Published on Oct 16, 2014 Hermann Prey sings Ich habe genug, Cantata BWV 82 by Johann Sebastian Bach Aria: Ich habe genug Rec.: Ich habe genug Aria: Schlummert ein, ihr matten Augen Rec.: Mein Gott, wann kommt das schöne: Nun! Aria: Ich freue mich auf meinen Tod Liviu Variol, Oboe Deutsche Bachsolisten Helmut Winschermann, conductor »»»»»»»»»»»»»»»»»»»»»»»»»»»» Ich habe genug (original: Ich habe genung, English: I have enough or I am content), BWV 82, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig in 1727 for the Feast Mariae Reinigung (Purification of Mary) and first performed it on 2 February 1727. In a version for soprano, BWV 82a, possibly first performed in 1731, the part of the obbligato oboe is replaced by a flute. Part of the music appears in the Notebook for Anna Magdalena Bach. The work is often performed and the most frequently recorded of all the Bach cantatas. Bach composed the cantata in his fourth year in Leipzig for the feast Purification of Mary. The prescribed readings for the feast day were taken from the book of Malachi, the Lord will come to his temple (Malachi 3:1–4), and from the Gospel of Luke, the purification of Mary and the presentation of Jesus at the Temple, including Simeons canticle Nunc dimittis (Luke 2:22–32), on which the libretto is based. In previous years Bach had composed two cantatas concentrating on Simeons canticle, Erfreute Zeit im neuen Bunde, BWV 83 in 1724 and the chorale cantata on Martin Luthers paraphrase of the canticle, Mit Fried und Freud ich fahr dahin, BWV 125, in 1725. More than in these earlier works, an anonymous poet stresses the desire to escape earthly misery and be united with Jesus. Bach first performed the cantata on 2 February 1727. The extant autograph score and the parts show that he performed it at least three more times, in a version for soprano, BWV 82a, the first possibly in 1731 or even as early as 1730, another version for soprano in 1735; and again for bass, with minor changes to the original version, after 1745. Bach obviously had a high regard for this work. The first recitative and most of the aria Schlummert ein were copied to the Notebook for Anna Magdalena Bach in a version with continuo accompaniment, presumably entered by Anna Magdalena Bach for her own use. Other cantatas that Bach performed for the occasion are, according to Alfred Dürr, Komm, du süße Todesstunde, BWV 161, Ich lasse dich nicht, du segnest mich denn, BWV 157, and Der Friede sei mit dir, BWV 158, with similar topics.
Posted on: Fri, 23 Jan 2015 20:16:07 +0000