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Bach composed the cantata in Leipzig for the 27th Sunday after Trinity. [4] This Sunday occurs only when Easter is early. [5] The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (1 Thessalonians 5:1–11), and from the Gospel of Matthew, the parable of the Ten Virgins (Matthew 25:1–13).
It is structured in three movements, corresponding to the three stanzas of the hymn. The first movement is an extended chorale fantasia, the second develops motifs from the first movement, the third includes a quotation of his fathers's closing choral chorale from his cantata Wachet auf, ruft uns die Stimme, BWV 140. [5]
Johann Sebastian Bach based his chorale cantata Wachet auf, ruft uns die Stimme, BWV 140, on the hymn [12] and derived one of the Schübler Chorales, BWV 645, from the cantata's central movement. His son Johann Christoph Friedrich Bach wrote a cantata for a four-part choir, Wachet auf, ruft uns die Stimme.
1709: second Ratswahl cantata for Mühlhausen, BWV 1138.1 (formerly BWV Anh. 192) – lost. [20] 1710: third Ratswahl cantata for Mühlhausen, BWV 1138.2 – lost. [21] In Leipzig the service was held at the Nikolaikirche on the Monday following Bartholomew (Bartholomäus), 24 August: Preise, Jerusalem, den Herrn, BWV 119, 30 August 1723 [22]
"Sleepers awake", English name for the chorale cantata Wachet auf, ruft uns die Stimme, BWV 140 (1731), by Johann Sebastian Bach, based on Nicolai's hymn; The Sleeper Awakes (1910), dystopian novel by H. G. Wells about a man who sleeps for two hundred and three years; Sleepers Awake (1946), poetry collection by Kenneth Patchen; Sleepers, Wake!
Music for Easter is often in the format of an Oratorio, although there are many Easter cantatas too. Readings 1 Corinthians 5:6–8, Christ is our Easter lamb Mark 16:1–8, Resurrection Hymns "Also heilig ist der Tag" [2] "Vita sanctorum, decus angelorum", and German "Der Heiligen Leben thut stets nach Gott streben" [2]
The term "cantata" came to be applied almost exclusively to choral works, as distinguished from solo vocal music. In early 19th-century cantatas, the chorus is the vehicle for music more lyric and songlike than in oratorio, not excluding the possibility of a brilliant climax in a fugue as in Ludwig van Beethoven's Der glorreiche Augenblick ...
Bach composed the cantata in 1723 in his first year as Thomaskantor in Leipzig for the 14th Sunday after Trinity.The prescribed readings for the Sunday were from the Epistle to the Galatians, Paul's teaching on "works of the flesh" and "fruit of the Spirit" (Galatians 5:16–24), and from the Gospel of Luke, Cleansing ten lepers (Luke 17:11–19).