Vergnügte Pleißenstadt, BWV 216
{{short description|Secular cantata by Johann Sebastian Bach}}
{{lang|de|Vergnügte Pleißenstadt}} (Contented Pleisse-town{{cite web|url=http://www.uvm.edu/~classics/faculty/bach/BWV216.html|access-date=27 January 2014|title=BWV 216 Vergnügte Pleißenstadt (Die Pleiße und Neiße)|publisher=University of Vermont}}), BWV 216.1 (formerly BWV 216),Work {{BDW|0272}} at Bach Digital website. is a secular cantata composed by Johann Sebastian Bach, which survives in an incomplete state.
History and text
Bach composed this cantata for the wedding of Johann Heinrich Wolff and Susanna Regina Hempel. Susanna was the daughter of a customs official,{{cite news | url=http://news.bbc.co.uk/1/hi/world/europe/3596027.stm | title=Lost Bach score found in Japan | date=2004 | agency=BBC | access-date=28 January 2014}} and came from Zittau; her husband came from Leipzig, where the work was first performed on 5 February 1728. The text was written by Picander, who published it in his collection Ernst-Schertzhaffte und Satyrische Gedichte.{{cite web|url=http://www.bach-cantatas.com/BWV216.htm|title=Cantata BWV 216 Vergnügte Pleißenstadt|website=Bach Cantatas Website|access-date=14 December 2012}} Picander refers to the bride and groom by the rivers of their respective cities (the "Pleißenstadt" of the title is Leipzig, the city on the river Pleiße).
There was a related work Erwählte Pleißenstadt: Apollo et Mercurius, BWV 216.2, the music of which is lost. This was written for Leipzig Town Council, and the text does not relate to Zittau.{{cite web|url=http://www.uvm.edu/~classics/faculty/bach/BWV216a.html|access-date=27 January 2014|title=BWV 216a Erwählte Pleißenstadt (Apollo et Mercurius)|website=University of Vermont}}
Scoring and structure
The surviving music consists of parts for soprano and alto voices, representing the characters of Neiße and Pleiße respectively.{{cite web|url=http://webdocs.cs.ualberta.ca/~wfb/cantatas/216.html|access-date=18 May 2013|title=BWV 216|publisher=University of Alberta}} The instrumental forces are unknown, but for two numbers Bach drew on music he had composed for earlier cantatas, which may suggest a range of instrumental colour was called for. One parody source is a duet for alto and tenor from Zerreißet, zersprenget, zertrümmert die Gruft, BWV 205, a festively scored work premiered in 1725. The parody source of movement 3 was Ich bin in mir vergnügt, BWV 204, scored for soprano soloist, flauto traverso, two oboes, two violins, viola, and basso continuo and also premiered in the 1720s.
It includes seven movements:
- Duet aria: {{lang|de|Vergnügte Pleißenstadt}}
- Duet recitative: {{lang|de|So angenehm auch mein Revier}}
- Aria (soprano): {{lang|de|Angenehme Hempelin}}
- Recitative (alto): {{lang|de|Erspare den Verdruss}}
- Aria (alto): {{lang|de|Mit Lachen und Scherzen}}
- Duet recitative: {{lang|de|Wie lieblich wird sie nun}}
- Duet aria: {{lang|de|Heil und Segen}}
Recording
- Bach Concertino Osaka, Joshua Rifkin. J.S. Bach: Hochzeitkantaten. Mainich Classics, 2005.
References
{{reflist}}
External links
- {{IMSLP2|work=Vergnügte Pleissenstadt, BWV 216 (Bach, Johann Sebastian)|cname=Vergnügte Pleißenstadt}}
{{Bach cantatas}}
{{Secular cantatas by Johann Sebastian Bach}}
{{authority control}}
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{{DEFAULTSORT:Vergnugte Pleissenstadt, BWV 216}}