a scale spanning an octave.
A duet of soprano and alto, only accompanied by the continuo, moves like a dance in simple periods of four measures. The cantata is closed by the final stanza in a four-part setting. The cantata in six movements is scored for four soloists, soprano, alto, tenor, and bass, a four-part choir, horn to play the cantus firmus with the soprano, oboe d'amore, two violins, viola, and basso continuo.
He composed the Christmas cantata in Leipzig in for the third day of Christmas, which is also the Feast of John the Evangelist, and first performed it on 27 December Bach wrote the cantata in his first year in Leipzig for the Third Day of Christmas and first performed it on 27 December The prescribed readings for the day are from the Epistle to the Hebrews, Christ is higher than the angels, Hebrews 1: The unknown poet referred only in a general way to the readings and stressed the aspect that being loved by God in the way which Christmas shows, the believer does not have to be concerned about the "world" any more.
Three chorales are included in the text, rarely found in Bach's cantatas, but also in Darzu ist erschienen der Sohn Gottes, BWV 40, Bach's first cantata composed for Christmas in Leipzig and performed the day before, and in Schau, lieber Gott, wie meine Feind, BWV , written for 2 January , only a few days later.
Sehet, welch eine Liebe, BWV 64 (Bach, Johann Sebastian) .. Aria (alto): Von der Welt verlang ich nichts (G major); Chorale: Gute Nacht, o Wesen (E Anonymous (Nos.3, 5, ) [based on text from Johann Oswald Knauer (?)] Johann Franck () (No.8) A motet-style movement rare for Bach's cantatas. Church Cantatas - BWV 64 (BWV 64 Sehet, welch eine Liebe) Bach Choral SATB, Piano 1 PDF Aria: "Was die Welt in sich hält" for Oboe & Strings (BWV 64 No 5) Aria: "Von der Welt verlang ich nichts" for Guitar, Mandolin & Cello ( BWV 64 No 7) 7 scores found for "Johann Sebastian Bach Sehet, welch eine Liebe".
Possibly these works were written by the same author. The first movement is based on 1 John 3: Movement 4 is the first verse of Balthasar Kindermann's "Was frag ich nach der Welt". The opening chorus is set in motet style; an archaic-sounding choir of trombones doubles the voices. The alto recitative is accompanied by vigorous scales in the continuo. In the soprano aria, a Gavotte, a virtuoso solo violin possibly represents the "worldly things". The alto aria is accompanied by the oboe d'amore in melodic lyricism.
The chorale "Gute Nacht, o Wesen" Good night, existence is set for four parts. The cantata is scored for soprano, alto and bass soloists, a four-part choir, zink and three trombones, oboe d'amore, two violins, viola, and basso continuo. He composed the chorale cantata in Leipzig for Reformation Day, 31 October, first performed between and Bach wrote the cantata in Leipzig for Reformation Day.
The cantata's inception is largely unknown. It was probably composed in or between and It is based on the earlier Alles, was von Gott geboren, BWV 80a — all the music for BWV 80a is lost, but it is known that it was based on a text by Salomo Franck — and produced in Weimar in or BWV 80 includes all four stanzas of Luther's chorale.
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The orchestral accompaniment becomes more agitated and complex as the movement progresses. He composed the chorale cantata in Leipzig for the ninth Sunday after Trinity and first performed it on 6 August It is based on the hymn by Balthasar Kindermann on a melody by Ahasverus Fritsch. The cantata is the ninth chorale cantata of Bach's second annual cycle in Leipzig, composed for the Ninth Sunday after Trinity. The prescribed readings for the Sunday were from the Epistle to the Romans, a warning of false gods and consolation in temptation 1 Corinthians The cantata is based on the chorale in eight stanzas of the poet Balthasar Kindermann on a melody by Ahasverus Fritsch.
An unknown poet transformed the chorale to a cantata text, keeping stanzas 1, 3, 5, 7 and 8, expanding 3 and 5 by inserted recitatives, and rewriting 2, 4 and 6 to arias. The cantata text is only generally connected to the readings, referring to the statement in the Gospel "for the children of this world are in their generation wiser than the children of light". The poet expresses turning away from the transient world to Jesus. The opening chorus is dominated by the concertante flauto traverso in figurations reminiscent of a flute concerto.
Bach wrote virtuoso music for flute here for the first time in a cantata for Leipzig. Probably an excellent flute player was available. Two themes of the opening ritornello of twelve measures, one for flute, the other for the strings and oboes, are derived from the melody of the hymn "O Gott, du frommer Gott" The chorale is sung by the soprano.
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The lively music in D major seems to represent the "world" rather than its negation. In the bass aria with continuo, comparing the world to "haze and shadow", tumbling motives illustrate vanishing, falling and breaking, whereas long held notes speak of stability "besteht". In the third movement the tenor sings the chorale in rich ornamentation, the accompaniment of two oboes and continuo is similar to the later Er ist auf Erden kommen arm in the Christmas Oratorio, 7 of Part I.
Arranger Peter Lang Russ Bartoli. Editor Frieder Rempp Page size is As "Was frag ich nach der Welt" More details No.
As "Jesu, meine Freude" More details No. Bach Digital source list. Wo soll ich fliehen hin BWV 6: Bleib bei uns, denn es will Abend werden BWV 7: Liebster Gott, wenn werd ich sterben? Es ist das Heil uns kommen her BWV Meine Seel erhebt den Herren. Herr Gott, dich loben wir BWV Wer Dank opfert, der preiset mich BWV Es erhub sich ein Streit BWV O Ewigkeit, du Donnerwort.
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