Easter-oratory of J.S. Bach (BWV 249)
and the Shepherds-cantata
Some curious aspects of the music become self-evident when you
realize that the original texting was not the religious one (1 April
1725, Easter-sunday), but a secular cantata gratulating performed
for the Duke of Sachsen-Weissenfels at his birthday (23 February
1725), a serenade using the traditional imagery and dramatis
personae of the 'Pastorale': shepherds (male/female), sheep, and
flowers. The aria's and choruses are retexted by Picander (?), the music
probably remained the same. One exception perhaps: the way the last
line of n° 9 is expanded (before the Da Capo). The aria which
certainly wins a lot by using the original text is the aria for
Soprano and Traverso (both in atmosphere and wordpainting:
'schmeicheleien', 'wallen'). The famous Schweisstuch-aria now is a
straigtforward lullaby, sung by the shepherd, intended for his
sheep... to sleep softly till the morning comes. Odd word-accents
often turn out to be quite natural phrasing when one looks to the
original text. Personally I am most delighted with the last two
lines of the Shepherd's cantata: The triumphant fugue "So werden
sich künftig bei stetem Gedeihen / Die Deinen mit Lachen und
Scherzen erfreuen." is the final congratulation: "Mazzel tov!",
"Happy Birthday", "Lang zullen ze leven" (in Dutch)...
John Eliot Gardiner's interpreation at the BBC-proms gives quite a
nice impression of this 'jubilation' (https://youtube.com/watch?v=tWcpB15Ta2w)
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original text (gratulationcantata /
Shepherdscantata) |
text of the first version of the Eastercantata |
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Dick Wursten (dick@wursten.be)
