Erfreut euch, ihr Herzen (Rejoice, you hearts), BWV 66,
is a church cantata for Easter by Johann Sebastian
Bach. The cantata is Bach's first composition for
Easter in Leipzig. The day before, on Easter Sunday of
1724, he had performed Christ lag in Todes Banden, BWV
4. He derived the cantata for the Second Day of Easter
("den zweiten Osterfesttag") from his earlier secular
work, the Serenata Der Himmel dacht auf Anhalts Ruhm
und Glück composed in Köthen. On the Third Day of
Easter of 1724 he p...(+)
Erfreut euch, ihr Herzen (Rejoice, you hearts), BWV 66,
is a church cantata for Easter by Johann Sebastian
Bach. The cantata is Bach's first composition for
Easter in Leipzig. The day before, on Easter Sunday of
1724, he had performed Christ lag in Todes Banden, BWV
4. He derived the cantata for the Second Day of Easter
("den zweiten Osterfesttag") from his earlier secular
work, the Serenata Der Himmel dacht auf Anhalts Ruhm
und Glück composed in Köthen. On the Third Day of
Easter of 1724 he performed Ein Herz, das seinen Jesum
lebend weiß, BWV 134, which he derived in a similar
way from Die Zeit, die Tag und Jahre macht, BWV 134a, a
cantata to celebrate the New Year's Day of 1719 in
Köthen.
Bach performed the cantata again in Leipzig on 26 March
1731 and probably on 11 April 1735.
The exuberant first movement was derived from the final
movement of the secular cantata. It opens with a
virtuoso orchestral introduction of 24 measures,
depicting vital joy. First the alto shouts: "Erfreut,
ihr Herzen" (Rejoice, you hearts), the tenor continues
"Entweichet, ihr Schmerzen" (fade away, you sorrows),
all voices proclaim in homophony: "Es lebet der Heiland
und herrschet in euch" (the Savior lives and rules
within you). The middle section is given mostly to alto
and tenor, who illustrate mourning and fear in a
sorrowful "series of poignant descending chromatic
passages and suspensions", although the words speak of
the chasing away these moods: "Ihr könnet verjagen das
Trauren, das Fürchten, das ängstliche Zagen" (You can
drive away mourning, fear, anxious despair). The
continuo plays repeated "trembling" notes, a
"heartbeat" as Bach used later in the tenor recitative
of his St Matthew Passion, "O Schmerz! Hier zittert das
gequälte Herz" (O pain! Here trembleth the tormented
heart). Finally the choir enters, one voice after the
other building a chord, gently adding words of
consolation: "Der Heiland erquicket sein geistliches
Reich" (the Savior revives his spiritual kingdom). The
instruments throw in motifs of the introduction,
leading to the recapitulation of the first section. The
movement has been termed "one of the longest and most
exhilarating of Bach’s early works".
After a short recitative the bass continues with a
general request to thank God in song, in an aria in
dancing motion. The middle section juxtaposes a long
note over six measures on "Frieden" (peace) and
coloraturas on "leben" (live).
Movement four is begun by the tenor (Hope), who also
wants to sing of victory and thanks ("ein Sieg- und
Danklied"). He starts it "Mein Auge sieht den Heiland
auferweckt" (My eye beholds the Savior reawakened),
with a long melisma showing the reawakening. But
already after one measure the alto (Fear) imitates the
phrase on the words "Kein Auge sieht ..." (No eye
beholds ...). After singing together extendedly, the
two different viewpoints are rendered in an argument,
termed "a linear discourse as in conventional
conversation", ended by the alto trying to believe:
"Ich glaube, aber hilf mir Schwachen" (I believe, but
help my weakness).
In the following duet the voices are homophonic for
most of the time, but with little rhythmical
differences, showing their different attitude to the
darkness of the grave (des Grabes Finsternissen): the
alto expresses "ich furchte zwar" (I truly fear) on
steady long notes, whereas the tenor tells in
ornamented figuration "ich furchte nicht" (I do not
fear). In the continuation they also deviate only on
one word, "klagete" (lamented) in the alto, "hoffete"
(hoped) in the tenor. The flowing 12/8 time signature
of the duet and a virtuoso solo violin are reminiscent
of the original purpose of the music in the
congratulatory cantata. It is most fitting for the
middle section of the da capo form, when both voices
agree: "Nun ist mein Herze voller Trost" (Now my heart
is full of comfort).
The cantata is closed by the second part of the hymn
Christ ist erstanden, starting with a threefold
Alleluja. It was derived in the 12th century from the
Easter sequence Victimae paschali laudes, originally
codified by Wipo of Burgundy around 1040. The verses
underwent a substantial transformation by Martin Luther
with the help of Johann Walter and were printed by
Joseph Klug, Wittenberg, 1533. This is the only use by
Bach of Christ ist erstanden in a vocal work, but he
uses the related hymn "Christ lag in Todesbanden"
elsewhere (in the cantata of the same name and Der
Friede sei mit dir, BWV 158).
The cantata in six movements is festively scored for
alto, tenor, and bass soloists, a four-part choir,
trumpet, two oboes, two violins, viola and basso
continuo including bassoon.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Erfreut_euch,_ihr_Herzen
,_BWV_66).
I created this arrangement of the first Aria: "Lasset
dem Höchsten ein Danklied erschallen" (Let a song of
thanks ring forth to the Highest) for Bassoon & Strings
(2 Violins, Viola & Cello).
PARTITION