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Cantata BWV 82
Ich habe genug
Discussions - Part 9

Continue from Part 8

Discussion in the Week of March 16, 2014 (4th round)

Wiliam Hoffman wrote (March 16, 2014):
Cantata 82, Ich habe genug: Intro

Bach’s solo bass Cantata BWV 82, “Ich habe genug/genung” (I have enough), carries several distinctions. With its theme on the acceptance of “Death and Dying” with a sense of contentment, it has strong connections to his other two solo bass sacred cantatas, BWV 56, “Ich will den Kreuzstab gerne tragen” (I will the cross-staff gladly carry), and BWV 158, "Der Friede sei mit dir" (Peace be with you). Like Cantata 56, Cantata 82 is one of Bach’s most respected and popular cantatas. Composed for the popular Leipzig Marian Feast of the Purification (February 2), Cantata 82 was reperformed at least four times and its central slumber song, “Schlummert ein, ihr matten Augen” (Rest in sleep, you weary eyes), was popular at home with wife Anna Magdalena. All three arias are set in the mood of the day’s gospel, Simeon’s canticle of praise.

Cantata 82 was first performed on Sunday, February 2, 1727, for the Feast of Purification of the Blessed Virgin Mary (Mariä Reinigung). 1 It was part of a double bill with a reperformance of solo Cantata BWV 83, "Erfreute Zeit im neuen Bunde" (Joyful time in new stirring), 2 from the 1724 first cycle. With woodwind obbligato and string accompaniment, Cantata 82 contains five movements in palindrome form of three arias using dance styles alternating with two recitatives and lasts about 23 minutes. The librettist is unknown, possibly Picander, and there is no closing chorale.3

Feast of Purification/Presentation

In Lutheran tradition, the Purification Feast is observed as the Feast of the Presentation of the baby Jesus in the Temple (Luke 2:22-33), concluding with Simeon's four-verse canticle: "Now, Lord, let thy servant depart" (Nunc dimittis). Except for the services of Christmas Day, Bach performed more cantatas on the Presentation Feast than at any other service – at least nine cantatas on 14 occasions in Leipzig (1724-48).

In addition, Alfred Dürr says that three “cantatas written for other occasions in the church year were, from time to time, performed by Bach at the Feast of the Purification, on account of their appropriate textual content, namely”:4 solo Cantata 161, “Komm, du süße Todesstunde” (Come, sweet hour of death), originally composed in Weimar for the 16th Sunday after Trinity; solo Cantata 157, “Ich lasse dich nicht, du segnest mich denn!” (I am not letting you go, unless you bless me first!), first performed for a funeral on February 6, 1727, and repeated for Purification, probably in 1728; and the presumed older Weimar version of bass solo Cantata 158, “Welt, ade! Ich bin dein müde” (World farewell, I am of thee weary), possibly performed at Purification, Sunday, February 2, 1716, and later presented as “Der Friede sei mit dir” (Peace be with you) on Easter Tuesday in Leipzig, possibly as early as 1724.

Further, two other cantatas also composed for the 16th Sunday after Trinity, BWV 95, “Christus, der ist mein Leben” (Christ is my life), and BWV 27, “Wer weiß, wie nahe mir mein Ende?” (Who knows how near my end is to me?), with the service theme of “Death and Dying,” have direct connections to the Feast of the Purification that observes Simeon’s acceptance of death after seeing the baby Jesus in the Temple presentation, and recognizing him as the expected Christ. Coincidentally, for the 16th Sunday after Trinity, September 12, 1728, in the published Picander so-called Bach “Cycle 4,” is the Cantata text P-59, "Schließet euch, ihr müden Augen (Close you, your tired eyes), with no chorale listed. The text layout of the opening aria strongly resembles in vocabulary and metre the Cantata 82/3 “slumber aria, “Schlummert ein, ihr matten Augen” (Rest in sleep, you weary eyes). “It is possible that Bach re-used the music of our aria in the Picander cantata which was probably set to music by him, but is now lost,” says the Marianne Helms/Arthur Hirsch 1985 liner notes to Helmut Rilling’s Bach Cantata recording of Cantata 82.5

Cantata 82 Reperformances & Versions

Cantata 82 was reperformed on this feast (February 2) at least four times: c.1731, c.1735, c1746-47, and c.1747-48. Cantata 82 Leipzig performances are:

+1st performance (Solo Bass Version): 1727, Bach Compendium BC A 169a, first version c minor; ?oboe obbligato [NBA edition].
+2nd performance (Solo Soprano Version): c.1731, BC A 169b, second version, incomplete (also referred to as BWV “82a”), transposed to e minor (J. L. Krebs soprano part), [NBA edition].
+3rd performance (Solo Soprano Version): c1735, BC A 169c, e minor, flute obbligato.
+4th performance (Solo Bass Version): c.1746-1747 (J. C. Altnikol bass part), c minor version [Bach].
+5th performance (Bass or Mezzo-soprano?): c.1747-1748, BC A 169d, oboe da caccia obbligato (Bach part) (NBA edition).

Cantata 82 is published in three versions in the Neue-Bach Ausgabe (NBA) for bass (c minor) or soprano (e minor) and has an obbligato wind of oboe, flute, or oboe da caccia. Of Bach’s total Presentation feast performances, Cantata 82 is one of four extant original Bach works for this feast (with BWV 83, 125, and 157), in addition to Bach’s Cantata 158(a, Weimar) and 161 and cantatas of cousin Johann Ludwig Bach, Gottfried Heinrich Stölzel (2), and Georg Philipp Telemann [See below: “Bach's Purification Cantatas” and “Bach's Purification Cantata Calendar”].

The Feast of the Purification Readings are: Epistle, Malachi 3:1-4 (The Lord shall suddenly come to his temple), and Gospel, Luke 2:22-33 (Simeon canticle prophesies of Christ); Text: German, Martin Luther 1645; English, Authorised (King James) Version 1611; see BCW, The Introit Psalm is 48:10-11, 2 (Roman Catholic Proper of the Mass):6 Suscepimus, Deus, misericórdiam tuam; We have received Thy mercy, O God, in the midst of Thy temple; according to Thy name, O God, so also is Thy praise unto the ends of the earth: Thy right hand is full of justice. Great is the Lord, and exceedingly to be praised, in the city of God, in his holy mountain.

Movements (first version), scoring, first lines, meter and key are:7

1. Aria (A B B’) (Bass; Oboe, Violino I/II, Viola, Continuo): “Ich habe genung” (I have enough); B. “Ich hab’ ihn erblickt” (I have caught sight of him); c minor / e minor; 3/8 siciliano style.
2. Recitative (Bass, Continuo): “Ich habe genung. / Mein Trost ist nur allein” (I have enough. / This alone is my consolation); B. Arioso, “Laßt uns mit diesem Manne ziehn!” (Let us go along with this man!); Ab-Bb Major / C-D Major; 4/4.
3. Aria da-capo (A-B A C-A); (Bass; Violino I/II, Viola, Continuo): “Schlummert ein, ihr matten Augen” (Rest in sleep, you weary eyes); B. “Welt, ich bleibe nicht mehr hier” (World, I am staying here no longer); C. “Hier muss ich das Elend bauen” (Here I have to cause misery to myself); Eb-G Major; 4/4 general dance style.
4. Recitative (Bass, Organo): “Mein Gott! wann kömmt das schöne: Nun!” (My God! When will come that beautiful: Now!); arioso, “Welt, gute Nacht!” (World, goodnight!); c minor / e minor; 4/4.
5. Aria free da-capo (A B A’ A’’) (Bass, Oboe, Violino I/II, Viola, Continuo): “Ich freue mich auf meinen Tod” (I rejoice in my death); B. “Da entkomm ich aller Not” (Then I shall escape from all the distress); c minor, 3/8 gigue style.

Cantata 82 Introduction

The basic theme, popularity, and different versions of Cantata 82 are explored in Julian Mincham’s introductory Commentary (revised 2012). 8 <<One approaches a cantata such as this with a degree of trepidation. It is, arguably, one of the three or four best known of the ecclesiastical cantatas, often performed and written about. Indeed, the archives show it to be the most frequently recorded of all the Bach cantatas over a period of more than sixty years (see the link to Aryeh Oron's Bach cantata website, Is it possible to bring any new perspective to such a work?

Indeed, it seems to have been highly regarded by Bach himself and well liked in its own day since he reused it on a number of occasions, certainly in a later arrangement for soprano and possibly also for alto (Dürr, Ibid.: 663). [David Schulenberg] (p 230) 9 gives a succinct outline of what is known of the history of this work. But whatever its pedigree and transformations, it is in its version for solo bass presented near the end of the third cycle that it is best known today.

Once again it is the last of three extant works known to be written for this particular day, the others being Cs 83 (vol 1, chapter 40) and 125 (vol 2, chapter 38). Dürr, however, on p 666, points out that at least three others, Cs 161, 157 and [p158 (older version?)], were also used for the Purification. (Further contextual comment may be found in vol 2, chapter 38). C 83 originated in the first cycle and C 125 is a chorale/fantasia from the second. All have the same basic theme: the joyful anticipation of death as a release from the trials of this world, permitting entrance into the next.>>

Cantata 82 Summary

Simeon’s canticle, Bach’s text setting, the music of the three arias, and various versions are discussed in Klaus Hofmann’s 2008 liner notes to the Masaaki Suzuki BIS recording. 10 <<Bach’s cantata Ich habe genung was written for the feast of the Purification of Mary in 1727. This feast is celebrated on 2nd February each year. At its centre is the gospel according to Luke 2, 22–33 with the story of the presentation of Jesus in the temple, and the associated meeting with the old man Simeon. According to a prophecy Simeon ‘should not see death, before he had seen the Lord’s Christ’. Now he recognizes in Jesus the promised Messiah, takes him in his arms and utters the words: ‘Lord, now lettest thou thy servant depart in peace, according to thy word: for mine eyes have seen thy salvation…’

This, ‘Simeon’s song of praise’, is the point of departure for the cantata libretto. In the first aria the narrator of the text (which is a first-person narrative) embodies the figure of Simeon and then, in the following recitative, assumes the role of a present-day Christian who takes Simeon, filled as he is with longing for the here-after, as a role model.

Bach’s music hardly requires any explanation. With incomparable artistry and beauty it portrays the inner development of the text: Simeon’s feeling of serene contentedness with life in the elegiac tones of the first aria, weariness of life and renunciation of the world in the ‘slumber aria’ (in the major key, and acquiring particular emphasis from the rondo-like repetition of the refrain) and finally joyful longing for the here-after in the lively final movement, the first words of which ‘Ich freue mich’ (‘I am looking forward’) have agile coloraturas that characterize the entire movement.

Ich habe genung, nowadays among the best-known of Bach’s cantatas, was evidently held in high regard from an early stage. The source materials show that there were repeat performances in 1731, around 1735, around 1746/47 and then at the latest in 1748. There was a version for mezzo-soprano, and a transposed version for soprano with flute instead of oboe. An arrangement of the first recitative and following ‘slumber aria’ for soprano and harpsichord, apparently made for Bach’s own domestic use, was included by Anna Magdalena Bach in her second Klavierbüchlein, begun in 1725.>> © Klaus Hofmann 2008

Slumber Aria

The Cantata 82 so-called “slumber aria,” (No. 3) “Schlummert ein, ihr matten Augen” (Rest in sleep, you weary eyes) in rondo form, is “perhaps the paradigm of collusion between music and text in all of Bach’s works,” suggests John Elliott Gardiner in his new musical biography, BACH: Music on the Castle of Heaven. 11 “Not only does it come to as a welcome counterweight to the secession of grief-laden arias that characterize the Epiphany season (such as BWV 123/V and BWV 13/V . . . ) but with the gentle lilt of a lullaby it epitomizes Luther’s description ‘Death has become my sleep’, an effect reinforced by the dulcet sonority of the oboe da caccia he added in the sixth and last revision of 1748. That is the last line of his [Luther’s] hymn, “Mit Fried und Freud” [With peace and joy], his free-rendering of the Nunc dimittis. Bach used it for the same feast-day two years earlier as the basis of BWV 125.” Also, Bach’s bass solo Cantata BWV 56, "Ich will den Kreuzstab gerne tragen" (I will the cross-staff gladly carry), for the 19th Sunday after Trinity 1717, closes with the plain chorale, “Komm, o Tod, du Schlafes Bruder” (Come, O death, you brother of sleep), the sixth stanza of Johann Franck’s "Du, O schönes Weltgebäude" (Thou, O Beautiful Adobe of Earth) with the theme of “Death and Dying.” 12

The Cantata 82 text, including the motto repetition of phrases and the “genug” spelling of the work “enough,” suggests that the “anonymous text shows signs of Picander’s style, including the recurrence of the inicipt ‘Ich habe genug’ [(I have enough) at the outset of the second movement,” says Schulenberg in his Cantata 82 monograph (Ibid). He also notes that “The spelling of ‘genug’ is a more singable variant already found in the copy by Anna Magdalena Bach . . . .” The chorale incipit “Es ist genug” (It is enough) of Franz Joachim Burmeister, set to the Johann Rudolf Ahle melody of 1662, is found set as the closing plain chorale (No. 5) in Bach’s “ dialogue cantata “O Ewigkeit, du Donnerwort” II (O Eternity, thou Thunder-Word) for the 24th Sunday after Trinity 1723. 13

'Es ist genug' (It is enough)

The phrase “Es ist genug vor mich” (It is enough for me), is found in the recitative (No. 2), “Gott ist mir ja nichts schuldig” (God is for me in no way blameworthy), in the solo soprano Cantata BWV 84, “Ich bin vergnügt mit meinem Glücke” (I am content with my luck), based on a Picander text, for Septuagesimae Sunday, February 9, 1727 (See BCML Discussion, Week of January 19, 2014). This was a week after the premiere of Cantata 82 and three days after Bach premiered Cantata 157, “Ich lasse du nicht, du segnest mich denn (I leave Thee not, Thou bless me then), also set to a Picander text, for the funeral of Johann Christoph Ponickau. Probably a year later, for the Purification Fest on February 2, 1728, Bach presented Cantata 157, unchanged. In addition, Bach’s St. Matthew Passion, to another Picander text, was premiered on Good Friday, April 11, 1727.

Cantata 82, along with alto solo Cantata 170, “Vergnügte Ruh, beliebte Seelenlust” (Contented peace, beloved delight of the soul; BCML Discussion, Week of Feb. 23, 2014), and Cantata 56, “belong among Bach’s best-loved sacred compositions,” says Richard D. P. Jones’s new The Creative Development of Johann Sebastian Bach, Volume 2” 1717-1750.14 In Cantata 82, Jones singles out the first and second arias. “The musical-verbal motto, ‘I have enough,’ the siciliana rhythm, and the florid oboe obbligato with its rich string accompaniment – all these things help to convey the mingled sadness and joy that attend the elderly Simeon’s wish to depart from this life now that he has seen the Saviour. In the third movement, Simeon looks forward to death in the words ‘Slumber, you tired eyes; close peacefully and blessedly.’ “These words are set as a lullaby that gives them perfect expression, one in which death is viewed as an entry into ‘sweet peace, quite repose’.”

The opening phrase of the first movement of Cantata 82 is identical with the beginning of the alto aria, “Erbarme dich” (Have mercy on me) in the St. Matthew Passion. This Kyrie eleison refrain also serves as a motto beginning the middle aria and succeeding recitative in tenor solo Cantata 55, “Ich armer Mensch, ich Sündenknecht” (I, wretched man, I, slave of sin” for the penultimate Trinity Time service (Trinity +22) in 1726, another Bach characteristic in the third cantata cycle.

Other articles on Cantata 82, particularly about recordings, a staging, and live performances are found at BCW, Article: “Text, music and performative interpretation in Bach’s cantata ‘Ich habgenug’” [by Uri Golomb, 2001], BCW; Article: “Sellars Staging” [by Uri Golomb, 2001], BCW[Golomb].htm; and Article: “The Need for Bach: A discussion of his life,” Jauchzet Gott in Allen Landen, BWV 51 and Ich habe genung, BWV 82 [by Sean Burton, 2004], BCW[Burton].htm.

Cantata 82 Chronology

The various versions of Cantata 82 are discussed in chronological order in Thomas Braatz’s "Summary of Points" (February 19, 2007), based primarily on Matthias Wendt’s Cantata 82 findings in the NBA KB I/28.1 (See Footnote 3). 15

<<1. Bach's original concept was for an alto cantata, but he changed his mind after the first mvt. to make it become a bass cantata. The nature of the obbligato instrument used is unknown other than that it must have been a treble instrument.
2. The first performance in 1727 was as a bass cantata.
3. The original set of parts (other than two violin (doublets) and the continuo (doublet?) were lost by 1731 probably as a result of lending the parts without ever having them returned.
4. In 1731 the first version for soprano appeared. The accompanying obbligato instrument is unknown.
5. During the period from 1731 to 1734, Anna Magdalena Bach copied two mvts. of BWV 82 into her musical workbook which she had begun in 1725.
6. In 1735 an obbligato transverse flute part was created, probably for another performance. The NBA conflates this flute part with the 1731 soprano part for their reconstruction of this version in E minor.
7. The appearance of newly copied violin parts from circa 1735, not in E minor, as might be suspected, but in C minor, points to the possibility that a version of BWV 82 for mezzo-soprano may have been prepared and performed. This assumes that Bach's indications of a changed clef and key signature, returning to C minor as appearing at the end of Krebs' soprano part (1731), were followed and a mezzo-soprano part copied four years later in 1735.
8. Johann Christoph Altnickol joins the Bach family. He was in Leipzig from 1744-1748. As an excellent bass soloist, he appears to be the most likely performer involved in the final revival(s) of this cantata. He is very active in preparing the parts (even his own part as bass soloist). On February 2, 1746 or 1747, He probably gives his first performance of this cantata. The precise nature of the obbligato instrument is not known, but for a repeat performance, probably in 1747 or even as late as August 1748, Bach personally prepares an obbligato part for an oboe da caccia.
9. [Addendum, 3/14] In a footnote to: there is an attempt at an explanation of the two variants Ich habe genung vs. Ich habe genug. All the contemporary hymnals that Bach may have used and consulted have “genug” instead of “genung.” This form, “genung”, is somewhat puzzling for lexicographers in that it seems to indicate an opposite trend to the more common linguistic change of words where an ‘n’ is dropped like ‘pfenning’ to ‘pfennig’ and ‘köning’ to ‘könig.’ Here we have an original, older form “genug/genuk” which changes later to “genung”. The form ‘gnunk/gnunck’ appears as early as the 14th century. Luther even uses it occasionally: “so ist nu das land weit genung für sie” (“so now the country is big enough for them”); but nowhere in Luther’s 1545 unrevised translation of the Bible do these forms occur. Only the form ‘genug’ appears many times. Opitz, Fleming and Klopstock used the form as well. Lessing and even Goethe fell back to this form as an option for creating end rhyme: “und dir, frau Eva, noch so jung! / dir war ein mann noch nicht genung?

As late as the turn of the 19th century, this form still appears folksy prose, particularly in Thuringia where this statement is documented: “ich meint', er wär' selber alt genung” (“I thought he would be old enough.”). Which form does Bach use when he writes letters? (this is as close as we can come to determining his preferred usage: [Bach-Dokumente 1, p. 105, item 41] “…wenn dieser ‘in musicis’ nicht geschickt genug…” In his cantatas the both forms do appear, but it is necessary to remember that the texts in almost all of his cantatas were supplied by librettists, known and unknown. So in the case of BWV 82Ich habe genung”, the form most likely derives from the libretto which Bach set to music.

Walter F. Bischof’s site: is not reliable enough to do a meaningful search on ‘genug’ vs ‘genung’ as he lists corrected spellings along with uncorrected spellings, i.e., he has BWV 82 as “Ich habe genug” but the original has “Ich habe genung.”

The editor Matthias Wendt who was responsible for the NBA printed versions as well as the NBA KB for BWV 82, has decided to go against the editorial guidelines set forth for the modernization of Bach’s cantata titles and texts, with freedom allowed to an editor in deciding which words should be modernized or not or for other reasons not specified in the NBA guidelines. Based alone upon the principle illustrated in the guidelines, Wendt has chosen the clearly antiquated form genung. The illustration cited by the NBA editorial board allows for certain obsolete spellings like kömmt instead of the modern German kommt to be maintained when they are a necessary part of end rhyme (when the word at the end of another line of poetry nearby has a similar vowel sound – the standard modern kommt would destroy the rhyming effect). In the text incipit for the first aria (the title of the cantata is obviously derived from this), there is no equivalent rhyming pair unless you consider the repetition of the same line: Ich habe genung (two more times in the first aria and once at the beginning and then again at the end of the following recitative). Any Bach scholar or performer should without compunction be able to refer to or sing this cantata as Ich habe genug despite the ill-considered attempt at reversing the traditional use of this title which has with few exceptions predominantly been referred to as Ich habe genug ever since C.P.E. Bach inherited this cantata from his father. >>

Cantata 82 Provenance

The Cantata 82 score in Bach’s hand and most of the various parts were kept together in Bach’s 1750 estate division. Emmanuel Bach inherited the score and extant parts and they are listed in his 1790 Estate Catalog on Page 76 as “Auf Mariä Reinigung: Ich habe genug etc. Mit 1 Hoboe. In Partitur und meist stimmen.” 16 One of the folders enclosing the original parts has the title written (any time after 1750 until the time of his death) in C.P.E. Bach’s handwriting as follows: Mar. Reinig. | Ich habe genug etc…. This catalog entry in the church-year cycle order, beginning with the First Sunday in Advent, follows Purification Cantata BWV 83 parts set and precedes Sexagesimae Cantata BWV 181 parts set, both from the first cycle. On the score cover in Emmanuel’s hand is a more detailed description of the music for “Basso solo.” For the record, brother Friedemann probably received the Cantatas 83 and 181 scores, now lost, which fits the division pattern of the first cycle. Friedemann probably received the Purification chorale Cantata 125 score, now lost, and step-mother Anna Magdalena the parts set, as the division pattern in the second cycle. The general distribution division pattern in the third cycle was that Emmanuel received the score and Friedemann the parts, which hecould perform in Halle. Interestingly, Emmanuel, possible at his father’s behest, received the third cycle score and parts together for the Purification Feast (BWV 82) in addition to athe festival Christmas (BWV 248) and Easter (BWV 249) Oratorios, the Visitation (Magnificat, BWV 243) and John the Baptist (BWV 30) feasts, as well as the middle Trinity Time Cantatas 187, 168, 102, 199, and 35.

Bach's Purification Cantatas 17

The record of Bach's musical presentations for the Feast of Purification shows several characteristics: some 14 presentations of nine cantatas in Leipzig (1724-48); some seven dual presentations of two cantatas or two-part cantatas; four diverse original works composed and presented in Leipzig (BWV 83, 125, 82, 157); possibly four works of three other composers (J. L. Bach, G. H. Stölzel [2], and G. P. Telemann) presented in Leipzig; at least three cantatas that did double duty (BWV 158, 157 and 161); and three cantatas (BWV 161, 95, and 27) that have direct connections with the related 16th Sunday after Trinity (Death and Dying).

Bach's Purification Cantata Calendar

+1716 (Epiphany 4, Weimar), BWV 158(a), "Welt ade! Ich bin dein müde" (World, farewell, I am weary of thee), possibly early version of Cantata BWV 158, "Der Friede sei mit dir" (Peace be with you), composed for Easter Tuesday (Third Day of Easter Feast), possible April 11, 1724, or April 3, 1725 (See BCW Cantata 158 Details; Thomas Braatz' BCW Provenance discusses the connections,
*1724, BWV 83, "Erfreute Zeit im neuen Bunde" (Joyful time in new stirring); repeated 1727; borrowed material;
*1725, BWV 125, "Mit Fried und Freud ich fahr dahin" (With peace and joy I journey therein); repeated 1736-39 (chorale cantata);
+1726 (Eph. 4), JLB-9 (two parts), "Mache dich auf, werde licht" (Change yourself, become light) (Johann Ludwig Bach);

*1727, BWV 82 Ich habe genug (I have enough); repeated 1730-31, 1735 (82a in e minor), c1746-47 c1747-1748 (82b in c minor);
+1727, (BWV 83 REPEAT);
*?1728 or later, BWV 157 Ich lasse du nicht, du segnest mich denn (I leave Thee not, Thou bless me then);
+1729, BWV deest/P-16, "Herr, nun lässest du deiner Diener" (Lord, let they servant go), Picander cycle, text only; No. 6, plain chorale, "Mit Fried und Freud ich fahr dahin" (S.1)
+1730-31, (BWV 82 REPEAT);
+1735, BWV 161 Komm, du süße Todesstunde (Come thou, sweetest death-hour) (Weimar, 9/27/16, Trinity 16);
+1735, (BWV 82 REPEAT);
+1736, "Ich habe dich zum Lichte der Heiden gemacht" (I have made for you the light of the heathens) music not extant; Stölzel, 1735-36 Seiten Jahrgang (Strings annual cycle, two-part cantatas)
+1736-39, BWV 125 REPEAT)
+?1737, no title extant, Stölzel, 1736-37 Book of Names annual cycle, two-part cantatas
+c1746-47, (BWV 82 REPEAT)
+c1747-1748 (BWV 82 REPEAT)


1 For an explanation of the Feast of the Purification, see BCW
2 Cantata 83 Details & Discography, see BCW
3 Cantata 82, BCW Details and Discography, see Bach Scoring: Score Vocal & Piano [1.35 MB],; Score BGA [2.52 MB], References: BGA XX/1 (Church cantatas BWV 81-90, Wilhelm Rust 1872), NBA KB I/28.1 (Cantatas for Purification, Matthias Wendt, 1994; Bach Compendium BC: A 169a-d, Zwang K 162.
4 See Alfred Dürr, The Cantatas of Johann Sebastian Bach, revised and translated by Richard D. P. Jones (New York: Oxford University Press, 2005).
5 See liner notes, BCW
6 See Candlemas Day—February 2 - Maternal Heart of Mary, %20Candlemas/candlemas.pdf.
7 German text and Francis Browne English translation, BCW
8 Mincham Commentary, see The Cantatas of Johann Sebastian Bach: A listener and student guide, Chapter 36 (Revised 2012),
9 See Schulenberg, “Ich habe genug/genung,” Oxford Composer Companions: J.S. Bach, ed. Malcolm Boyd (New York: Oxford University Press, 1999).
10 See Hofmann liner notes,[BIS-SACD1631].pdf,

BCW Recording details,
11 Gardiner, “Collision and Collusion,” Chapter 12 (New York: Alfred A. Knopf, 2013: 464f).
12 See, BCML Discussion, Week of March 9).
13 For more information on the chorale use, see BCW
14 Jones, “Music to Delight the Spirit,” The Cöthen and early Leipzig Years: 1717-29, Sacred and secular: the vocal works (New York: Oxford University Press, 2013: 170f).
15 Cantata 82 BCML Discussions - Part 4 (1st Round),
16 Wendt, NBA KB I/28.1 (Kassel: Bärenreiter, 1994: 67).
17 See “Musical Context of Bach Cantatas: Motets & Chorales for Feast of Purification of Mary,” BCW

David Jones wrote (March 16, 2014):
[To William Hoffman] I found the soprano version (as sung by Carolyn Sampson) an absolute revelation and profoundly beautiful. So my votes are as follows: Soprano: Carolyn Sampson, Alto Andreas Scholl, Bass various.

Charles Francis wrote (March 17, 2014):
BWV 82 Heartbeat

There’s a compelling BWV 82a performance online with Collegium 1704 and singer Martina Janková conducted by Václav Luks that, in addition to its technical quality, is interesting for the, at times Elgar-like, use of rubato and ritardando to create in the opening aria an effect of a slowing, faltering heartbeat - to hear this clever (Bach) feature use either headphones or decent speakers, preferably while in a relaxed focused state.

Václav Luks / Collegium 1704:
Martina Janková:

Aryeh Oron wrote (March 25, 2014):
Cantata BWV 82 - Revised & updated Discography of the most recorded Bach Cantata

The discography pages of Cantata BWV 82 “Ich habe genug” for solo bass (or soprano or alto or tenor), oboe (or flute), 2 violins, viola, organ & continuo on the BCW has been revised and updated. That includes:
* Adding many details, cover photos, etc to existing recordings.
* Adding new recordings:
- 39 complete (or near complete) recordings, making it a total of 149
- 1 recording of the recitative & aria from A
- 23 recordings of individual movements, making it a total of 41
* Adding over 50 bio pages of “new” performers of this cantata
* Adding/updating relevant performer discography pages.

Listening/watching options to recordings directly from the discography pages would be added later.

As usual with all the discographies on the BCW, all the issues of the same recording are presented together. The recordings are presented chronologically in 10 pages: a page for each decade + 2 pages for partial recordings. The discography pages are inter-linked. You can start, for example, at the last decade page (2010-2019) and go backward to pages of previous decades:

BWV 82 is definitely the most recorded Bach Cantata. I believe this is the most comprehensive discography of this famous and popular cantata. However, If you are aware of a recording of BWV 82 missing from these pages, or want to correct/add details of a recording already presented on the BCW, please do not hesitate to inform me.

Charles Francis wrote (March 26, 2014):
Apparently a ‘take-down’ notice was issued by some third party against the BWV 82a performance mentioned below, however the same is available with some context here: and indeed along with other Bach cantatas.

The conductor Václav Luks seems one of a younger generation worth keeping an eye on, here’s a German radio program featuring him:


BWV 82 - in Hebrew!

David Fddwm wrote (February 11, 2016):
My appreciation of this musical work has been deepened by the following archival recording which dates from 1969/Geneva. William Wolff brought to bear his rich bass-baritone and experience as a cantor to the performance of this much loved (and recorded!) work singing this time in Hebrew, though I do believe he performed it in the original German elsewhere.

I was particularly struck by the vocalisation, imbued with an authentic church humility and tone of resignation. It reminded me greatly of Gerard Souzay's interpretation. It was also it seemed to me light years away from the Germanic approach exemplified in the smooth flowing technically perfect account of Fischer Dieskau.

It's not just that this is a traditional "old school" performance, but beneath that there is something even more traditional and much more genuine.

Give it a try, David

You can access it on line here: FAU Judaica Sound Archives - Search Tracks (Jewish Music)


Bach Cantata BWV 82 for Alto

Aryeh Oron wrote (November 2, 2016):
I received the query below from the counter-tenor David Clegg.
Please send your responses to the BCML.


I have found your email address on the Bach-Cantatas website and I am speculatively emailing you to see if you could answer a question for me.... I want to teach Bach Cantata 82 to a counter tenor, in C Minor (the same key a bass would sing it in), and apparently a score exists published by Breitkopf (with the usual orange cover) in the treble clef but I just can’t find it on the web at all. Do you have any insight into this, and if so could you send me the correct link!

Thanks, in advance.

Julian Mincham wrote (November 2, 2016):
[To Aryeh Oron] Bach reused this cantata in several forms for alto as well as for bass. There are three versions of it published in vol 11 of the Barenreiter Urtext publication of the complete cantatas, the first, for bass in C min, the second, in the same key oddly marked bass or mezzo soprano with the vocal line still written in the bass stave, however.The third is for soprano in the treble clef but in the higher key of E min. I guess someone has re-written the second of these putting the bass line up and octave using the treble clef although I have not come across it. It's not too much of a chore to do this, however.

David Stancliffe wrote (November 2, 2016):
[To Aryeh Oron] There's a Youtube performance of BWV 82 and 170 by Damien Guillon in the Abbaye aux Dammes in Saintes, where he sings in c. The music - clearly visible on the organist's stand - for 170 is the Breitkopf version. Guillon seems to be singing from a bound and stapled VS, while the organist is using loose sheets for this one, which the cembalo has ring-bound. When you get a glimpse of them over the organist's shoulder the text of 82 looks like the layout of the Bach Gesellschaft: its certainly not the NBA I/28.1.

Did they make their own? You could ask him?


Cantata BWV 82: Details
Recordings: Complete:
1900-1949 | 1950-1959 | 1960-1969 | 1970-1979 | 1980-1989 | 1990-1999 | 2000-2009 | 2010-2019 | Recitative and Aria for Soprano from Anna Magdalena Notenbüchlein | Individual Movements
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | BWV 508-523 Anna Magdalena Notenbüchlein - General Discussions
Text, music and performative interpretation in Bach’s cantata Ich habe genug [U. Golomb] | Sellars Staging [U. Golomb] | The Need for Bach: A discussion of his life, Jauchzet Gott in Allen Landen, BWV 51 and Ich habe genung, BWV 82 [S. Burton]

Recordings & Discussions of Cantatas: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Cantatas BWV Anh | Order of Discussion
Discussions of General Topics: Cantatas & Other Vocal Works | Performance Practice | Radio, Concerts, Festivals, Recordings


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Last update: Monday, September 11, 2017 15:25