J.S. Bach / Warum betrübst du dich, mein Herz, BWV 138 (Herreweghe)

Johann Sebastian Bach (1685-1750)
Cantata BWV 138: Warum betrübst du dich, mein Herz (5 September 1723)
1. Warum betrübst du dich, mein Herz (Chorale, Recitative: A)
2. Ich bin veracht' (Recitative: B) 04:26
3. Er kann und will dich lassen nicht (Chorale, Recitative: S, A) 05:18
4. Ach süßer Trost (Recitative: T) 08:51
5. Auf Gott steht meine Zuversicht (Aria: B) 09:50
6. Ei nun! So will ich auch recht sanfte ruhn (Recitative: A) 14:19
7. Weil du mein Gott und Vater bist (Chorale) 14:46
Soloists:
Soprano: Deborah York
Alto: Ingeborg Danz
Tenor: Mark Padmore
Bass: Peter Kooy
Performed by Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1998.
"Bach applied a procedure, which musicologists call chorale-troping, in a particularly unusual manner in the cantata 'Warum betrübst du dich, mein Herz'. This work had been performed on 5 September 1723, so it does not belong to the year of the weekly chorale-cantatas, but precedes them as a kind of separate experimental work. After the opening ritornello in the orchestra, the tenor sings a half-arioso half-recitative line to the words of the first line of the chorale text which is immediately afterwards repeated by the full chorus. Bach follows the same procedure in the next two lines, whereupon he interrupts the chorale with an alto recitative that ends with a simple setting of the last two lines of the chorale. A bass recitative follows, with another interruption by the chorale, this time lines 1 to 3 of the second stanza which are separated by short interludes. In what follows the chorale is interrupted by two more interpolations, an accompanied recitative by the soprano and a secco recitative by the alto. The principle of the tight interlocking of different forms of textual composition is maintained in the following pair of settings, because the tenor recitative leads straight into the following bass aria. For the conclusion Bach once again returns to the Chorale, but no longer in the shape of a simple four-part setting, which is typical of chorale-cantatas, but fused with an expansive ritornello form, which is characteristic of their opening movements--as if he wished to venture on a foretaste of the huge project of the series of chorale-cantatas to come." - Thomas Seedorf (trans. Derek Yeld)
Painting: Valentine of Milan Mourning her Husband, Fleury-François Richard

[@roserschoerrig1125]

Vielen Dank. Windsschön!!!!

[@odettefrancois6566]

Bach es el padre de la música, sus obras sublimes llegan al alma, saludos desde Chile, 🎼🎶

[@박영진-x8o]

Very balanced and well designed work from Bach!!

[@zinohamoud3416]

C’est super j’adore cette musique de Bach sa me donne la foie

[@giovannicalorini7729]

Sublime💙

[@amadeusforever1]

C'est tellement SUBLIME !!!

[@andrescasado5975]

Thanks!!!!!!

[@govertjanbach4335]

Veel te onbekende cantate. Laat de MPmensen hier eens naar luisteren!

[@tonyathreet3567]

Does anyone know the artist in art featured? ♥️

[@CatatonicImperfect]

Fleury François Richard - Valentine of Milan weeping for the death of her husband Louis of Orléans (c. 1802)
You can find the image on Wikipedia :)

[@adrianapatriciagarciaagude9523]

Descripción sonora de La Belleza.

[@Jaya1515]

godgiven ♥♥♥♥♥

[@amigotenerife9185]

Deze cantate biedt letterlijk en figuurlijk hemelse troost !

[@AndreaBroeker]