Bach: "Ich habe genug" (BWV 82a) / Nancy Argenta
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Johann Sebastian Bach (1685 - 1750). Cantata "Ich Habe Genug" (BWV 82): 1. Arie: Ich habe genug, Ich habe den Heiland, das Hoffen der Frommen, Auf meine begierigen Arme genommen; Ich habe genug! Ich hab ihn erblickt, Mein Glaube hat Jesum ans Herze gedrückt; Nun wünsch ich, noch heute mit Fre
uden Von hinnen zu scheiden. 1. Aria: I have enough, I have taken the Savior, the hope of the righteous, into my eager arms; I have enough! I have beheld Him, my faith has pressed Jesus to my heart; now I wish, even today with joy to depart from here. Ensemble Sonnerie. Soprano: Nancy Argenta.
Dir: Monica Huggett. Ich habe genug (I have enough) is a cantata by Johann Sebastian Bach. In Wolfgang Schmieder's catalogue of Bach's works, it is BWV 82. It was written in Leipzig for the Feast of the Purification on 2 February 1727. The Purification commemorates an incident recorded by St. Luk
e in which Mary takes the baby Jesus to the temple in Jerusalem to offer ritual sacrifices. The piece is written for oboe, strings, basso continuo and bass soloist. Other versions exist for soprano (as BWV 82a) with the oboe part replaced by flute and slightly altered. In modern practice, the bass
part is sometimes replaced by an alto and the soprano is sometimes replaced by a tenor. Several movements from this cantata can be found transcribed in the Notebook for Anna Magdalena Bach, transposed up a tenth so that they are singable by a low soprano, presumably done by Anna Magdalena Bach for
her own use.
Tags for this video: 82a Argenta Bach BWV Ensemble genug habe Huggett Ich Monica Nancy Sonnerie
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You write: "women weren't even aloud to perform in those times". However, Bach's 2nd wife, Anna Magdalena, was employed as a singer at the court of Prince Leopold of Anhalt-Coethen where Bach was employed as Kapellmeister! She was paid an annual salary of 300 Thaler, more than any other court f
unctionary except chamber councillor, court minister and Kapellmeister (who was paid 400 Thaler).
But "with joys" doesn't work in the English translation as well as "with joy". Perhaps "mit Freuden", as opposed to "mit Freude", was poetic license to rhyme with "scheiden".
BWV 82 is scored for bass, oboe, strings, continuo. BWV 82A is a variant that uses flute and tenor instead of oboe and bass. BWV 82 is sometimes sung by alto instead of bass. BWV 82A is sometimes sung by tenor instead of soprano.
Society was not constraining Bach's style. He was pursuing HIS OWN ideal of music - a concerted contrapuntal style - at the time when the "up-to-date" composer of his day denounced counterpoint and cultivated a popular type of melody. No one forced, commissionsed or hired Bach to write his Inven
tions, Sinfonias, Well-Tempered Klavier, French Suites, Canonic Variations on Von Himmel Hoch, Musical Offering, Art of Fugue or B-minor Mass.
You make it sound like Bach wrote only church music. Ever heard of the Brandenburg Concertos? What "boundaries of the context" forced Bach to write ANY fugues at all at a time when the "up-to-date" composer denounced counterpoint? Neither religious faith nor any event, job or commission prompte
d Bach to write his Inventions, Sinfonias, Well-Tempered Klavier, Canonic Variations on Vom Himmel hoch, Musical Offering or Art of the Fugue.
It sounds like she's singing "mit Freude", which would make more sense than "mit Freuden", except that it would not rhyme with "scheiden".
Faustina Bordoni, the wife of the composer Johann Hasse, was a celebrated opera singer. She and Hasse made their Dresden debut in 1731 performing her husband's opera Cleofide. It was in the churches where the biblical injunction "mulier tacit in ecclesia" ("a woman shall be silent in the church"
) was often enforced.
The era of Baroque music styles covers approximately the years from 1600 to 1750, which is the year J.S. Bach died. Hasse and his wife Faustina Bordoni, the celebrated opera singer, debuted his opera Cleofide in Dresden in 1731.
The greatest of all Baroque composers, Johann Sebastian Bach, died in 1750, which is generally considered to mark the formal end of the era of Baroque musical styles.
I corrected you by pointing out that Bach's 2nd wife was employed as a singer. Then you said that you meant women weren't allowed to sing opera. I corrected you again, citing the example of Faustina Bordoni. Now you claim "Early and mid-baroque performance in opera DID NOT allow women to perfo
rm". You're wrong again.
The biblical injunction, "mulier tacet in ecclesia" means "a woman shall be silent in church", not "a woman shall be silent in opera". Opera began in Italy around 1600 (also the start of Baroque). Almost immediately women were performing on the opera stage. In Elizabethan England women's roles
in plays were performed by men. I don't know how long this custom persisted.
"Mit Freude" would be grammatically correct for "with joy". "Freuden" is plural. "mit Freuden" is literally "with joys", but I think it may be used idiomatically to mean "willingly" or "cheerfully". "Nun wünsch ich, noch heute mit Freuden Von hinnen zu scheiden" may be translated as "Now I wis
h even today to depart cheerfully from this place."
But Bach's 2nd wife was a paid singer. Then you claimed you meant "[Bach's] true genius lies in the fact that women weren't even aloud to perform OPERA in those times..." But Bach, who lived in the Late Baroque, never wrote an opera! Never mind the fact that Faustina Bordoni was a celebrated B
aroque opera soprano. Your claims about Bach have been disproved.
I've already disproved YOUR claims about Bach, which is what began this discourse. Now it's now up to YOU to disprove my claims about "mulier tacet in ecclesia" and women in opera in Italy since the Early Baroque. FYI: Opera began in Italy, not in Shakespeare's Elizabethan England (which was La
te Renaissance, not Early Baroque), and Italy wasn't bound by English laws or customs.