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Zion hört die Wächter singen BWV 140 |
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ArcaDellaMemoria - Musica dal Tempo BWV 140 by Johann Sebastian Bach http://youtu.be/9UR2DCevG9I?t=14m24s 14:23 Zion hört die Wächter singen /
Das Herz thut ihr vor Frewden springen,
Sie wachet und steht eilend auff:
Ihr Freund kompt vom Himmel prächtig,
Von Gnaden starck, von Wahrheit mächtig:
Ihr Liecht wirdt hell, ihr Stern geht auff.
Nu komm du werthe Kron... http://en.wikipedia.org/wiki/Wachet_auf,_ruft_uns_die_Stimme -
Das Herz thut ihr vor Frewden springen,
Sie wachet und steht eilend auff:
Ihr Freund kompt vom Himmel prächtig,
Von Gnaden starck, von Wahrheit mächtig:
Ihr Liecht wirdt hell, ihr Stern geht auff.
Nu komm du werthe Kron... http://en.wikipedia.org/wiki/Wachet_auf,_ruft_uns_die_Stimme -
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JS Bach Cantatas BWV 140, 88, 79, Leusink
2 da TheGravicembalo
info text translations:
http://www.bach-cantatas.com/BWV140.htm
http://www.bach-cantatas.com/BWV140.htm
Ca
Bach-Cantatas-BWV
Wachet auf, ruft uns die Stimme è un corale luterano scritto da Philipp Nicolai, pubblicato la prima volta nel 1599 insieme a Wie schön leuchtet der Morgenstern. Anche se oggi popolare come un inno sia originale tedesca e una delle tante traduzioni in inglese, è meglio conosciuto per il suo utilizzo nel Wachet auf cantata, ruft uns die Stimme, BWV 140 di Johann Sebastian Bach. Il testo è basato sulla parabola di Gesù 'delle dieci vergini di Matteo 25:1-13.
The song refers to the parable of the wise and foolish virgins ( Matt. 25.1 to 13 Lut ) and the prophecies of Isaiah ( Isa. 52.8 Lut ) and in particular the end of the liturgical year ( Ewigkeitssonntag for evangelical tradition) and the Advent sung (according to Catholic tradition).
The pair constellation that the human soul Zion will marry as personified Jerusalem is the Messiah, through the centuries from a Jewish and Christian interpretation of the Song of Songs emerged.
The characteristic sound of the early chant give a ringing theme name.
The song forms the basis of the same cantata on Awake, voice is calling, BWV 140 , by Johann Sebastian Bach . Mendelssohn used it for his oratorio St. Paul , both in the overture as a chorale. Max Reger developed it into his fantasy about the hymn "Awake, calls us the voice" (see Three chorale fantasias (Max Reger) , op 52, 2).
It is found today in the Protestant hymnal (EC 147, 3rd verse with chorale of Johann Sebastian Bach also EC 535 as the end of the stem portion) as the opening of the section end of the liturgical year, which its position as the main song for the last Sunday of equivalent, in the praise of God (GL 110) and in the Old Catholic hymnal Attuned (E 304), however, it is the section Advent , in the Free Church Hymns and Praise Celebration at No. 287 and the Mennonite hymnal at No. 414th
Especially the third verse has been changed in the course of this history of tradition, because the words consorts (in the sense of a partner), and jo, jo (or io, io, as In dulci jubilo ) already in the 19th Century were no longer perceived as understandable and timely
The pair constellation that the human soul Zion will marry as personified Jerusalem is the Messiah, through the centuries from a Jewish and Christian interpretation of the Song of Songs emerged.
The characteristic sound of the early chant give a ringing theme name.
The song forms the basis of the same cantata on Awake, voice is calling, BWV 140 , by Johann Sebastian Bach . Mendelssohn used it for his oratorio St. Paul , both in the overture as a chorale. Max Reger developed it into his fantasy about the hymn "Awake, calls us the voice" (see Three chorale fantasias (Max Reger) , op 52, 2).
It is found today in the Protestant hymnal (EC 147, 3rd verse with chorale of Johann Sebastian Bach also EC 535 as the end of the stem portion) as the opening of the section end of the liturgical year, which its position as the main song for the last Sunday of equivalent, in the praise of God (GL 110) and in the Old Catholic hymnal Attuned (E 304), however, it is the section Advent , in the Free Church Hymns and Praise Celebration at No. 287 and the Mennonite hymnal at No. 414th
Especially the third verse has been changed in the course of this history of tradition, because the words consorts (in the sense of a partner), and jo, jo (or io, io, as In dulci jubilo ) already in the 19th Century were no longer perceived as understandable and timely
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