Bach, Johann Sebastian (1685–1750)
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The cantata ‘Sleepers, wake!’ is one of Johann Sebastian Bach's supreme masterpieces, a cantata without weaknesses, without a dull bar. Bach’s starting point is a hymn composed by Philipp Nicolai and published in 1599. He sets three of Nicolai's stanzas, and in each repeats the chorale tune note for note. These settings constitute the first, fourth, and final movements of the cantata.
The first performance was probably on the twenty-seventh Sunday after Trinity, 25th November 1731, in Leipzig. The Gospel reading for that day was Matthew XXV, verses 1 - 13 - the parable of the wise virgins who had oil in their lamps when the delayed bridegroom arrived, and the foolish ones who didn't. Nicolai's first stanza combines aspects of the parable with images from the Book of Revelation describing the appearance of the New Jerusalem as an adorned bride.
Bach's opening chorus is a three-layered structure, an immense chorale prelude whose elements proceed independently. The orchestra begins with a march-like rhythm, of urgency and excitement. Choral sopranos sing the hymn tune
itself - this announcement of the bridegroom's coming is made as if from on high, above the tumult. The tune is doubled by a corno di tirarsi - probably a type of slide-trumpet rather than a horn. Lower voices of the choir join in with cries suggesting voices coming from all quarters. In the Alleluja! the voices join in long fugal arabesques.
Next the solo tenor in a recitative announces the coming of the bridegroom. The words of the recitatives and duets are possibly by Bach's literary collaborator Picander. They draw on the imagery of the Song of Solomon to describe the marriage of Christ and the human soul as Bridegroom and Bride. In the first duet, the human soul's yearning for Christ is expressed by the soprano, while Christ's answers are given to the solo bass voice. The theme is a musical variant of the alto aria "Erbarme dich" from the St. Matthew Passion, and this duet similarly includes an elaborate obbligato for solo violin (intended for a violino piccolo, a small violin tuned a third higher than the normal instrument).
The fourth movement is another verse of the hymn. The tenor sings the chorale - the voice of the watchmen - accompanied by a superb melody for violins and violas in unison. Bridegroom in accompanied recitative now addresses Bride with words of comfort, and in a second duet the yearning of the first becomes fulfilment. An obbligato for oboe contributes to the feeling of joy and bliss. The cantata concludes with Bach's only harmonisation of the ‘Wachet auf’ chorale - but what a sublime one, a collective rejoicing in the New Jerusalem!
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