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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).
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.
"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!
Bach's fourth (Leipzig) cantata cycle, known as the Picander cycle, consists of cantatas performed for the first time from 24 June 1728 (St. John's Day) to 10 July 1729 (fourth Sunday after Trinity), or later in 1729, to a libretto from the printed cycle of 70 cantata texts for 1728–29 by Picander. Later additions to this cycle and Picander ...
Most cantatas made reference to the content of the readings and to Lutheran hymns appropriate for the occasion. The melodies of such hymns often appeared in cantatas, for example as in the four-part settings concluding Bach's works, or as a cantus firmus in larger choral movements. Other occasions for church cantatas include weddings and ...
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 ...
In Bach's time figural music referred to more advanced vocal church music, usually accompanied by instrumental forces, such as his motets, church cantatas and passions. [1] The vocal and instrumental forces used by Bach for the performance of such music are to a certain extent documented for all the periods of his life.
The eldest known cantata by Bach, an early version of Christ lag in Todes Banden, BWV 4, presumably written in 1707, was a chorale cantata. The last chorale cantata he wrote in his second year in Leipzig was Wie schön leuchtet der Morgenstern, BWV 1, first performed on Palm Sunday, 25 March 1725. In the ten years after that he wrote at least a ...