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William L. Hoffman wrote (April 6, 2014):
Cantata 32: “Liebster Jesu, mein Verlangen,” Intro
Bach’s poignant Soul-Jesus dialogue Cantata BWV 32, “Liebster Jesu, mein Verlangen” (Beloved Jesus, my desire) is a most personable and rewarding work. Lasting 24 minutes, it moves from minor to major keys, from doubt and questioning to assurance and certitude, and from seeking to finding with a simple text and engaging music of intimacy and sharing. Presented on the first Sunday after Epiphany at the beginning of the third cycle in January 1726, Cantata 32 is one of four such dialogues, beginning with Cantata BWV 57, Selig ist der Mann, for the 2nd Day of Christmas (St. Stephens) 1725), in a tradition dating to the medieval mystics that personalizes the relationship between seeker-believer and saviour-consoler.
Cantata 32 relies on one of 10 deceptively simple, disarmingly personable texts of Darmstadt poet Georg Christian Lehms with progressive music in concerto and dance form using a small orchestra. Following two annual church year cycles of often large-scale choral works with emphasis on traditional Lutheran chorales, Bach in his last extant cycle seemed content to present works for solo voice of simplicity and intimacy with borrowed instrumental materials. In addition, beginning with the Third Sunday after Epiphany and continuing until the end of the Easter-Pentecost season, Bach presented the first dozen of 18 pleasing two-part works of his Meiningen cousin, Johann Ludwig Bach, with orthodox Rudolstadt texts that intermingled with original solo works carried him through the end of Trinity Time.
Ease and convenience seemed paramount in Bach’s presentation of church works in 1726 and 1727 while focusing most of his creative vocal music energies on the composition of his grand-scale, dramatic St. Matthew Passion. Bach had ulterior motives. As he labored to create dramatic dialogues and intimate passages of the vox Christi in his oratorio Passion, Bach sought new forms and means of expression is the arias and ariosi, often paired, in his poetic commentaries with dance music to texts of Picander. Two of Bach’s dialogue cantatas, BWV 49, “Ich gehe und such mit verlangen,” for the 20th Sunday after Trinity, BWV 58, “Ach Gott, wie manches Herzeleid II,” for the Sunday after New Year 1727 bear some of the trademarks of Picander’s personal, pietistic, utilitarian poetry.
Premiered on January 13, 1726, a week after the Feast of the Epiphany fell on Sunday, January 6, Cantata 32 is scored for: Soloists, Soprano, Bass; 4-part Chorus for the final chorale; Orchestra: oboe, 2 violins, viola, continuo, in Dialogue: Soul (Soprano), Jesus (Bass) that Bach inscribed as “Concerto in Dialogo.” Cantata 32
begins with the Soul (soprano) in a reflective aria, followed by the questioning Jesus (bass) in recitative. The two unite in an extended, operatic scena dialogue of recitatives and ariosi, followed by their collaborative duet of unity, and a closing congregational chorale.1
The text of Georg Christian Lehms (1711) is Movements 1-3 and 5), the gospel (Luke 2:49) is quoted in Movement 2), and Paul Gerhardt’s hymn in the closing Movement 6 is “Weg, mein Herz, mit den gedanken” (Stanza 12), using the Chorale Melody: “Freu dich sehr, o meine Seele,” composer anonymous (c1510) and Louis Bourgeois (1551).2
Movements, scoring, text incipit, key and time signature:3
1. Aria tripartite concerto style (Soprano; Oboe, Violino I/II, Viola, Continuo): “Liebster Jesu, mein Verlangen” (Dearest Jesus, my desire); c minor, 4/4.
2. Recitative (Bass, Continuo)” “Was ists, dass du mich gesuchet?” (Why is it that you looked for me?, Luke 2:49); b minor, 4/4.
3. Aria trio da-capo (Bass; Violino solo, Continuo): A. “Hier, in meines Vaters Stätte, / Findt mich ein betrübter Geist” (Here, in my Father's place / A distressed spirit finds me); B. “Da kannst du mich sicher finden” (Here you can certainly find me); G Major, 3/8 menuett style.
4. Recitative-Arioso (Dialogue, Soul [Soprano], Jesus [Bass]; Violino I/II, Viola, Continuo): Soprano: “Ach! heiliger und großer Gott / So will ich mir / Denn hier bei dir / Beständig Trost und Hilfe suchen” (Ah! holy and great God, / Then I shall / Here by you / Constantly look for consolation and help); Bass: “Wirst du den Erdenttand verfluchen / Und nur in diese Wohnung gehn, / So kannst du hier und dort bestehn” (If you curse earthly trifles / And only go to this dwelling / Then you can overcome both in this world and the next). Arioso (Strings), Soprano: “Wie lieblich ist doch deine Wohnung” (How lovely is your dwelling place, Psalm 84:1). B minor-G Major, 4/4.
5. Aria dal segno (Duet) [Soprano, Bass]; Oboe, Violino I/II, Viola, Continuo); Both: “Nun verschwinden alle Plagen” (Now all torments disappear); D Major, 4/4 gavotte style.
6. Chorale (SATB; Oboe, Violino I/II, Viola, Continuo: “Mein Gott, öffne mir die Pforten / Solcher Gnad und Gütigkeit” (My God, open for me the gates / Of such grace and kindness)
The Readings are: Epistle: Romans 12:1-6 (We are all one in Christ); Gospel: Luke 2: 41-52 (Jesus in the temple); German text, Luther's translation (1545); English text, King James (Authorised) Version (KJV, 1611).
BCW, Lutheran Church Year, Readings for the First Sunday after Epiphany, http://www.bach-cantatas.com/Read/Epiphany1.htm. The Introit Psalm is 121, Levave oculos (I will lift up mine eyes unto the hills, from whence cometh my help, KJV), says Martin Petzoldt in his Bach Kommantar, vol. 2, which he describes as “Gott, ein Menschen hüter” (God, a guardian of men). The full text of Psalm 121 is found at http://www.biblegateway.com/passage/?search=Psalm+121&version=KJV. Petzoldt describes the Epistle as “Vom vernünfttigen Gottesdienst” (concerning a rational main service) and the Gospel as “Der zwölfjährige Jesus im Tempel” (the 12-year-old Jesus in the temple).4
Gardiner: Cantata 32 Musical Character
The musical character of Cantata 32 is described vividly and in detail in John Eliott Gardiner’s liner notes to his Soli Deo Gloria recording of the Bach cantatas. Of particular interest are the obbligato oboe and violin in the arias, the Soul’s evocative response quoting Psalm 84, “How amiable is Thy dwelling,” in the initial recitative dialogue (No. 4), and the union of Soul and Jesus in the duet and closing chorale.5
“First performed on 13 January 1726 in Leipzig to a text by Georg Christian Lehms printed in 1711, BWV 32 Liebster Jesu, mein Verlangen is cast as a ‘Concerto in Dialogo’. Although Lehms does not specify the two characters in this dialogue it soon becomes clear that it is not his anxious parents who are searching for Jesus (bass), but the Christian Soul (soprano), with whom we are expected to identify. It opens with an E minor aria in which the soprano engages with a solo oboe as her accomplice in spinning the most ravishing cantilena in the manner of one of Bach’s concerto slow movements. The upper strings provide a persistent accompaniment made up of three-quaver arpeggios marked piano e spiccato, to which the continuo adds its own faltering rhythm ‘as if the Christian were moving constantly about the world seeking for the Saviour’ (Whittaker). Here is none of the anguish we found in the tenor aria that opened the previous cantata. Always intent in successive cantatas on giving a new slant to the same biblical incident or theme, Bach alights on the word ‘Verlangen’ (‘desire’) to
unlock his reserves of improvisatory invention: the music makes it clear that the Soul will indeed find the Saviour and rest secure in his embrace. Jesus’ answer (No. 2; again, it is a twelve-year child speaking, but with the grave voice of a grown man) is initially curt – four bars of recitative in place of the twenty-two in BWV 154 No.5 – but continues in much mellower tone in a B minor da capo aria (No.3). The violiobbligato encircles the voice with triplets and trills, benign in mood for the most part but clouding over as the voice veers towards the minor with the words ‘ein betrübter Geist’ (‘a troubled spirit’). One of the cantata’s most striking moments occurs in the dialogue recitative (No.4): in answer to Jesus’ admonition to ‘curse worldly trifles and enter this dwelling alone’ the Soul counters by quoting Psalm 84 with ‘Wie lieblich ist doch deine Wohnung’ (‘How amiable is Thy dwelling’) in an evocative arioso with a pulsating string accompaniment. Stylistically it reveals Bach as the midway point between Schütz and Brahms, both of whom left us memorable settings of this psalm. Before rounding things off in a chorale, the twelfth strophe of Paul Gerhardt’s hymn, ‘Weg, mein Herz, mit dein Gedenken’ (1647), and with Jesus and the Soul now joyfully reunited, Bach celebrates the event by combining their associated obbligato instruments (oboe and violin), so far heard only separately. It is one of those duets (another is the delicious ‘Wir eilen mit schwachen, doch emsigen Schritten’ from BWV 78) in which he seems to throw caution to the winds, rivaling the lieto fine conclusions to the operas of his day, but with far more skill, substance and even panache. The Hamburg audience showed their delight, so that it felt right to repeat the duet as an encore in this city where opera has always been such a magnet and an attraction. © John Eliot Gardiner 2010
Biblical Narrative & Dialogue
The biblical narrative involving the 12-year-old Jesus in the temple and the significance of the dialogue between the Soul and Jesus are the main interests in Klaus Hofmann’s liner notes to the Masaaki Suzuki BIS recording of the Bach cantatas.6
<<Bach’s ‘Concerto in Dialogo’ was written for the first Sunday after Epiphany, 13th January 1726. The gospel passage for that day, Luke 2:41–52, with its title ‘The Boy Jesus in the Temple’, tells the well known story of a visit by Jesus and his parents to the feast of the passover in Jerusalem. On the way home his parents notice that he is not with them; they search for him for days, and finally find him in the temple, talking to the scribes. Reproachfully Mary asks him: ‘Son, why hast thou thus dealt with us?’ and he replies: ‘How is it that ye sought me? wist ye not that I must be about my Father’s business?’ Lehms, the librettist, takes up the general motifs of the story: the loss, the search for Jesus and his rediscovery, and places them in the context of the believer’s relationship with Jesus. He gives his text the overall form of a dialogue between the soul and Jesus and thereby follows an ancient, rich tradition that also involves elements of medieval mysticism and of the bridal metaphors in the Old Testament Song of Solomon.
Following the tradition of musical dialogues, Bach has allocated the role of the soul to the soprano, and the words of Jesus, as was the convention, to the ‘vox Christi’, the bass (despite the fact that in the Bible passage Jesus is still a child). The cantata starts with an aria for the soul, searching yearningly, in which the sighing cantilenas of the soprano and solo oboe compete. This is followed by Jesus’ answer, only slightly modified from the gospel: ‘Was ist’s, dass du mich gesuchet?’ (‘How is it that ye sought me?’). The following bass aria, accompanied by the concertante solo violin, paraphrases Jesus’ answer that he is to be found ‘in meines Vaters Stätte’ (‘in my Father’s place’), in the temple, in the church. The festive accompagnato recitative (fourth movement) brings together the soul and Jesus, and the ending is a veritable love duet of a kind that could have graced any opera stage of the period – and, moreover, it is in the fashionable gavotte rhythm. The Leipzig audience would have been reminded that the Thomaskantor had a few years earlier been court kapellmeister. The final chorale was not foreseen by Lehms but was an addition by Bach. A setting of a strophe from Paul Gerhardt’s Weg, mein Herz, mit den Gedanken (Away, my heart, with the thought, 1647) returns the cantata – also in terms of style – to the sphere of reverence appropriate for a church service.>> © Klaus Hofmann 2008
|Lehms, Telemann, J. L. Bach Connection
The Lehms 1711 text as Bach used it in 10 cantatas, as well as the Johann Ludwig Bach and Telemann connection are found in the BCML Discussion, Part 3 (as updated).7 Cantata BWV 32, "Liebster Jesu, mein Verlangen" (Dearest Jesus, my desire) is one of a series of 10 Bach cantatas based on texts of Darmstadt poet Georg Christian Lehms (1684-1717). All the texts were published in the 1711 annual cycle and are among the first to be considered in the new German cantata form, attributed to Hamburg pastor Erdmann Neumeister and Meiningen court poet Georg Kaspar Schurmann. The 10 Bach cantatas to Lehms texts are BWV 13, BWV 16, BWV 32, BWV 35, BWV 54, BWV 57, BWV 110, BWV 151, BWV 170 and BWV 199. They were composed for the three days of Christmas (BWV 110, BWV 157, BWV 151), New Year's (BWV 16), First and Second Sundays after Epiphany (BWV 32, BWV 13), Third Sunday in Lent (BWV 54) and the Sixth (BWV 170), 11th (BWV 199) and 12th (BWV 35) Sundays after Trinity. All were presented during the third cycle except for two composed in Weimar: soprano Soul monologue Cantata 199, “Mein Herze schwimmt im Blut (My heart swims in blood) and alto solo Cantata 54 for Oculi and possibly Trinity +11 in 1723 on a double bill with Cantata 179.
Only one, Cantata BWV 110, has a larger text for morning services while the others with smaller texts were written for afternoon services, according to BCW Lehms biography, www.bach-cantatas.com/Lib/Lehms.htm. Bach composed only two for large forces for feast days in Leipzig: BWV 110 for Christmas 1725 and BWV 16, seven days later, for New Year's Day 1726. The rest are solo cantatas with more intimate texts. Two (BWV 32 and BWV 57) are dialogue cantatas for soprano (Soul) and bass (Jesus); three for alto (BWV 35, BWV 54, BWV 170), two for vocal quartet of SATB (BWV 13, BWV 151) and one for soprano (BWV 199).
Many of Bach's cantatas to Lehms texts played important roles in Bach's development of his well-ordered church music and his cantata form. Cantatas BWV 199 and BWV 54 were among Bach's first cantatas for the church year, composed in Weimar in 1714 or earlier. They were part of his initial Weimar cycle of cantatas performed every four weeks on Sundays. The eight other Lehms texts were set selectively in Leipzig in December 1725 and in 1726 for Bach's heterogeneous, incomplete third cantata cycle, along with cantatas of cousin Johann Ludwig Bach.
The period of 1713-15 yielded several important connections for Bach in his cantata development. In 1713 Telemann stood as godfather to Bach's second son, Carl Philipp Emanuel. In 1715 Telemann composed one his first cantatas set to a Lehms 1711 text, TVWV 1:795, Hier ist mein Herz, geliebter Jesu, which Bach may have performed at Epiphany 1726. Telemann was based in Frankfurt and composed a cantata cycle set to Lehms text. Also about 1715, J. L. Bach in Meiningen produced some of his cantatas which survived in Frankfurt and which Bach used in Leipzig services, almost entirely as part of the third cycle in 1726. In 1716, Telemann was approached to replace the deceased capellmeister Johann Samuel Dreise Sr. in Weimar. Eventually, Dreise's son was chosen over Bach.
In summary, for Epiphany Time 1726, Bach's cantatas may involved the following: Feast of Epiphany, ??Telemann TVWV 1:195 (Lehms text); 1st Sunday after Epiphany, BWV 32 (Lehms text); 2nd Sunday after Epiphany, BWV 13 (Lehms text); 3rd Sunday After Epiphany, BWV 72 (Frank text, Weimar 1715); 4th to 8th Sundays after Epiphany, JLB Cantatas 1-5 (Schurmann texts).
Telemann Epiphany Cantata
It is possible that on the Feast of Epiphany, Sunday, January 6, Bach performed Telemann Cantata TVWV 1:795, Hier ist mein Herz, geliebter Jesu (Here is my heart, loving Jesus) scoring: soprano, tenor, 2 violins, continuo (12:56), based on the Lehms 1711 text. The movements, scoring , incip, and timing are:
I. Duet (tutti) Hier ist mein Herz, geliebter Jesu (4:26)
II. Recitative (Soprano, continuo) Ich war ein Sklavenkind (:29)
III. Arioso (soprano, strings, continuo) Wollten doch die Augen brechen (2:37)
IV. Recitative (tenor, continuo) Indessen leg ich mich vor deine Füße (:28)
V. Chorale aria (tenor, strings continuo) Du willst ein Opfer haben (1:17)
VI. Recitative (soprano, continuo), So nimm mein Opfer hin (:48)
VII. Duet (tutti), Ach Mein Gott, ach vergonne mir (2:45)
The tenor chorale aria (Mvt. V) is “Wach auf, mein Herz, und singe” (Awake my heart and sing), Stanza 6; text, Paul Gerhardt (1647/1653), melody, “Nun laßt uns Gott dem Herren” of Nikolaus Selnecker (1587, Zahn 159); (NLGB No. 222, Communion). The hymn text is:8
Du willst ein Opfer haben,
hier bring ich meine Gaben:
mein Weihrauch und mein Widder
sind mein Gebet und Lieder.
You wish to have an offering,
here I bring my gifts:
my incense and my ram
are my prayers and songs.
The chorale text is related to Penitental Psalm 51:17 is found in Bach’s adaptation Motet, "Tilge, Höchester, meine Sünden" (Blot out, Highest, My Sins), BWV 1083’ 1746/7 arrangement of Pergolesi Stabat Mater (1735), German text paraphrase of Penitential Psalm 51, "Have Mercy on me, O God," possibly by Picander. The Psalm 51:17 text (KJV) is: “The sacrifices of God are a broken spirit: a broken and a contrite heart, O God, thou wilt not despise.”
Fortuitously, there is a YouTube Recording and Carus score of the Telemann Epiphany Cantata.9
Remnants from earlier works have been found or suggested in Cantatas BWV 32, BWV 145/3,5, BWV 154, BWV 190, and BWV 193, based upon stylistic or literary influences, according to Friedrich Smend in Bach in Köthen and Alfred Dürr in The Cantatas of JSB. The arias from the two cantatas for Epiphany Time, BWV 32/1,3,5 and BWV 154/1, may have been developed in Köthen, especially 32/5 and 154/1 that have similar forms and music. Alfred Dürr points out that passages in Cantata BWV 32 show the influence of the Hunold/Menantes dialogue libretti written for the Köthen Court, as well as a concerto movement in the opening aria and two dance movements in the other two arias. Yet the music survives with the Lehms text so that Dürr concludes that Bach radically transformed the music in Leipzig in 1726.
Textual Influences and Chorale Usages
Cantata 32 opening slow soprano aria with oboe in concertante and strings, in concerto form, has great beauty, without the anguish found in some Bach dialogue cantata arias. Aryeh Oron in his initial introduction to this cantata, BCW Jan. 10, 2000, expresses a personal viewpoint about the "feelings of loneliness and longing." In the aria's second phrase, "(Mein liebster Jesu. . .) So ich dich so bald verlieren" ([My dearest Jesus. . .] Shall I lose you so soon, trans. Francis Browne), the high point is the word "verlieren" (lose), repeated so plaintively. That word also is used in Picander's text for the tenor aria with similar affect, opening Part 2 (Nos. 24/59; second line) of the St. Mark Passion (BWV 247), "Mein Jesu, soll ich dich verlieren" (My Jesus, shall I then now lose thee), Z. Philip Ambrose translation), that begins with the incipit, “Mein Tröster ist nicht mehr bey mir” (My Helper is no more with me).
Not found in the original Lehms text for Cantata 32, the closing chorale (No. 6) "Freu dich sehr, o meine Seele" (Rejoice greatly, O my soul), to Louis Bourgeois 1550 melody, is one of Bach's most versatile chorales settings. He harmonized it at least eight times as closing chorales, mostly in his Trinity Time cantatas, to six different texts. Cantata BWV 32/6 uses the final stanza of Paul Gerhardt's 1647 12-stanza text, "Weg, mein Herz, mit den Gedanken" (Away, my heart, with the thought), beginning "Mein Gott, öffne mir die Pforten" (My God, open for me the gates). Gerhardt was one of Bach's favorite chorale text writers, with some 22 different hymns arranged by Bach.
Another alternate text to the Bourgeois melody is by Johann Heermann for the first plain chorale, Mvt. 3 in Cantata BWV 13. This cantata also has a Lehms text, for the next (2nd) Sunday after Epiphany, Jan. 20, 1726. While Lehms designated two chorales in his libretto for BWV 13 (No. 3, chorale aria, and No. 6, plain chorale), Lehms omitted chorales from Cantatas BWV 32 and 54.
The Bourgeois chorale tune is also found in the Trinity Time Cantatas BWV 70/7 (last Sunday 1723), BWV 25/6, BWV 194/6, BWV 39/7, as well as the saints' feast days of John the Baptist in Cantata BWV 30/6 and St. Michael in Cantata BWV 19/6.
The Bach-Brahms Connection
According to the BCW notes, BWV 32, Mvt. 4, a soprano-bass unaccompanied recitative dialogue, also is not part of Lehms' original 1711 libretto text. The soprano's arioso begins, "Wie lieblich ist doch deine Whonung" (How lovely is your dwelling), a paraphrase of Psalm 84:2-3 and the opening of the fourth movement of Brahms' "A German Requiem." Cantata BWV 13, "Meine Seufzer, meine Traenen" (My sighing, my crying) for the 2nd Sunday after Epiphany, also has a text by Lehms. The reference to Seufzer (sighing) is found in the Brahms Requiem second movement and is from Isaiah 35:10. "Die mit traenen saen," (They that sew in tears) from Psalm 126:5, is found in the Brahms first movement and is the dictum for J. L. Bach's Cantata JLB-8 for the Third Sunday in Easter, which Bach presented on May 12, 1726.
Dance Movements
Also showing possible influences from Köthen are the two extended arias in BWV 32: No 3, bass lento aria with strings in 3/8, is minuet-like, and Mvt. 5, vivace 4/4 love duet with oboe and strings, is gavotte-like, according to BCW Article on Little & Jenne "Dance Movements in Bach's Vocal Works."
The vox Christi or voice of Christ is the bass voice representing Christ in the music of Bach and other composers. The vox Christi is particularly found in Bach’s oratorio Passions of Matthew, John, and Mark as well as selective cantatas in all three extant cycles. The bass voice either speaks biblical texts of Christ or poetic paraphrases found in cantatas with soprano-bass duets or bass solo arias and ariosi. An extensive list of these are found in Wikipedia at http://en.wikipedia.org/wiki/Vox_Christi ,
http://en.wikipedia.org/wiki/Liebster_Jesu,_mein_Verlangen,_BWV_32
FOOTNOTES
1 Cantata 32, BCW Details and Discography, http://www.bach-cantatas.com/BWV32.htm.
2 BCW Chorale Melodies used in Bach's Vocal Works, http://www.bach-cantatas.com/CM/Freu-dich-sehr.htm;
Lehms BCW Short Biography, http://www.bach-cantatas.com/Lib/Lehms.htm; Gerhardt BCW Short Biography, http://www.bach-cantatas.com/Lib/Gerhardt.htm; and Chorale text and Francis Browne English translation, http://www.bach-cantatas.com/Texts/Chorale034-Eng3.htm.
3 Cantata 32 Lehms German text and Francis Browne English translation, BCW, http://www.bach-cantatas.com/Texts/BWV32-Eng3.htm; Score Vocal & Piano [1.50 MB], http://www.bach-cantatas.com/Scores/BWV032-V&P.pdf; Score BGA [2.19 MB], http://www.bach-cantatas.com/BGA/BWV032-BGA.pdf; References: BGA VII (Church Cantata BWV 31-40; Wilhelm Rust, 1857; NBA KB I/5 (Epiphany Cantatas; Werner Neumann 1957), Bach Compendium BC A 31 (1985).
4 See Petzoldt, Bach-Kommentar: Theologisch Musikwissenschaftlicke Kommentierung der Geistlichen Vokalwerke Johann Sebastan Bachs; Vol. 2, Die Geistlichen Kantaten vom 1.Advent bis zum Trinitatisfest; Internationale Bachakademie Stuttgart (Kassel: Bärenreiter, 2007: 407, text 425f; commentary 427ff).
5 Gardiner liner notes, http://www.bach-cantatas.com/Pic-Rec-BIG/Gardiner-P18c[sdg174_gb].pdf, BCW Recording details, http://www.bach-cantatas.com/Performers/Gardiner-Rec3.htm#P18.
6 Klaus Hofmann liner notes, http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C42c[BIS-SACD1711].pdf, BCW Recording details http://www.bach-cantatas.com/Performers/Suzuki-Rec3.htm#C42.
7William L. Hoffman wrote (November 25, 2009), BWV 32: Fugitive Notes, http://www.bach-cantatas.com/BWV32-D3.htm.
8 Text and Francis Browne English translation, BCW http://www.bach-cantatas.com/Texts/Chorale048-Eng3.htm.
9Telemann, CW Details & Recording, http://www.bach-cantatas.com/Other/Telemann-Cantata-TWV1-795.htm; YouTube Recording, https://www.youtube.com/watch?v=PIwEaAGCmgw; Recording details, http://www.amazon.com/dp/B0006BGX1I, “Telemann: Perpetuum Mobile - Cantatas & Chamber Music / Balthasar Neumann Ensemble; Carus CD 83165 11/30/2004; Score (Carus Verlag), http://www.carus-verlag.com/index.php3?BLink=KKWerk&WerkID=19905.
10 Smend in Bach in Köthen (Concordia: St. Louis MO, 1985: 74ff) and Alfred Dürr in The Cantatas of JSB, revised and translated by Richard D. P. Jones (New York: Oxford University Press, 2005: 190f). Recent studies suggest all the music of Cantata 32 was composed in late 1725 with a revised text of Lehms, according to Peter Wollny (Bach Arkiv Leipzig) and Jones, The Creative Development of Johann Sebastian Bach, Volume 2,: 1717-1750 (New York: Oxford University Press, 2013). |
