J.S.バッハ: カンタータ BWV 84 "Ich bin vergnügt mit meinem Glücke"

指揮: Cornelia Ewald
ソプラノ: アンナ=レナ・エルベルト Anna-Lena Elbert
Junges Bach Ensemble Berlin
Kantatengottesdienst (Corona) vom Sonntag dem Mai 2021 in der "Erloserkirche Kirche

Kantate BWV 84 「われはわが命運に満ち足れり」
1.Arie: Ich bin vergnugt mit meinem Glucke,
2.Rezitativ: Gott ist mir ja nichts schuldig,
3.Arie: ich esse mit Freuden mein weniges Brot,
4.Rezitativ: Im Schweise meines Angesichts,
5.Choral: Ich leb indes in dir vergnuget (*コラール)

Ich bin vergnugt mit meinem Glucke (I am content with my fortune), BWV 84, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for soprano in Leipzig in 1727 for the Sunday Septuagesima, and led the first performance, probably on 9 February 1727.

Bach composed the work in his fourth year as Thomaskantor in Leipzig. The text is similar to a cantata text Ich bin vergnugt mit meinem Stande (I am content with my position), which Picander published in 1728, but it is not certain that he wrote also the cantata text. Its thoughts about being content are in the spirit of the beginning Enlightenment, expressed in simple language. The closing chorale is the 12th stanza of the hymn "Wer weis, wie nahe mir mein Ende" by Amilie Juliane von Schwarzburg-Rudolstadt. Ich bin vergnugt mit meinem Glucke is one of the few works which Bach called "Cantata" himself.

Bach structured the work in five movements, alternating arias and recitatives, and a closing chorale. The scoring requires only a small ensemble of a soprano soloist, three additional vocal parts for the chorale, and a Baroque instrumental ensemble of oboe, strings and basso continuo. While the first aria is pensive and elegiac, the second aria is of dancing folk-like character.

Bach structured the cantata in five movements. A sequence of alternating arias and recitatives is concluded by a chorale. Bach scored the work for soprano soloist, a four-part choir only in the chorale, and a Baroque instrumental ensemble of oboe (Ob), two violins (Vl), viola (Va), and basso continuo. The heading of the autograph score reads: "J.J. Dominica Septuagesimae Cantata", which means: "Jesus help. Cantata for the Sunday Septuagesima". Bach added a more precise extra page: "Dominica Septuages. / Ich bin vergnugt mit meinem Glucke / a / Soprano Solo e / 3 Ripieni / 1 Hautbois / 2 Violini / Viola / e Continuo / di / Joh:Seb:Bach".[3] The scoring is modest, appropriate for the weeks leading to Lent. The duration is given as about 16 minutes.

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.[6] The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Durr, using the symbol for common time (4/4). The continuo, playing throughout, is not shown.

1 Ich bin vergnugt mit meinem Glucke Picander Aria Soprano Ob 2Vl Va E minor 3/4
2 Gott ist mir ja nichts schuldig Picander Recitative Soprano common time
3 Ich esse mit Freuden mein weniges Brot Picander Aria Soprano Ob Vl G major 3/8
4 Im Schweise meines Angesichts Picander Recitative Soprano 2Vl Va common time
5 Ich leb indes in dir vergnuget Schwarzburg-Rudolstadt Chorale SATB Ob 2Vl Va E minor common time

1st Movement
The opening aria, "Ich bin vergnugt mit meinem Glucke, das mir der liebe Gott beschert." (I am content with my fortune which our dear God has allotted me.),[1] is slow and pensive, accompanied by all instruments, reminiscent of the slow movement of an oboe concerto. John Eliot Gardiner, who conducted in 2000 the Bach Cantata Pilgrimage, noted in the project diary that Bach, who possibly was not content with his situation in Leipzig, composed music portraying "ambivalence and complexity". His music is "dynamic and fluctuating", capturing "wistful, resigned, elegiac" moods. The musicologist Julian Mincham notes that the aria compares to Ich bin in mir vergnugt, BWV 204 (I am content in myself) which he describes as "also a highly personal work for solo soprano with a similar theme, exploring comparable human emotions".
2nd Movement
The first recitative, "Gott ist mir ja nichts schuldig" (God indeed owes me nothing), is secco.
3rd Movement
The second aria, "Ich esse mit Freuden mein weniges Brot und gonne dem Nachsten von Herzen das Seine." (I eat my little bit of bread with joy and heartily leave to my neighbor his own.), is dancing and accompanied by two obbligato parts, oboe and violin. They express in vivid figuration in the violin and a slightly simplified version in the oboe the text "ein frohlicher Geist, ein dankbares Herze, das lobet und preist" (a happy spirit, a thankful heart, that gives praise). Hofmann observes that the aria depicts a "pastoral idyll with a rustic musical scene - a tribute to the Enlightenment utopia of simple, happy country life." The violin's figuration suggests the drone of bagpipes or hurdy-gurdy. The voice leaps in upward sixths, in "folk-like character" and conveying "contented tranquillity". Mincham notes that the first four notes of the oboe ritornello are the first four notes of the closing chorale turned to major.
4th Movement
The second recitative, "Im Schweise meines Angesichts will ich indes mein Brot geniesen" (In the sweat of my brow I will meanwhile enjoy my bread), is accompanied by the strings.
5th Movement
The chorale, "Ich leb indes in dir vergnuget und sterb ohn alle Kummernis" (Meanwhile, I live contented in You and die without any trouble), is a four-part setting of the tune "Wer nur den lieben Gott lasst walten" by Georg Neumark. Gardiner interprets the marking a soprano


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