Descrição
🔥🎧 Album available // Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder by Aafje Heynis
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Johann Sebastian Bach (1685-1750) Cantata BWV 170 "Vergnügte Ruh, Beliebte Seelenlust"
00:00 I. Aria: Vergnügte Ruh
07:14 II. Rezitativ: Die Welt, das Sündenhaus
08:55 III. Aria: Wie jammern mich doch
14:27 IV. Rezitativ: Wer sollte demnach
15:45 V. Aria: Mir ekelt mehr zu leben
Contralto: Aafje Heynis
Netherlands Chamber Orchestra
Conductor: Szymon Goldberg
Recorded in 1960
New mastering in 2022 by AB for https://classicalmusicreference.com/
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This short cantata was written between July 1726 and February 1727. The true happiness and peace of soul to which the Christian aspires can only be fully found in the paradise to come. For in this world dominated by the devil, the spirit of hatred and vengeance of men who have left the ways of the Lord abound. The present world is hateful to the pure of heart, so we might as well get it over with and pray to God to take back our souls. However, following the example of Christ, Christians strive to love their neighbors and shun sin in order to gain the eternal bliss promised by God.
A cantata for a single singer, solo viola, and organ obbligato, it is also one of a group of works with a concertante organ that Bach might have intended for his eldest son Wilhelm Friedemann, then fifteen and a half years old. In the introduction, the oboe d'amore, in unison with the violin I, unfurls a gentle garland supported by the violins and violas. The regular swaying of the ternary meter (at 12/8) gives this delicate pastoral a feeling of deep peace, of blissful happiness. At the center of the cantata, the aria is its expressive heart, spiritually and musically. Here, the organ is limited to two manual parts in the soprano register, with no pedal bass. And the string instruments, violins and violas, play in unison, in the absence of any basso continuo.
Of an extreme delicacy, almost spider-like (which has the lightness of a spider's web), the writing is thus that of an instrumental trio, but of a trio entirely situated in the middle and high registers, where the lowest of the parts is animated by the punctuations of a distressed lamentation. The writing becomes fuller in the quartet with the intervention of the solo voice, of an intense expressiveness. Everything incites from the start to intimacy and confidence. But this climate is broken with the figures of triple eighth notes associated with the expression of revenge and hatred, figures exchanged with the right and left hands of the organ. Other figuralisms underline the affliction of the faithful on the word "frech" (brazenly), always reinforced by diminished intervals. In the same way, similar groups of sixteenth notes, concluded by an interminable trill, translate the rejoicing and laughter of the enemies, as if to ridicule the impious position of the Pharisees. To finish, the introductory ritornello is repeated.
In the final aria, it is specified that the organ part requires two manuals. This is not a nostalgia for death, but a resolute and joyful farewell to life, which is expressed by the key of D major, the numerous notes repeated with insistence, and the decided pace of this aria, which is symmetrical to the opening aria of the cantata. In "da capo" with a ritornello, this one nevertheless begins with the tension of a tritone interval, the "diabolus in musica", which is resolved at the end of the middle section by the long initial of the word ruhig (rest).
🔥🎧 Album available // Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder by Aafje Heynis
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🔥🎧 Other Album available // Bach: Cantata BWV 202 "Wedding Cantata" by Elly Ameling & Eugen Jochum
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Johann Sebastian Bach PLAYLIST (reference recordings): https://youtube.com/playlist?list=PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB1&si=PKAAMDNnY0cofZvg