:Ich freue mich in dir, BWV 133

Bach wrote the chorale cantata in his second year as {{langr|de|Thomaskantor}} in Leipzig, as part of his second cantata cycle, the chorale cantata cycle, for the Third Day of Christmas.{{sfn|Bach Digital|2024}}{{sfn|Dürr|Jones|2006||p=126}}{{sfn|Rimek|2012}} The prescribed readings for the feast day were from the Epistle to the Hebrews, Christ is higher than the angels, ({{Sourcetext|source=Bible|version=King James|book=Hebrews|chapter=1|verse=1|range=–14}}) and the prologue of the Gospel of John, also called Hymn to the Word ({{Sourcetext|source=Bible|version=King James|book=John|chapter=1|verse=1|range=–14}}).{{sfn|Bach Digital|2024}} The cantata is based on the chorale in four stanzas {{lang|de|Ich freue mich in dir}} (1697) by Caspar Ziegler.{{sfn|Bach Digital|2024}}{{sfn|Rimek|2012}}{{sfn|Chorale text|2024}} It is one of the newest of the chorales which served as a base for the cycle, whereas Bach otherwise preferred the beloved hymns of poets such as Martin Luther and Paul Gerhardt.{{sfn|Wolff|2000}} In the format of the cycle, the unknown poet of the cantata text retained the first and the last stanzas for choral movements, and paraphrased the inner stanzas closely to a sequence of arias and recitative. Two movements were formed from the ideas of the second stanza, and the following two movements were derived from the third stanza. The librettist retained several lines as part of the recitatives, and Bach highlighted them by arioso treatment. The text has no reference to the readings nor to the feast of John the Evangelist. It expresses the intimate joy of the individual believer about the presence of God in the Jesus child.{{sfn|Dürr|Jones|2006|p=126}}

Bach led the Thomanerchor in the first performance of the cantata on 27 December 1724.{{sfn|Bach Digital|2024}}{{sfn|Dürr|Jones|2006}} Bach's {{langr|de|Thomaskantor}} successor Gottlob Harrer performed the cantata after Bach's death.{{sfn|Wolff|2000}}

Bach structured {{lang|de|Ich freue mich in dir}} in six movements. Both the text and the tune of the hymn are retained in the outer movements, a chorale fantasia and a four-part closing chorale. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of a cornett (Ct) to double the chorale melody, two oboes d'amore (Oa), two violin parts (Vl), one viola part (Va), and basso continuo.{{sfn|Bach Digital|2024}}{{sfn|Dürr|Jones|2006|pp=124―126}}{{sfn|Rimek|2012}} The duration of the cantata is given as 20 minutes.{{sfn|Dürr|Jones|2006}}

In the following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr's standard work {{lang|de|Die Kantaten von Johann Sebastian Bach}}.{{sfn|Dürr|Jones|2006|p=124–126}} The continuo, which plays throughout, is not shown.

{{Classical movement header | show_text_source = no | work = Ich freue mich in dir | instruments1 = Winds | instruments2 = Strings }}

{{Classical movement row

| id = m1

| number = 1

| title = {{langr|de|Jesu, nun sei gepreiset}}

| type = Chorus

| vocal = SATB

| instruments1 = Ct 2Oa

| instruments2 = 2Vl Va

| key = {{nowrap|D major}}

| time = {{music|common-time}}

}}

{{Classical movement row

| id = m2

| number = 2

| title = {{langr|de|Getrost! es faßt ein heil'ger Leib}}

| type = Aria

| vocal = A

| instruments1 = 2Oa

| instruments2 =

| key = {{nowrap|A major}}

| time = {{music|alla-breve}}

}}

{{Classical movement row

| id = m3

| number = 3

| title = {{langr|de|Ein Adam mag sich voller Schrecken}}

| type = Recitative

| vocal = T

| instruments1 =

| instruments2 =

| key =

| time = {{music|common-time}}

}}

{{Classical movement row

| id = m4

| number = 4

| title = {{langr|de|Wie lieblich klingt es in den Ohren}}

| type = Aria

| vocal = S

| instruments1 =

| instruments2 = 2Vl Va

| key = B minor

| time = {{music|common-time}} {{music|time|12|8}} {{music|common-time}}

}}

{{Classical movement row

| id = m5

| number = 5

| title = {{langr|de|Wohlan, des Todes Furcht und Schmerz}}

| type = Recitative

| vocal = B

| instruments1 =

| instruments2 =

| key =

| time = {{music|common-time}}

}}

{{Classical movement row

| id = m6

| number = 6

| title = {{langr|de|Wohlan, so will ich mich}}

| type = Chorale

| vocal = SATB

| instruments1 = Ct 2Oa

| instruments2 = 2Vl Va

| key = D major

| time = {{music|common-time}}

}}{{End}}

The chorale is sung on a variant of a melody of {{lang|de|O Gott, du frommer Gott}}.{{sfn|Chorale melody|2005}} This melody was probably new to Bach who noted it in the score of the Sanctus, which he also composed for Christmas in 1724 and later made part of his Mass in B minor.{{sfn|Dürr|Jones|2006|p=126}}{{sfn|Rimek|2012}} The song became part of the Leipzig hymnal only after 1730.{{sfn|Rimek|2012}}

While Bach's Weimar cantata {{lang|de|Christen, ätzet diesen Tag, BWV 63 |italic=unset}}, expressed a communal joy in two choral movements and two duets, a sequence of four movements for a single voice reflects the joy of the individual believer.

In the opening chorale fantasia, "{{langr|de|Ich freue mich in dir und heiße dich willkommen}}" (I rejoice in you and bid you welcome),{{sfn|Dellal|2024}} the cornetto plays the cantus firmus with the soprano, the oboes play in unison with violin II and viola, whereas violin 1 "shines above the rest". The orchestra carries the expression of joyful excitement.{{sfn|Dürr|Jones|2006|p=126}} The lower voices are set mostly in homophony, with the exception of expressing "{{langr|de|Der große Gottessohn}}" (the great son of God).{{sfn|Dellal|2024}} The voices thus have little work, which can be explained by this cantata being the third new cantata performed on three consecutive days.{{sfn|Dürr|Jones|2006|p=126}}

John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, summarised: "I find it hard to imagine music that conveys more persuasively the essence, the exuberance and the sheer exhilaration of Christmas than the opening chorus of BWV 133".{{sfn|Gardiner|2006}}

The alto aria, "{{langr|de|Getrost! es faßt ein heil'ger Leib des Höchsten unbegreiflichs Wesen.}}" (Be comforted! A holy body contains the unfathomable being of the Highest),{{sfn|Dellal|2024}} is accompanied by the two oboes d'amore. Motifs of runs as in the opening still occur in the aria, but it is dominated by a repeated call of the oboes,{{sfn|Dürr|Jones|2006|p=128}} in "rhythmically accented ascending interval leaps",{{sfn|Rimek|2012}} that the voice sings to the word "Getrost".{{sfn|Dürr|Jones|2006|p=128}}

The tenor recitative, "{{langr|de|Ein Adam mag sich voller Schrecken vor Gottes Angesicht im Paradies verstecken}}" (An Adam might well, filled with terror, from God's countenance hide himself in paradise),{{sfn|Dellal|2024}} is marked {{lang|it|adagio}} twice for text quoted from the original chorale, once to stress "{{langr|de|Der allerhöchste Gotte kehrt selber bei uns ein}}" (Almighty God Himself here visits us),{{sfn|Dellal|2024}} and the conclusion, "{{langr|de|Wird er ein kleines Kind und heißt mein Jesulein}}" (He has become a little child and is called my little Jesus).{{sfn|Dellal|2024}} In these highlighted passages, the music is close to the chorale tune but not an exact quote.{{sfn|Dürr|Jones|2006|p=128}}

The soprano aria, "{{langr|de|Wie lieblich klingt es in den Ohren, dies Wort: mein Jesus ist geboren}}" (How beautifully it rings in my ears, this word: my Jesus is born),{{sfn|Dellal|2024}} is accompanied by the strings. It begins and ends in an even time in the outer sections; the first violin alone begins with a run.{{sfn|Rimek|2012}} In the middle section the time shifts to a siciliano,{{sfn|Wolff|2000}} the tempo to adagio, and it is unusually played without continuo, just a trio of the soprano, the first violin and the lower strings in unison.{{sfn|Dürr|Jones|2006|p=128}}{{sfn|Rimek|2012}} It illustrates the beautiful sounds of which the text speaks,{{sfn|Dürr|Jones|2006|p=128}} and also, by lack of a bass, the denial of Jesus from the inn.{{sfn|Rimek|2012}}

The bass recitative, "{{langr|de|Wohlan, des Todes Furcht und Schmerz erwägt nicht mein getröstet Herz.}}" (Indeed, my encouraged heart

will not dwell upon the fear and pain of death),{{sfn|Dellal|2024}} expresses no more fear of death. Formally it is similar to the first recitative, quoting from the chorale in the end, highlighted musically as arioso with a melody similar but not identical to the chorale tune.{{sfn|Dürr|Jones|2006|p=128}}

The cantata is closed by a four-part setting of the last chorale stanza, "{{langr|de|Wohlan, so will ich mich an dich, o Jesu, halten}}" (Indeed, thus I will cling to you, O Jesus).{{sfn|Dellal|2024}}{{sfn|Dahn|2024}}

\header { tagline = ##f }

\layout { indent = 0 \context { \Score \remove "Bar_number_engraver" } }

global = { \key d \major \time 4/4 \partial 4 }

soprano = \new Voice = "sopvoice" \relative c' {

\global \voiceOne \set Staff.midiPanPosition = -0.5 \set midiInstrument = "violin"

\repeat volta 2 { fis8 (g) | a4 b a g8 (fis) | fis2\fermata r4

a | b cis d d8 (cis) | cis2 b4 }

e8 (d) | cis4 d8 (cis) b4. a8 | a2.\fermata

a4 | b cis d4. e8 | cis2.\fermata

a4 | a b a g8 (fis) | fis2.\fermata

a4 | b8 (cis) d4 d cis | d2.\fermata \bar "|."

}

alto = \new Voice \relative c' {

\global \voiceTwo \set Staff.midiPanPosition = 0.5 \set midiInstrument = "violin"

\repeat volta 2 { d8 (cis) | d4 d d8 (cis16 b) cis4 | d2 r4

fis | gis ais b fis | fis4. (e8) d4 }

e4 | e fis fis8 (d) e4 | e2.

e4 | e8 (fis) gis4 a e | e2.

e4 | fis g!8 (fis) e4 e | d2.

d4 | d e e8 (fis) g4 | fis2. \bar "|."

}

tenor = \new Voice \relative c' {

\global \voiceThree \clef bass \set Staff.midiPanPosition = -1 \set midiInstrument = "cello"

\repeat volta 2 { a4 | a g fis8 e a4 | a2 r4

a, | e' e fis b | b (ais) b }

b | a a a gis | cis2.

cis4 | b e d8 cis b4 | a2.

cis4 | d g, a8 b cis4 | b2.

a4 | g8 a b4 a a | a2. \bar "|."

}

bass = \new Voice \relative c {

\global \voiceFour \set Staff.midiPanPosition = 1 \set midiInstrument = "cello"

\repeat volta 2 { d8 e | fis4 g a a, | d2 r4

d | d cis b8 [cis] d e | fis2 b,4 }

gis' | a8 [gis] fis e d b e4 | a,2.

a'4 | gis e fis gis | a2.

g!4 | fis e8 d cis4 a | b2.

fis'4 | g gis a a, | d2. \bar "|."

}

verse = \new Lyrics = "firstVerse" \lyricsto "sopvoice" {

<< { Wohl -- an, so will ich mich

an dich, o Je -- su, hal -- ten, }

\new Lyrics = "secondverse" \with { alignBelowContext = "firstverse" } { \set associatedVoice = "sopvoice"

und soll -- te gleich die Welt

in tau -- send Stü -- cken spal -- ten. }

>>

O Je -- su, dir, nur dir,

dir leb ich ganz al -- lein;

auf dich, al -- lein auf dich,

mein Je -- su, schlaf ich ein.

}

\score {

\new ChoirStaff <<

\new Staff \with { \consists "Merge_rests_engraver" }

<<

{ \soprano }

{ \alto }

\context Lyrics = "sopvoice" { \lyricsto "sopvoice" { \verse } }

>>

\new Staff \with { \consists "Merge_rests_engraver" }

<<

\new Voice { \voiceOne \tenor }

\new Voice { \voiceTwo \bass }

>>

>>

\layout { }

}

\score { \midi { \tempo 4=80

\context { \Score midiChannelMapping = #'instrument }

\context { \Staff \remove "Staff_performer" }

\context { \Voice \consists "Staff_performer" } }

\unfoldRepeats { << \soprano \\ \alto \\ \tenor \\ \bass >> }

}

Bach's autograph score of the cantata and the original parts, which he revised himself, are extant.{{sfn|Rimek|2012}} The score and a set of duplicate parts were inherited by his son Wilhelm Friedemann Bach.{{sfn|Rimek|2012}} In 1827, the score was sold at auction in Berlin with several other Bach cantata autographs and manuscripts to Carl Pistor. Pistor invited Mendelssohn to catalog the auction materials, which became the original autographs in the vast Rudorff collection; in return Pistor gifted the autograph of BWV 133 to Mendelssohn.{{sfn|Reich|1974}} It went finally to the Royal Library in Berlin.{{sfn|Rimek|2012}} The original parts were inherited by Bach's widow Anna Magdalena Bach who quickly sold them to the Thomasschule.{{sfn|Rimek|2012}}

The cantata was first published in 1881 in the first complete edition of Bach's work, the Bach-Gesellschaft Ausgabe. The volume in question was edited by Wilhelm Rust.{{sfn|Bach Digital|2024}}{{sfn|Rimek|2012}} In the Neue Bach-Ausgabe it was published in 2000, edited by Andreas Glöckner.{{sfn|Bach Digital|2024}}{{sfn|Rimek|2012}}

A list of recordings is provided on the Bach Cantatas Website.{{sfn|Oron|2024}} Instrumental groups playing period instruments in historically informed performances are marked by green background.

{{Cantata discography header | work=Ich freue mich in dir | instruments={{abbr|Instr.|Type of instruments}} }}

{{Cantata discography row

| id = Gielen

| title = J. S. Bach: Cantatas BWV 122 & BWV 133

| conductor = {{sortname|Michael|Gielen}}

| choir = Wiener Kammerchor

| orchestra = Vienna State Opera Orchestra

| soloists = {{plainlist|

• Margit Opawsky
• Hilde Rössel-Majdan
• Waldemar Kmentt
• Harald Hermann

}}

| label = Vanguard Bach Guild

| year = {{Start date|1952}}

| orchestra_type =

}}

{{Cantata discography row

| id = Rilling

| title = Die Bach Kantate Vol. 64

| conductor = {{sortname|Helmuth|Rilling}}

| choir = Gächinger Kantorei

| orchestra = Bach-Collegium Stuttgart

| soloists = {{plainlist|

• Arleen Augér
• Doris Soffel
• Aldo Baldin
• Philippe Huttenlocher

}}

| label = Hänssler

| year = {{Start date|1980}}

| orchestra_type =

}}

{{Cantata discography row

| id = Leonhardt

| title = J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 7

| conductor = {{sortname|Gustav|Leonhardt}}

| choir = Knabenchor Hannover

| orchestra = Concentus Musicus Wien

| soloists = {{plainlist|

• Soloist of the Knabenchor Hannover
• René Jacobs
• Marius van Altena
• Max van Egmond

}}

| label = Teldec

| year = {{Start date|1973}}

| orchestra_type = Period

}}

{{Cantata discography row

| id = Leusink

| title = Bach Edition Vol. 4 – Cantatas Vol. 1

| conductor = {{sortname|Pieter Jan|Leusink}}

| choir = Holland Boys Choir

| orchestra = {{nowrap|Netherlands Bach Collegium}}

| soloists = {{plainlist|

• Ruth Holton
• Sytse Buwalda
• Knut Schoch
• Bas Ramselaar

}}

| label = Brilliant Classics

| year = {{Start date|1999}}

| orchestra_type = Period

}}

{{Cantata discography row

| id = Koopman

| title = J. S. Bach: Complete Cantatas Vol. 13

| conductor = {{sortname|Ton|Koopman}}

| orchestra = Amsterdam Baroque Orchestra & Choir

| soloists = {{plainlist|

• Deborah York
• Franziska Gottwald
• Paul Agnew
• Klaus Mertens

}}

| label = Antoine Marchand

| year = {{Start date|2000}}

| orchestra_type = Period

}}

{{Cantata discography row

| id = Gardiner

| title = Bach Cantatas Vol. 15: New York / For the 3rd Day of Christmas

| conductor = {{sortname|John Eliot|Gardiner}}

| choir = Monteverdi Choir

| orchestra = English Baroque Soloists

| soloists = {{plainlist|

• Katharine Fuge
• Robin Tyson
• James Gilchrist
• Peter Harvey

}}

| label = Soli Deo Gloria

| year = {{Start date|2000}}

| orchestra_type = Period

}}

{{Cantata discography row

| id = Herreweghe

| title = J. S. Bach: Christmas Cantatas from Leipzig

| conductor = {{sortname|Philippe|Herreweghe}}

| choir = Collegium Vocale Gent

| orchestra =

| soloists = {{plainlist|

• Dorothee Mields
• Ingeborg Danz
• Mark Padmore
• Peter Kooy

}}

| label = Harmonia Mundi

| year = {{Start date|2001}}

| orchestra_type = Period

}}

{{Cantata discography row

| id = Suzuki

| title = J. S. Bach: Cantatas Vol. 31

| conductor = {{sortname|Masaaki|Suzuki}}

| orchestra = Bach Collegium Japan

| soloists = {{plainlist|

• Yukari Nonoshita
• Robin Blaze
• Gerd Türk
• Peter Kooy

}}

| label = BIS

| year = {{Start date|2004}}

| orchestra_type = Period

}}

{{end}}

{{notelist }}

{{reflist | 20em }}

• {{cite web

| url = http://www.bach-digital.de/receive/BachDigitalWork_work_00000163?lang=en

| title = Ich freue mich in dir, BWV 133; BC A 16

| website = Bach Digital

| date = 2024

| access-date = 26 December 2024

| ref = {{sfnref|Bach Digital|2024}}

}}

• {{cite web

| last = Dahn

| first = Luke

| url = http://www.bach-chorales.com/BWV00133_6.htm

| title = BWV 133.6

| website = bach-chorales.com

| date = 2024

| access-date = 26 December 2024

}}

• {{cite web

| last = Dellal

| first = Pamela

| author-link = Pamela Dellal

| url = https://www.emmanuelmusic.org/bach-translations/bwv-133

| title = BWV 133 – Ich freue mich in dir

| website = Emmanuel Music

| date = 2024

| access-date = 26 December 2024

}}

• {{cite book

| last1 = Dürr

| first1 = Alfred

| author1-link = Alfred Dürr

| last2 = Jones

| first2 = Richard D. P.

| author2-link = Richard D. P. Jones

| chapter-url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA124

| chapter = Ich freue mich in dir, BWV 133

| title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text

| location = Oxford

| publisher = Oxford University Press

| date = 2006

| pages = 124–127

| isbn = 978-0-19-969628-4

}}

• {{Cite AV media notes

| last = Gardiner

| first = John Eliot

| author-link = John Eliot Gardiner

| url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG127

| title = Johann Sebastian Bach (1685-1750) / Cantatas Nos 57, 64, 133 & 151

| publisher = Soli Deo Gloria (at Hyperion Records website)

| date = 2006

| access-date = 31 December 2018

}}

• {{cite web

| last = Oron

| first = Aryeh

| url = http://www.bach-cantatas.com/BWV133.htm

| title = Cantata BWV 133 Ich freue mich in dir

| website = Bach Cantatas website

| date = 2024

| access-date = 15 December 2024

}}

• {{cite journal

| last = Reich

| first = Nancy B.

| author-link = Nancy B. Reich

| date = December 1974

| title = The Rudorff Collection

| journal = Notes

| volume = 31

| issue = 2

| pages = 247–261

| doi = 10.2307/897122

| jstor = 897122

}}

• {{cite book

| last = Rimek

| first = Tobias

| translator-last = Kosviner

| translator-first = David

| url = https://www.carusmedia.com/images-intern/medien//30/3113300/3113300x.pdf

| title = Johann Sebastian Bach / Ich freue mich in dir / My joy is all in thee / BWV 133

| publisher = Carus-Verlag

| location = Stuttgart

| date = January 2012

| pages = 1, 4

| isbn =

}}

• {{cite web

| last = Wolff

| first = Christoph

| author-link = Christoph Wolff

| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C13c%5BAM-3CD%5D.pdf

| title = Chorale Cantatas from the cycle of the Leipzig church cantatas, 1724–25 (III)

| website = Bach Cantatas website

| page = 8

| date = 2000

| access-date = 15 December 2011

}}

• {{cite web

| url = https://www.bach-cantatas.com/Texts/Chorale004-Eng3.htm

| title = "Ich freue mich in dir" / Text and Translation of Chorale

| website = Bach Cantatas website

| date = 2003

| access-date = 26 December 2024

| ref = {{sfnref|Chorale text|2024}}

}}

• {{cite web

| url = http://www.bach-cantatas.com/CM/O-Gott-du-frommer-Gott.htm

| title = Chorale Melodies used in Bach's Vocal Works / O Gott, du frommer Gott

| website = Bach Cantatas website

| date = 2003

| access-date = 15 December 2011

| ref = {{sfnref|Chorale melody|2005}}

}}

• {{IMSLP|work=Ich freue mich in dir, BWV 133 (Bach, Johann Sebastian)|cname=Ich freue mich in dir, BWV 133}}
• [http://www.uvm.edu/~classics/faculty/bach/BWV133.html "BWV 133 Ich freue mich in dir"], English translation, University of Vermont
• [http://webdocs.cs.ualberta.ca/~wfb/cantatas/133.html "BWV 133 Ich freue mich in dir], text, scoring, University of Alberta
• {{cite web

| last = Mincham

| first = Julian

| url = https://www.jsbachcantatas.com/documents/chapter-30-bwv-133

| title = Chapter 30 BWV 133 Ich freue mich in dir / I find my delight in thee

| publisher = jsbachcantatas.com

| date = 2010

| access-date = 1 September 2022

}}

{{Church cantatas by Johann Sebastian Bach}}

{{Bach cantatas}}

{{Authority control}}

Category:Church cantatas by Johann Sebastian Bach

Category:1724 compositions

Category:Christmas cantatas

Category:Chorale cantatas