巴赫的第一百四十号康塔塔，全名为《醒来吧，一个声音在高喊》，一般称作《醒来吧》。这首康塔塔系为三一节后第二十七个星期天而创作，这一天的福音书（《马太福音》第二十五章 1-13 节）讲述了 10 个少女拿着灯半夜去迎接新郎的故事。这 10 个少女中， 5 个聪明的准备了灯油，另 5 个愚笨的没有准备；新郎来了，没准备的 5 人去买油灯，回来时天国的大门已经关上了。巴赫为这一天的布道，选择菲力普·尼克莱 (1556-1608) 所作的赞美诗《醒来吧，一个声音在高喊》作为他创作的基础。
Wachet auf, ruft uns die Stimme, BWV 140, also known as Sleepers, Wake, is a cantata written in 1731 by Johann Sebastian Bach.[1] It is scored for horn, 2 oboes, taille (an instrument similar to the oboe da caccia, today often substituted with an English horn), violino piccolo, violin, viola, basso continuo, and choir with soprano, tenor, and bass soloists. BWV 140 is based on the chorale of the same name by Philipp Nicolai. This Lutheran hymn remains popular today both in its original German and in a variety of English translations. The text on which it is based is the parable of the ten virgins in Matthew 25:1–13, a reading that was scheduled in the Lutheran lectionary of the time for the 27th Sunday after Trinity.[2] Because this Sunday only occurred in the church year when Easter was very early, the cantata was rarely performed.[3] The infrequency of the occasion for which it was composed makes it one of the few cantatas whose date of composition is definitively known. In the modern three-year Revised Common Lectionary, however, the reading is scheduled for Proper 27, or the 32nd Sunday in Ordinary Time, in the first year of the three-year cycle of lessons.[4] Thus, the hymn or the cantata are commonly performed in churches on that Sunday. The text and its eschatological themes are also commonly associated with the early Sundays of the season of Advent, and so the cantata is also commonly performed during that season. Movements
StructureBWV 140 is a chorale cantata; its primary melody and text are drawn from a Lutheran chorale, Wachet auf, ruft uns die Stimme. The first movement is a chorale fantasia based on the first verse of the chorale, which is a common feature of Bach's cantatas.[5] The second movement is a recitative for tenor that precedes the third movement, a duet for soprano and bass with obbligato violin. In the duet, the soprano represents the soul and the bass represents Jesus. The fourth movement, based on the second verse of the chorale, is written in a trio sonata-like texture for the tenors of the chorus, oboe da caccia, and continuo. Bach later transcribed this movement for organ (BWV 645), and it was subsequently published along with five other transcriptions Bach made of his cantata movements as the Schübler Chorales. The fifth movement is a recitative for bass, preceding the sixth movement, which is another duet for soprano and bass with obbligato oboe. This duet, like the third movement, is a love duet between the soprano soul and the bass Jesus.[6] The final movement, as with many of Bach's cantatas, is based on the final verse of the chorale and is a four-part harmonization of the chorale melody. |
