| 词条 | Was willst du dich betrüben, BWV 107 |
| 释义 |
| title = {{lang|de|Was willst du dich betrüben}} | bwv = 107 | type = Chorale cantata | image = Bwv107.jpg | image_upright = 1.3 | caption = Soprano part for the cantata | occasion = {{nowrap|Seventh Sunday after Trinity}} | performed = {{Timeline-event|date={{Start date|1724|07|23|df=y}}|location=Leipzig}} | movements = 7 | chorale = {{based on|"{{lang|de|Was willst du dich betrüben|italic=no}}"|Johann Heermann}} | vocal = {{plainlist|
}} | instrumental = {{hlist | corno da caccia | 2 flauti traversi | 2 oboes d'amore | 2 violins | viola | continuo }} | italic title = no }} Johann Sebastian Bach composed the church cantata {{lang|de|Was willst du dich betrüben}} (Why would you grieve),[1] {{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}107 in Leipzig for the seventh Sunday after Trinity and first performed on 23 July 1724. The chorale cantata is based on the words of Johann Heermann's hymn in seven stanzas "{{lang|de|Was willst du dich betrüben}}" (1630). Bach structured the cantata, the seventh work in his chorale cantata cycle, in seven movements: two framing choral movements, a recitative and an unusual sequence of four bipartite arias. He scored the work for three vocal soloists, a four-part choir, and a Baroque chamber ensemble of a horn to reinforce the hymn tune in the outer movements, two transverse flutes, two oboes d'amore, strings and continuo. It is the only known work from his chorale cantata cycle that kept the original words unchanged. {{TOC limit|3}}History and wordsBach composed the chorale cantata in Leipzig for the Seventh Sunday after Trinity.[1] The prescribed readings for the Sunday are from the Epistle to the Romans, "I speak in human terms because of your human limitations ... the wages of sin is death; but the gift of God is eternal life" ({{Sourcetext|source=Bible|version=King James|book=Romans|chapter=6|verse=19|range=–23}}), and from the Gospel of Mark, the feeding of the 4000 ({{Sourcetext|source=Bible|version=King James|book=Mark|chapter=8|verse=1|range=–9}}).[3] The cantata is based on Johann Heermann's hymn in seven stanzas, "{{lang|de|Was willst du dich betrüben|italic=no}}" (1630),[4] which is focused on trust in God, even when facing adversaries including the devil.[1] Trust in God is also a theme of the Gospel. Unusually for a chorale cantata of the second cycle, the text is not changed in the middle movements, but kept "{{lang|la|per omnes versus}}" (for all stanzas). The middle movements are, however, composed as a recitative and four arias. The treatment was decidedly old-fashioned in Bach's time. He had used it once much earlier in {{lang|de|Christ lag in Todes Banden, BWV 4 |italic=unset}} (1707), and then again later, as in {{lang|de|Gelobet sei der Herr, mein Gott, BWV 129 |italic=unset}} (1726), though it was not repeated during the second cycle.[1] John Eliot Gardiner assumes that Bach imposed this restriction on himself, as he had done with the restriction to place the cantus firmus in soprano, alto, tenor and bass in the first four cantatas of the cycle. Gardiner comments on the "seventeenth-century design" of composing the unchanged chorale text, compared to settings of Stölzel, Telemann and Graupner: {{quote|But only Bach is prepared to make life consistently difficult for himself, as here, for example, by choosing to incorporate verbatim all seven stanzas of a rather obscure chorale by Johann Heermann from 1630. … Bach rises to the challenge: to overcome the limitations of being confined to a rigidly structured hymn without monotony or repetitiveness.[7]}}The chorales in Heermann's 1630 publication {{lang|la|Devoti musica cordis}} (Music of a devoted heart), which also included "{{lang|de|Herzliebster Jesu, was hast du verbrochen|italic=no}}", the first chorale in Bach's St Matthew Passion, have been described as "the first in which the correct and elegant versification of Opitz was applied to religious subjects, … distinguished by great depth and tenderness of feeling, by an intense love of the Saviour, and earnest but not self-conscious humility".[8] Bach first performed the cantata, the seventh extant cantata of his second annual cycle, on 23 July 1724.[1] MusicScoring and structureBach structured the cantata in seven movements, beginning with a chorale fantasia and ending in a closing chorale, as usually in his chorale cantatas, but with an unusual sequence of only one recitative and four arias, setting the poetic hymn stanzas. He scored it for three vocal soloists (soprano (S), tenor (T) and bass) (B), a four-part choir, and a Baroque chamber ensemble of corno da caccia (Co) to support the chorale tune in the outer movements, two flauti traversi (Ft), two oboes d'amore (Oa), two violins (Vl), two violas (Va) and basso continuo (Bc).[10] In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, the keys are given for the Weimar version. The time signature is provided using the symbol for common time (4/4).[1] {{Classical movement header | show_text_source = yes | work = Was willst du dich betrüben, BWV 107 | instruments1 = Winds | instruments2 = Strings }}{{Classical movement row| id = m1 | number = 1 | title = {{lang|de|Was willst du dich betrüben|italic=no}} | text_source = Heermann | type = Chorale fantasia | vocal = SATB | instruments1 = {{nowrap|Co 2Ft 2Oa}} | instruments2 = 2Vl 2Va | key = B minor | time = {{music|common-time}} }}{{Classical movement row | id = m2 | number = 2 | title = {{lang|de|Denn Gott verlässet keinen|italic=no}} | text_source = Heermann | type = Recitative | vocal = B | instruments1 = 2Oa | instruments2 = | key = F-sharp minor | time = {{music|common-time}} }}{{Classical movement row | id = m3 | number = 3 | title = {{lang|de|Auf ihn magst du es wagen|italic=no}} | text_source = Heermann | type = Aria | vocal = B | instruments1 = | instruments2 = 2Vl 2Va | key = A major | time = {{music|common-time}} }}{{Classical movement row | id = m4 | number = 4 | title = {{lang|de|Wenn auch gleich aus der Höllen|italic=no}} | text_source = Heermann | type = Aria | vocal = T | instruments1 = | instruments2 = | key = E minor | time = 3/4 }}{{Classical movement row | id = m5 | number = 5 | title = {{lang|de|Er richts zu seinen Ehren|italic=no}} | text_source = Heermann | type = Aria | vocal = S | instruments1 = 2Oa | instruments2 = | key = B minor | time = 12/8 }}{{Classical movement row | id = m6 | number = 6 | title = {{lang|de|Drum ich mich ihm ergebe|italic=no}} | text_source = Heermann | type = Aria | vocal = T | instruments1 = 2Ft | instruments2 = | key = D major | time = {{music|common-time}} }}{{Classical movement row | id = m7 | number = 7 | title = {{lang|de|Herr, gib, daß ich dein Ehre|italic=no}} | text_source = Heermann | type = Chorale | vocal = SATB | instruments1 = Co 2Ft 2Oa | instruments2 = 2Vl 2Va | key = B minor | time = 6/8 }}{{End}} Movements1The opening chorus, "{{lang|de|Was willst du dich betrüben|italic=no}}" (Why do you wish to trouble yourself), is a chorale fantasia, with the vocal part embedded in an independent concerto of the instruments.[13] The cantus firmus on the melody of "{{lang|de|Von Gott will ich nicht lassen|italic=no}}"[14] is in long notes, partly embellished, in the soprano and horn; the lower voices are mostly set in homophony. The lines of the chorale are not rendered separately, but accenting the bar form (Stollen–Stollen–Abgesang) of the text, 1 and 2 are combined, 3 and 4 are combined, 5 is single and 6 to 8 are combined. The scoring is relatively rich in woodwinds.[1] 2The only recitative, "{{lang|de|Denn Gott verlässet keinen, der sich auf ihn verläßt|italic=no}}" (For God abandons none who entrust themselves to Him), is accompanied by the oboes d'amore, shows an extended melisma on the word "{{lang|de|Freuden}}" (joy) and culminates in an arioso in the final line, with a melisma on {{lang|de|retten}} (rescue).[7] The following four stanzas are composed as arias,[13] not as the typical da capo arias, but mostly in two parts.[1] Bach achieves variation by changing voice type, key and time signature. He also varies the mode, alternating major and minor keys, expresses different affekts, and he successfully "blurs" the bar form of the stanzas.[7] 3The first aria, "{{lang|de|Auf ihn magst du es wagen|italic=no}}" (In Him you can dare all), depicts a "hunting scene" for bass and strings. Bach plays on the double meaning of the German word {{lang|de|erjagen}}, which in the text has the sense "achieve by great exertion", but he expresses the word's literal meaning ("to hunt") by an "outrageous hunting call trill" of the bass.[7] This aria and those following are not da capo arias, but follow the bar form of the poem as bipartite structures.[1] 4The second aria, "{{lang|de|Wenn auch gleich aus der Höllen|italic=no}}" (Even if, out of hell), for tenor and continuo begins with strong words on Satan as an enemy: "{{lang|de|Wenn auch gleich aus der Höllen / der Satan wollte sich / dir selbst entgegenstellen / und toben wider dich|italic=no}}" ("Even if, out of hell, Satan wishes to set himself against you, and vent his rage on you"). Gardiner calls the music "a vivid pen-portrait of Satan and his wiles, delivered with typically Lutheran relish". The rhythm alternates between 6/8 and 3/4 one measure to the next, but the change is irregular and unpredictable. The bass line (marked "{{lang|it|organo e continuo}}") is "extravagantly animated and angular. Albert Schweitzer likens it to the contortions of a huge dragon".[7] 5The third aria, "{{lang|de|Er richt's zu seinen Ehren|italic=no}}" (He arranges for your honor), for soprano and the two oboes d'amore begins with an embellished version of the chorale tune,[13] and the last line quotes the tune exactly on the words "{{lang|de|was Gott will, das geschicht|italic=no}}"[13] ("What God wants, that happens"). 6The fourth aria, "{{lang|de|Drum ich mich ihm ergebe|italic=no}}" (Therefore, I devote myself to Him), is scored for tenor, the flutes in unison and muted violin.[7] The melodic style is significantly different to the chorale melody, being song-like.[1] 7The closing chorale, "{{lang|de|Herr, gib, daß ich dein Ehre|italic=no}}" (Lord, grant that Your honor), is set in four parts for the voices, but embedded in a rich orchestral Siciliano concerto. The lines of the chorale are grouped as in the first stanza, again highlighting line 5, "{{lang|de|O Vater, Sohn und Geist|italic=no}}" ("Oh Father, Son and Spirit") as a miniature doxology.[1][13] RecordingsThe table entries are excerpted from the list of recordings from the selection on the Bach Cantatas Website.[37] Ensemble playing period instruments in historically informed performances are marked by green background. {{Cantata discography header|work=Was willst du dich betrüben, BWV 107 |show_orchestra_type=yes }}{{Cantata discography row| id = Rilling | title = {{lang|de|Die Bach Kantate Vol. 43}} | conductor = {{sortname|Helmuth|Rilling}} | choir = Gächinger Kantorei | orchestra = Bach-Collegium Stuttgart | soloists = {{plainlist|
}} | label = Hänssler | year = {{Start date|1979}} | orchestra_type = }}{{Cantata discography row | id = Leonhardt | title = J. S. Bach: Das Kantatenwerk – Sacred Cantatas Vol. 6 | conductor = {{sortname|Gustav|Leonhardt}} | choir = {{plainlist|
}} | orchestra = Leonhardt-Consort | soloists = {{plainlist|
}} | label = Teldec | year = {{Start date|1980}} | orchestra_type = Period }}{{Cantata discography row | id = Herreweghe | title = J.S. Bach: Cantatas | conductor = {{hs|Herreweghe, Philippe}} {{nowrap|Philippe Herreweghe}} | choir = Collegium Vocale Gent | orchestra = | soloists = {{plainlist|
}} | label = Virgin Classics | year = {{Start date|1991}} | orchestra_type = Period }}{{Cantata discography row | id = Leusink | title = Bach Edition Vol. 11 – Cantatas Vol. 5 | conductor = {{sortname|Pieter Jan|Leusink}} | choir = Holland Boys Choir | orchestra = Netherlands Bach Collegium | soloists = {{plainlist|
}} | label = Brilliant Classics | year = {{Start date|1999}} | orchestra_type = Period }}{{Cantata discography row | id = Koopman | title = J. S. Bach: Complete Cantatas Vol. 12 | conductor = {{sortname|Ton|Koopman}} | orchestra = Amsterdam Baroque Orchestra & Choir | soloists = {{plainlist|
}} | label = Antoine Marchand | year = {{Start date|2000}} | orchestra_type = Period }}{{Cantata discography row | id = Gardiner | title = Bach Cantatas Vol. 4: Ansbach/Haddinton / For the 6th Sunday after Trinity / For the 7th Sunday after Trinity | conductor = {{sortname|John Eliot|Gardiner}} | choir = Monteverdi Choir | orchestra = English Baroque Soloists | soloists = {{plainlist|
}} | label = Soli | year = {{Start date|2000}} | orchestra_type = Period }}{{Cantata discography row | id = Suzuki | title = J.S. Bach: Cantatas Vol. 23 – Cantatas from Leipzig 1724 | conductor = {{sortname|Masaaki|Suzuki}} | orchestra = Bach Collegium Japan | soloists = {{plainlist|
}} | label = BIS | year = {{Start date|2002}} | orchestra_type = Period }}{{End}} References1. ^1 {{cite web| last = Bischof| first = Walter F.| url = http://webdocs.cs.ualberta.ca/~wfb/cantatas/107.html| title = BWV 107 Was willst du dich betrüben| publisher = University of Alberta| archiveurl = https://web.archive.org/web/20120321094818/http://webdocs.cs.ualberta.ca/~wfb/cantatas/107.html| archivedate = 21 March 2012| accessdate = 10 July 2016}} [1][2][3][4][5][6][7][8][9]2. ^1 {{cite book| last = Dürr| first = Alfred| authorlink = Alfred Dürr| title = Die Kantaten von Johann Sebastian Bach| year = 1981| publisher = Deutscher Taschenbuchverlag| isbn = 3-423-04080-7| volume = 1| edition = 4| pages = 373–376| language = German}} 3. ^1 2 3 4 5 6 7 8 9 10 11 {{cite book| last = Dürr| first = Alfred| authorlink = Alfred Dürr| others = Translated by Richard D. P. Jones| url = https://books.google.de/books?id=m9JuwslMcq4C&pg=PA444| title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text| publisher = Oxford University Press| year = 2006| pages = 444–448| isbn = 978-0-19-929776-4}} 4. ^1 {{cite web| last = Oron| first = Aryeh| url = http://www.bach-cantatas.com/BWV107.htm| title = Cantata BWV 107 Was willst du dich betrüben| publisher = Bach Cantatas Website| accessdate = 10 July 2016}} 5. ^1 {{cite web| url = http://www.bach-cantatas.com/Texts/Chorale081-Eng3.htm| title = Was willst du dich betrüben / Text and Translation of Chorale| publisher = Bach Cantatas Website| year = 2006| accessdate = 1 August 2011}} 6. ^1 2 3 4 5 6 {{Cite AV media notes | last = Gardiner| first = John Eliot| author-link = John Eliot Gardiner| url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG156| title = Bach: Cantatas Nos 9, 107, 170, 186 & 187 (Cantatas Vol 4)| publisher = Soli Deo Gloria (at Hyperion Records website)| year = 2009| accessdate = 11 August 2018}} 7. ^1 2 3 4 5 {{cite web| last = Mincham| first = Julian| url = http://www.jsbachcantatas.com/documents/chapter-8-bwv-107-l.htm| title = Chapter 8 BWV 107 Was willst du dich betrüben? / Why so much grief?| year = 2010| accessdate = 23 July 2014| publisher = jsbachcantatas.com}} 8. ^1 {{cite web| url = http://www.ccel.org/ccel/winkworth/singers.heermann.html| title = Johann Heermann| publisher = ccel.org| year = 2006| accessdate = 3 August 2011}} 9. ^1 {{cite web| url = http://www.bach-cantatas.com/CM/Von-Gott-will-ich-nicht-lassen.htm| title = Chorale Melodies used in Bach's Vocal Works / Von Gott will ich nicht lassen| publisher = Bach Cantatas Website| year = 2006| accessdate = 1 August 2011}} }} Sources
2 : Church cantatas by Johann Sebastian Bach|1724 compositions |
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