J.S.バッハ:アルト独唱 カンタータ BWV 35 "Geist und Seele wird verwirret"

指揮: カイ・ヨハンセン Kay Johannsen
Stiftsbarock Stuttgart
アルト:リディア・ヴィネス・カーティス Lidia Vinyes Curtis
Auffuhrung im Rahmen des Zyklus’ Bach:vokal, Stiftskirche Stuttgart, 8.2.2019.

Teil I
1. Sinfonia
2. Aria "Geist und Seele wird verwirret" 5:59 心も魂も乱れはて(霊と心は驚き惑う)
3. Recitativo "Ich wundre mich" 15:16
4. Aria "Gott hat alles wohlgemacht" 17:04

Teil II
5. Sinfonia 20:26
6. Recitativo 24:05
7. Aria 25:35

Geist und Seele wird verwirret (Spirit and soul become confused), BWV 35, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for alto voice in Leipzig for the twelfth Sunday after Trinity and first performed it on 8 September 1726.

Bach composed the cantata in his fourth year as Thomaskantor (musical director) in Leipzig. The text is based on the day's prescribed reading from the Gospel of Mark, the healing of a deaf mute man. The librettist is Georg Christian Lehms, whose poetry Bach had used already in Weimar as the basis for solo cantatas. The text quotes ideas from the gospel and derives from these the analogy that as the tongue of the deaf mute man was opened, the believer should be open to admire God's miraculous deeds. The cantatas for this Sunday have a positive character, which Bach stressed in earlier works for the occasion by including trumpets in the score. In this work, he uses instead an obbligato solo organ in several movements.

The cantata is structured in seven movements in two parts, to be performed before and after the sermon. Both parts are opened by an instrumental sinfonia with solo organ, probably derived from concerto music composed earlier in Weimar or Kothen. The alto singer performs a sequence of alternating arias and recitatives, accompanied in all three arias by the organ as an equal partner. The Baroque instrumental ensemble is formed by two oboes, taille, strings and basso continuo. The alto part is demanding and was probably written with a specific singer in mind, as with the two other solo cantatas composed in the same period.

John Eliot Gardiner, who conducted this work on the twelfth Sunday after Trinity in St. Jakob, Kothen as part of the Bach Cantata Pilgrimage with the Monteverdi Choir in 2000, calls the occasion "one of the most cheerful programmes of the whole Trinity season", leading Bach to compose "celebratory pieces", two with trumpets and timpani, and finally this one with an obbligato organ. In an expanded two-part structure, the organ is both an instrumental soloist in the two sinfonias and a partner for the singer in all three arias. The musicologist Laurence Dreyfus distinguished Bach's use of the organ as "sacred icon" versus "galant conversationalist", writing on Bach's "assimilation of the secular solo concerto into his church cantatas and his adjustment of the normal concerto principle, that of soloist-versus-orchestra, through subtle shifts in role playing, the instrument now posing as a soloist, now retreating into the background."


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