Work
Johann Sebastian Bach Composer
Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140 (includes 'Sleepers Awake')
Performances: 39
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Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140 (includes 'Sleepers Awake')Year: 1731
Genre: Cantata
Pr. Instruments: Voice & Chorus/Choir
- 1.Chorus: Wachet auf, ruft uns die Stimme
- 2.Recitative (Tenor): Er kommt, er kommt, der Bräutigam kommt
- 3.Duet (Soprano, Bass): Wenn kömmst du, mein Heil
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4.Chorus: Zion hört die Wächter singen ('Sleeper's Awake')
- 5.Recitative (Bass): So geh herein zu mir
- 6.Duet (Soprano, Bass): Mein Freund ist mein!
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7.Chorale: Gloria sei dir gesungen
This is one of the best-known and most theatrical of Bach's sacred cantatas. It was written in 1731 as part of Bach's series of five cantatas for every Sunday and special feast day in the Lutheran calendar. This particular cantata was written for a rarely occurring date, the 27th Sunday after Trinity. This day occurs only in years when Easter comes unusually early. Since this was a rare event (it happened only twice during Bach's 26 years in Leipzig), Bach used an unusually large ensemble and wrote the cantata on a large scale.
The chorale used in the cantata (and the work's title) comes from a 1599 hymn tune by Philipp Nicolai. Literally, the title translates as "Wake up, the voices are calling us." To fit the three syllables of the German, the more commonly found translation "Sleepers Wake" is used, and it is by this name that it is best known in English.
The text is a treatment of Jesus' parable of the Wise and Foolish Virgins (or, as some translations have it, Wise and Foolish Bridesmaids). What is foolish about these young women of Jesus' story is that through inattention they don't notice that the bridegroom has arrived, so they miss the wedding and the wedding feast. In fact, they don't even make it into Bach's cantata, for it only mentions the wise bridesmaids, who do not sleep through the Bridegroom's arrival and, hence, witness the wedding and partake in the feast. The Bridegroom is allegorical for Jesus; his bride is the Christian soul. And these two allegorical figures have an ardent, even operatic, love duet assigned to soprano and bass.
The opening chorus is bustling, depicting crowds in Jerusalem waiting for the Bridegroom. A tenor recitative represents the night watchmen giving word of the arrival. Then follows the duet between Jesus and the soul. The Bridegroom welcomes the bride into his abode, and there is a chorus of thanksgiving and glory.
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