Cantata "Ich Will Den Kreuzstab Gerne Tragen", BWV 56: 2. Recitativo: "Mein Wandel Auf Der Welt"
Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a … Read Full Bio ↴Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue.
Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue.
Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
Cantata "Ich Will Den Kreuzstab Gerne Tragen" BWV 56: 2. Recitativo: "Mein Wandel Auf Der Welt"
Johann Sebastian Bach Lyrics
We have lyrics for these tracks by Johann Sebastian Bach:
Air Erbarme dich, mein Gott, um meiner Zähren willen! Schaue h…
Air on a G String C21 Miscellaneous Hanging on a String I can't sleep I'm inco…
Ave Maria Ave Maria (De Bach e Gounod) Ave Maria Gratia plena Domin…
Cantata "Christ lag in Todesbanden" BWV 4: 6. Versus 5: "Hier ist das rechte Osterlamm" Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata "Du Hirte Israel höre" BWV 104: 1. Chor: Du Hirte Israel höre Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata "Du Hirte Israel höre" BWV 104: 5. Arie: Beglückte Herde Jesu Schafe Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata 147: Jesus bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Choral: Herzliebster Jesu was hast du verbrochen I and II Herzliebster Jesu, was hast du verbrochen, Daß man …
Choral: Herzliebster Jesu, was hast du verbrochen I and II Herzliebster Jesu, was hast du verbrochen, Daß man …
Herz und Mund und Tat und Leben Herz und Mund und Tat und Leben Muss von Christo Zeugnis…
Jesu bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesu Joy Of Man's Desiring Jesus, joy of man's desiring Holy wisdom, love most bright D…
Jesu meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesu, Joy of Man's Desiring Jesus, joy of man's desiring Holy wisdom, love most bright D…
Jesus bleibet meine freud Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesus bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft J…
Largo BWV 1056 Hope, can be misleading Just like the boy who falls in…
Mass in B minor BWV 232: I. Kyrie: Kyrie eleison Kyrie Eleison Kyrie Eleison Kyrie Eleison Kyrie Eleison Kyri…
主よ、人の望みの喜びよ (教会カンタータより) イエスこそ私たちが望む喜びの根源 聖なる知恵、もっとも輝かしい愛 あなたに引き寄せられた私たちの魂は 始原の光へ導かれる…
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@de31.8
English Translation
1. Arie
Ich will den Kreuzstab gerne tragen,
er kömmt von Gottes lieber Hand,
der führet mich nach meinen Plagen
zu Gott, in das gelobte Land.
Da leg ich den Kummer
auf einmal ins Grab,
da wischt mir die Tränen
mein Heiland selbst ab.
1. Aria
Gladly shall I bear the cross;
it comes from God’s beloved hand,
and leads me, after my torments,
to God, into the promised land.
Then into my grave
shall I place all my grief,
that shall my Saviour
wipe the tears from my eyes.
2. Rezitativ
Mein Wandel auf der Welt
ist einer Schiffahrt gleich:
betrübnis, Kreuz und Not
sind Wellen, welche mich bedecken
und auf den Tod
mich täglich schrecken;
mein Anker aber, der mich hält,
ist die Barmherzigkeit,
womit mein Gott mich oft erfreut.
Der rufet so zu mir:
ich bin bei dir,
ich will dich nicht verlassen
noch versäumen!
Und wenn das wütenvolle Schäumen
sein Ende hat,
so tret ich aus dem Schiff in meine Stadt,
die ist das Himmelreich,
wohin ich mit den Frommen
aus vielem Trübsal werde kommen.
2. Recitative
My life on earth
is like a voyage at sea:
sorrow, affliction and distress
engulf me like waves
and daily frighten me
to death;
my anchor, though, which sustains me,
is God’s mercy,
with which He often gladdens my heart.
He calls out to me:
I am with you,
I shall never leave you
nor forsake you!
And when at length the raging
foam is calmed,
I shall step from my ship into my own city,
which is the kingdom of Heaven,
where I with all the righteous
shall enter out of so great tribulation.
3. Arie
Endlich, endlich wird mein Joch
wieder von mir weichen müssen.
Da krieg ich in dem Herren Kraft,
da hab ich Adlers Eigenschaft,
da fahr ich auf von dieser Erden
und laufe sonder matt zu werden.
O gescheh es heute noch!
3. Aria
At last, at last my yoke?shall
fall from me again.
Then shall I find strength in the Lord,
then shall I, like an eagle,
rise up from this earth without
ever growing weary.
O may it come to pass today!
4. Rezitativ
Ich stehe fertig und bereit,
das Erbe meiner Seligkeit
mit Sehnen und Verlangen
von Jesus Händen zu empfangen.
Wie wohl wird mir geschehn,
wenn ich den Port der Ruhe werde sehn.
Da leg ich den Kummer
auf einmal ins Grab,
da wischt mir die Tränen
mein Heiland selbst ab.
4. Recitative
I stand here ready and prepared,
to receive my heritage of bliss
with yearning and desire
from the hands of Jesus.
How happy I shall be,
when I behold the harbour of rest.
Then into my grave
shall I place all my grief,
than shall my Saviour wipe the tears
from my eyes.
5. Choral
Komm, o Tod, du Schlafes Bruder,
komm und führe mich nur fort;
löse meines Schiffleins Ruder,
bringe mich an sichern Port!
Es mag, wer da will, dich scheuen,
du kannst mich vielmehr erfreuen;
denn durch dich komm ich herein
zu dem schönsten Jesulein.
5. Chorale
Come, O death, brother of sleep,
come now and lead me away;
loosen now my small bark’s rudder,
bring me safely into port.
Let them who wish
to, shun you;
you can all the more delight me.
For it is through you that I shall enter,
to be with my sweetest Jesus.
(Accessed from https://www.bachvereniging.nl/en/bwv/bwv-56/)
@bach
0:07 Ich will den Kreuzstab gerne tragen (Aria)
7:39 Mein Wandel auf der Welt (Rezitativ)
9:22 Endlich (Aria)
16:20 Ich stehe fertig un bereit (Rezitativ)
17:52 Komm, o Tod (Choral)
@mirabellemiller318
Thanks a lot!
@dominiquedomlaco7129
What a wonderful cantata, one of my favorite..to my mind, the final choir is one of the most beautiful that Bach composed.
@gervaisfrykman266
I am won over by this bass, as I am by all the other singers in this glorious series. To hear an alto who doesn't wobble and whose timbre is implicitly pleasurable! (I was born in the 50s, so this has happened in my lifetime). This lovely man encapsulates all the virtues. He never forces the tone, so he is sharing with us, not dominating. This also means he is agile enough so sing all the notes accurately. No mean virtue in a singer! He is plainly aware of what he is singing, but presents it without ego. I don't know what that bottom note was, but it was wonderful. All credit to everyone. I have waited a long time for this.
@nextlifeonearth
With "wobble" do you mean vibrato? I could agree with that.
As a bit of ornamentation on some notes it can be nice, but at the point you turn down the volume and the last you hear is the vibrato all over the piece, I really dislike it.
@Lardenoy
J'avais 23 ans en 1980, lorsque j'ai découvert cette cantate, l'une de mes préférées de Bach ! A 63 ans je l'écoute à la fin de cette affreuse année 2020 (COVID 19 et récents attentats en France et en Autriche )...La sérénité, la paix et l'Esperance chrétienne qui nous "tombent dessus" par la grâce de Jean Sébastien, ange du Seigneur...
@TomTom-xp2jb
Hallelujah!!! Yes, it's been a terrible year but we can still enjoy this beautiful music and rejoice. 💖🙏✌️
@houinbruno7224
C EST UNE HORREUR avec des crétins assassins de baroqueux une monstruosité ECOUTEZ LA MEME CANTATE PAR KARL RICHTER ET SON ENSEMMBLE MUSICALE DE MUNICH
@robertlayzer7832
I’m so grateful that this music is so available to me.
@redbrian3655
What a lovely, smooth and velvety voice Matthias Winckhler has! What a pleasure to be wooed by such a voice.