Work
Johann Sebastian Bach Composer
Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70
Performances: 4
Loading...-
Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70Year: 1723
Genre: Cantata
Pr. Instruments: Voice & Chorus/Choir
- 1.Chorus: Wachet! betet! betet! wachet!
- 2.Recitative (Bass): Erschrecket, ihr verstockten Sünder
- 3.Aria (Alto): Wenn kömmt der Tag
- 4.Recitative (Tenor): Auch bei dem himmlischen Verlangen
- 5.Aria (Soprano): Laßt der Spötter Zungen schmähen
- 6.Recitative (Tenor): Jedoch bei dem unartigen Geschlechte
- 7.Chorale: Freu dich sehr, o meine Seele
- 8.Aria (Tenor): Hebt euer Haupt empor
- 9.Recitative (Bass): Ach, soll nicht dieser große Tag
- 10.Aria (Bass): Seligster Erquickungstag
- 11.Chorale: Nicht nach Welt, nach Himmel nicht
Although it was originally composed during his Weimar period, Bach later re-arranged his "Wachet! betet! betet! wachtet!" (Watch! Pray! Pray! Watch!) (BWV 70) after his move to Leipzig so it would suit the 26th Sunday after Trinity, which fell on November 21, 1723. Both versions set a poem by Salomon Franck, but the Leipzig version adds four recitatives and a third chorale movement. The cantata is scored for bass, alto, tenor and bass soloists, chorus, trumpet, oboe, strings, and basso continuo. Arranged in two parts with a total of 11 movements, "Wachet! betet! betet! wachtet!" is in C major with its first, ninth, tenth, and eleventh movements in the tonic, its second and third in A minor, its fourth in B minor, its fifth in E minor, and its sixth, seventh, and eighth movements in G major. The first movement of the first part of "Wachet! betet! betet! wachtet!" is an enormous contrapuntal fantasia for chorus and full orchestra. The second movement is a furious recitative col accompagnamento for bass soloist and full orchestra. The third movement is a doleful soprano aria with obbligato cello and continuo. The fourth movement is the first brief secco recitative for tenor soloist and continuo. The fifth movement is a doughty soprano aria in the form of a trio sonata, with the upper strings playing in unison above the continuo. The sixth movement is the second brief secco recitative for tenor and continuo. The seventh movement closes the first part of the cantata with a massive chorale for chorus and orchestra. The eighth movement opens the second part with a steadily striding tenor aria accompanied by strings and continuo. The ninth movement is a second recitative col accompagnamento for bass and solo trumpet with strings and continuo. The tenth movement is an aria for bass, strings, and continuo that opens Molt' adagio becomes an agitated Presto and then closes with a return of the Molt' adagio. "Wachet! betet! betet! wachtet!" concludes with a harmonization of Franck's final verse for the entire chorus and orchestra.
© All Music Guide




