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{{Short description|Church cantata by Johann Sebastian Bach}}
{{DISPLAYTITLE:''Ich habe genug'', BWV 82}}
{{Infobox Bach composition {{Infobox Bach composition
| image = Aert de Gelder - Het loflied van Simeon.jpg | name = {{lang|de|Ich habe genug}}
| bwv = {{hlist|82|82a}}
| caption = ''Simeon's ]'', is the subject of the cantata, shown here in a painting by ], c. 1700–1710
| title = {{lang|de|Ich habe genug}} | type = ]
| original = ''{{lang|de|Ich habe genung}}'' | composer = ]
| bwv = {{Flatlist| | image = Aert de Gelder - Het loflied van Simeon.jpg
| image_upright = 1.2
* 82
| caption = Simeon, painted by ], c. 1700
* 82a
| translation = I have enough
| native_name = Ich habe genung
| native_name_lang = de
| occasion = ]
| performed = {{Timeline-event|date={{Start date|1727|02|02|df=y}}|location=]}}
| movements = 5
| vocal = Solo bass (82a: soprano)
| instrumental = {{hlist | Oboe (82a: flute) | 2 violins | viola | ]}}
}} }}
'''{{lang|de|Ich habe genug}}''' (original: '''{{lang|de|Ich habe genung}}''', English: "I have enough" or "I am content"), '''{{nowrap|BWV 82}}''',{{efn|"BWV" is ], a thematic catalogue of Bach's works.}} is a ] by ].{{sfn|Dürr|Jones|2006|p=661}}<ref>{{citation|first=Gilles|last=Cantagrel|title=Les Canatates de J.-S. Bach|language=fr|publisher=]|year=2010|isbn=9782213644349|author-link=Gilles Cantagrel}}</ref><ref>{{citation|first=William Gillies|last= Whittaker|title=The Cantatas of Johann Sebastian Bach: sacred and secular, Volume I|publisher=Oxford University Press|year= 1978|author-link=William G. Whittaker|isbn=019315238X| pages = 378–384}}</ref> He composed the ] for ] in Leipzig in 1727 for the Feast {{lang|de|Mariae Reinigung}} (]) and first performed it on 2 February 1727. In a version for ], '''{{nowrap|BWV 82a}}''', possibly first performed in 1731, the part of the ] oboe is replaced by a ]. Part of the music appears in the '']''. The cantata is one of the most recorded and performed of Bach's sacred cantatas. The opening aria and so-called "slumber aria" are regarded as some of the most inspired creations of Bach.
| type = {{plainlist|
* ] ]
* ]
}}
| occasion = ]
| performed = {{Plainlist|
* {{Timeline-event|date={{Start date|1727|2|2|df=y}}|location=]}}
* {{Timeline-event|date={{Start date|1731|2|2|df=y}}?|location=Leipzig}}
* {{Timeline-event|date={{Start date|1735|2|2|df=y}}|location=Leipzig}}
* {{Timeline-event|date={{Start date|1746|2|2|df=y}}?|location=Leipzig}}
}}
| movements = 5
| text_poet = anonymous
| scoring = :
| solo_voices = {{abbr|B|bass}} (82a: {{abbr|S|soprano}})
| instruments = {{abbr|Ob|oboe}} (82a: {{abbr|Ft|flauto traverso}}, 1740s: {{abbr|Oc|oboe da caccia}}) 2{{abbr|Vl|violino}} {{abbr|Va|viola}} {{abbr|Bc|basso continuo}}
| obbligato = {{abbr|Ob|oboe}} or {{abbr|Ft|flauto traverso}} or {{abbr|Oc|oboe da caccia}} (1, 5)
}}
{{DISPLAYTITLE:''Ich habe genug'', BWV 82}}
'''''{{lang|de|Ich habe genug}}''''' (original: '''''{{lang|de|Ich habe genung}}''''', English: "I have enough" or "I am content"), ] 82, is a ] by ]. He composed the ] for ] in ] in 1727 for the Feast ''{{lang|de|Mariae Reinigung}}'' (]) and first performed it on 2 February 1727. In a version for ], '''BWV 82a''', possibly first performed in 1731, the part of the ] ] is replaced by a ]. Part of the music appears in the ]. The work is often performed and the most frequently recorded of all the Bach cantatas.


== History and words == == History and words ==


Bach wrote the cantata in his fourth year in Leipzig for the feast ]. The prescribed readings for the feast day were taken from the ], "the Lord will come to his temple" ({{Sourcetext|source=Bible|version=King James|book=Malachi|chapter=3|verse=1|range=–4}}), and from the ], the purification of Mary and the ], including ]'s ] ''Nunc dimittis'' ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=2|verse=22|range=–32}}), on which the libretto is based. In previous years Bach had composed two cantatas concentrating on Simeon's canticle, {{lang|de|]}} in 1724 and the ] on ]'s paraphrase of the canticle, {{lang|de|]}}, in 1725. More than in these earlier works, an anonymous poet stresses the desire to escape earthly misery and be united with Jesus.<ref name="dürr" /> Bach composed the cantata in his fourth year in Leipzig for the feast ]. The prescribed readings for the feast day were taken from the ], "the Lord will come to his temple" ({{Sourcetext|source=Bible|version=King James|book=Malachi|chapter=3|verse=1|range=–4}}), and from the ], the purification of Mary and the ], including ]'s ] ] ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=2|verse=22|range=–32}}), on which the libretto is based. In previous years Bach had composed two cantatas concentrating on Simeon's canticle, {{lang|de|]|italic=unset}}, in 1724 and the ] on ]'s ], {{lang|de|]|italic=unset}}, in 1725. More than in these earlier works, the text of ''Ich habe genug'' stresses the desire to escape earthly misery and be united with Jesus.<ref name="Dürr" /> Until recently the poet's identity was not known, but recent research suggests that he was ], a student at the University of Leipzig in the 1720s.


Bach first performed the cantata on 2 February 1727. The extant autograph score and the parts show that he performed it at least three more times, in a version for ], BWV 82a, the first possibly in 1731 or even as early as 1730, another version for soprano in 1735; and again for bass, with minor changes to the original version, after 1745. Bach obviously had a high regard for work.<ref name="wolff" /> The first ] and most of the ] ''{{lang|de|Schlummert ein}}'' were copied to the ]<ref name="wolff" /> in a version with continuo accompaniment, presumably entered by ] for her own use. Other cantatas that Bach performed for the occasion are, according to ], {{lang|de|]}}, {{lang|de|]}}, and {{lang|de|]}}, with similar topics.<ref name="mincham" /> Bach first performed the cantata on 2 February 1727. The extant autograph score and the parts show that he performed it at least three more times, in a version for ], BWV 82a, the first possibly in 1731 or even as early as 1730, another version for soprano in 1735; and again for bass, with minor changes to the original version, after 1745. Bach obviously had a high regard for this work.<ref name="Wolff" /> The first ] and most of the ] "{{lang|de|Schlummert ein|italic=no}}" were copied to the ]<ref name="Wolff" /> in a version with continuo accompaniment, presumably entered by ] for her own use. Other cantatas that Bach performed for the same occasion are, according to ], {{lang|de|]|italic=unset}}, {{lang|de|]|italic=unset}}, and {{lang|de|]|italic=unset}}, with similar topics.<ref name="Mincham" />


In the first version of the cantata, the choice of the bass voice probably illustrates the old man Simeon.<ref name="wolff" /> The soprano voice shows more clearly that the situation applies to that of any believer.<ref name="hofmann" /> In the first version of the cantata, the choice of the bass voice probably illustrates the old man Simeon.<ref name="Wolff" /> The soprano voice shows more clearly that the situation applies to that of any believer.<ref name="Hofmann" />


== Scoring and structure == === Structure and scoring ===
The cantata is structured in five movements, with alternating arias and recitatives. In the first version it was scored for a ] soloist and a ] ensemble of oboes (Ob), two violins (Vl), viola (Va), and ].{{sfn|Bach Digital 1|2020}}<!-- The title page of the autograph score reads: ''"Domin. 19 post Trinit. / Ich will den Xstab gerne tragen / a / 2 / Hautb. o Viol. / Viola o / Taille / 4 Voci / Basso solo / e / Cont. / di / J.S.Bach"''. The score begins with the line "{{lang|la|{{abbr|J.J.|Jesu juva (Jesus help)}}Dominica 19 post trinitatis. Cantata à Voce sola. è stromenti|italic=no}}"{{sfn|Staatsbibliothek Score|2018}} ("J.J. Sunday 19 after Trinity, Cantata for solo voice, and instruments").{{sfn|Dürr|Jones|2006|p=582}}--> It takes about 23 minutes to perform.{{sfn|Dürr|Jones|2006|p=661}} Another version exists for ], transposed from C minor to ] with the oboe part replaced by ] and slightly altered.{{sfn|Bach Digital 2|2020}} In the 1740s version for bass, an ] is the ] instrument.<ref name="Wolff" />{{sfn|Bach Digital 3|2020}}


In the following table, the scoring follows the {{lang|de|]}} (''New Bach Edition''), for the version for bass in ]. The ] and ]s are from ],{{sfn|Dürr|Jones|2006|pp=661–666}} and use the symbol for common time. The continuo, played throughout, is not shown.
The cantata is scored for ], ], two ]s, ], and ].<ref name="dürr" />


{{Classical movement header | show_text_source = yes | work = {{lang|de|Ich habe genug}}, BWV 82 | instruments1 = Winds | instruments2 = Strings }}
# Aria: ''{{lang|de|Ich habe genug}}''
# Recitativo: ''{{lang|de|Ich habe genug}}''
# Aria: ''{{lang|de|Schlummert ein, ihr matten Augen}}''
# Recitativo: ''{{lang|de|Mein Gott! wenn kömmt das schöne: Nun!}}''
# Aria: ''{{lang|de|Ich freue mich auf meinen Tod}}''


{{Classical movement row
Another versions exist for ] (as BWV 82a), transposed from ] to ] with the oboe part replaced by ] and slightly altered. In the 1740s version for bass, an ] is the ] instrument.<ref name="wolff" />
| number = ]
| title = {{lang|de|Ich habe genug|italic=no}}
| text_source = Birkmann
| type = Aria
| vocal = Bass
| instruments1 = Ob
| instruments2 = 2Vl Va
| key = ]
| time = {{music|time|3|8}}
}}
{{Classical movement row
| number = ]
| title = {{lang|de|Ich habe genug|italic=no}}
| text_source = Birkmann
| type = Recitative
| vocal = Bass
| instruments1 =
| instruments2 =
| key =
| time = {{music|common-time}}
}}
{{Classical movement row
| number = ]
| title = {{lang|de|Schlummert ein, ihr matten Augen|italic=no}}
| text_source = Birkmann
| type = Aria
| vocal = Bass
| instruments1 = Ob (ad lib)
| instruments2 = 2Vl Va
| key = E-flat major
| time = {{music|common-time}}
}}
{{Classical movement row
| number = ]
| title = {{lang|de|Mein Gott! wenn kömmt das schöne: Nun!|italic=no}}
| text_source = Birkmann
| type = Recitative
| vocal = Bass
| instruments1 =
| instruments2 =
| key =
| time = {{music|common-time}}
}}
{{Classical movement row
| number = ]
| title = {{lang|de|Ich freue mich auf meinen Tod|italic=no}}
| text_source = Birkmann
| type = aria
| vocal = Bass
| instruments1 = Ob
| instruments2 = 2Vl Va
| key = C minor
| time = {{music|time|3|8}}
}}
{{End}}


== Music == == Music ==
{{Listen|type=music
| help = no
| image = none
| filename = BWV 82 Aria Ich habe genung Hotter Philharmonia.oga
| title = "Ich habe genug"
| description = ], ] (oboe), ], ] (cond.), 1950}}
{{anchor|1}}
The first movement, an ], begins with an expressive melody of the ] oboe which is picked up by the voice on the words "{{lang|de|Ich habe genug|italic=no}}" (I have enough). The beginning upward leap of a ] is reminiscent of the aria "{{lang|de|Erbarme dich|italic=no}}" (Have mercy) in Bach's '']'' and the aria "{{lang|de|Wenn kömmst du, mein Heil?|italic=no}}" (When will you come, my salvation?) from {{lang|de|] |italic=unset}}. The first ] is changed to a phrase that appears at the end of three vocal sections. A similar motif begins the middle section on the words "{{lang|de|Ich hab ihn erblickt|italic=no}}" (I have seen him), turning upwards in the end.<ref name="Dürr" /> ] notes a "feeling of serene contentedness with life" in "elegiac tones" as the aria's expression.<ref name="Hofmann" /> Musicologist Julian Mincham notes "that instant when body and soul come to rest and are resigned and in complete harmony. Bach encapsulates this experience of peace and acquiescent submission beyond anything that mere words can convey."<ref name="Mincham" /> He sees the "flowing oboe arabesques", which the singer imitates twice on the word "{{lang|de|Freude|italic=no}}" (joy) as a "clear indication that their expressive function is to proclaim the Christian's personal bliss, an inextricable element of this important experience of life".<ref name="Mincham" />


{{anchor|2}}
In the first movement, an ], begins with an expressive melody of the ] oboe which is picked up by the voice on the words ''{{lang|de|Ich habe genug}}'' (I have enough). The beginning upward leap of a sixth is reminiscent of the aria ''{{lang|de|Erbarme dich}}'' (Have mercy) in Bach's '']'' and the aria ''{{lang|de|Wenn kömmst du, mein Heil?}}'' (When will you come, my salvation?) from {{lang|de|]}}. The first ] is changed to a phrase that appears at the end of three vocal sections. A similar motif begins the middle section on the words ''{{lang|de|Ich hab ihn erblickt}}'' (I have seen him), turning upwards in the end.<ref name="dürr" /> ] notes a "feeling of serene contentedness with life" in "elegiac tones" as the aria's expression.<ref name="hofmann" /> Musicologist Julian Mincham notes "... that instant when body and soul come to rest and are resigned and in complete harmony. Bach encapsulates this experience of peace and acquiescent submission beyond anything that mere words can convey."<ref name="mincham" /> He sees the "flowing oboe arabesques", which the singer imitates twice on the word ''{{lang|de|Freude}}'' (joy) as a "clear indication that their expressive function is to proclaim the Christian's personal bliss, an inextricable element of this important experience of life".<ref name="mincham" />
The following ] begins with the same words as the aria, "{{lang|de|Ich habe genug|italic=no}}", on a new melody. The middle section stresses the words "{{lang|de|Laßt uns mit diesem Manne ziehn!|italic=no}}" (Let us go with this man!), speaking of following Jesus, by an ] in which the continuo follows the singer.<ref name="Dürr" />


{{Listen|type=music
The following ], begins with the same words as the aria, ''{{lang|de|Ich habe genug}}'', on a new melody. The middle section stresses the words ''{{lang|de|Laßt uns mit diesem Manne ziehn!}}'' (Let us go with this man!), speaking of following Jesus, by an ] in which the continuo follows the singer.<ref name="dürr" />
| help = no
| image = none
| filename = BWV 82 Aria Schlummert ein Hotter Philharmonia.ogg
| title = "Schlummert ein, ihr matten Augen"
| description = Hotter and others, 1950}}
The central aria, beginning "{{lang|de|Schlummert ein, ihr matten Augen|italic=no}}" (Fall asleep, you weary eyes), is a {{lang|de|Schlummer-Arie}} (slumber aria). In a complex structure, it is not only a '']'' aria of three sections framed by a '']'' of the strings, but repeats the first section in the center of the middle section. Frequent use of ] suggests rest, '']s'' stop the forward motion,<ref name="Dürr" /> as described by Mincham who writes, "The frequent pauses, where everything temporarily comes to a standstill, are suggestive of that peaceful closing of life where there is no activity and disorder is a thing of the past".<ref name="Mincham" />


{{anchor|3}}
The central aria ''{{lang|de|Schlummert ein, ihr matten Augen}}'' (Fall asleep, you weary eyes) is a "{{lang|de|Schlummer-Arie}}" (slumber aria). In a complex structure, it is not only a '']'' aria of three sections framed by a '']'' of the strings, but repeats the first section in the center of the middle section. Frequent use of ] suggests rest, '']s'' stop the forward motion,<ref name="dürr" /> as described by Mincham who writes, "The frequent pauses, where everything temporarily comes to a standstill, are suggestive of that peaceful closing of life where there is no activity and disorder is a thing of the past".<ref name="mincham" />
A short ''secco'' recitative, beginning "{{lang|de|Mein Gott! wenn kömmt das schöne: Nun!|italic=no}}" (My God! When will the lovely 'now!' come), ends with a downward continuo line, suggesting both "taking one's leave and being lowered into the welcoming grave".<ref name="Mincham" />


{{anchor|4}}
A short ''secco'' recitative, ''{{lang|de|Mein Gott! wenn kömmt das schöne: Nun!}}'' (My God! When will the lovely 'now!' come) ends with a downward continuo line, suggesting both "taking one's leave and being lowered into the welcoming grave".<ref name="mincham" />
The concluding aria is a joyful dance, anticipating death as the fulfillment of desire, "{{lang|de|Ich freue mich auf meinen Tod|italic=no}}" (I am looking forward to my death).<ref name="Dürr" /> The "joyful longing for the hereafter" is expressed by "agile coloraturas that characterize the entire movement".<ref name="Hofmann" /> Mincham notes that the final aria corresponds to the first in similarity of the scoring with the obbligato instrument, ], and triple ]. The final aria is faster, marked "vivace". The text first treats the "joy of anticipation of death and the desire for it to happen imminently", then, treated in the middle section, the "conviction that death will release us from the misery of the world to which we have been chained".<ref name="Mincham" />


== Recordings ==
The concluding aria is a joyful dance, anticipating death as the fulfilment of desire, ''{{lang|de|Ich freue mich auf meinen Tod}}'' (I am looking forward to my death).<ref name="dürr" /> The "joyful longing for the hereafter" is expressed by "agile coloraturas that characterize the entire movement".<ref name="hofmann" /> Mincham notes that the final aria corresponds to the first in similarity of the scoring with the obbligato instrument, ] , and triple ]. The final aria is faster, marked "vivace". The text first treats the "joy of anticipation of death and the desire for it to happen imminently", then, treated in the middle section, the "conviction that death will release us from the misery of the world to which we have been chained".<ref name="mincham" />


As one of the best known of Bach's church cantatas, set for both a male and a female soloist, it is "the most frequently recorded of all the Bach cantatas over a period of more than sixty years",<ref name="Mincham" /> with 101 complete recordings listed, and several more of individual movements, especially the version from Anna Magdalena Bach's notebook. Dietrich Fischer-Dieskau recorded the cantata three times, in 1951 with ], in July 1968 with ],<ref>{{Cite web|url=https://www.deutschegrammophon.com/de/katalog/produkte/bach-kantaten-bwv-56-4-82-richter-8246|title=BACH Kantaten BWV 56, 4, 82 / Richter}}</ref> in 1983 with ]. In 1966, ] was the soloist in a recording conducted by ].
== Selected recordings ==


* ''J. S. Bach: Cantata No. 82 – Ich habe genug'', ], ], ], Columbia (unissued) 1948
As one of the best known of Bach's church cantatas, set for both a male and a female soloist, it is "the most frequently recorded of all the Bach cantatas over a period of more than sixty years",<ref name="mincham" /> with 101 complete recordings listed, and several more of individual movements, especially the version from Anna Mgdalena Bach's notebook. Dietrich Fischer-Dieskau recorded the cantata three times, in 1951 with ], in 1969 with ], in 1983 with ]. In 1966, ] was the soloist in a recording conducted by ].

* ''J.S. Bach: Cantata No. 82 - Ich habe genug'', ], ], ], Columbia (unissued) 1948
* ''Bach: Kantaten BWV 56 & 82'', ], Kammerorchester Karl Ristenpart, ], ] 1951 * ''Bach: Kantaten BWV 56 & 82'', ], Kammerorchester Karl Ristenpart, ], ] 1951
* ''Bach Cantatas No. 56 & 82'', , The Geraint Jones Orchestra, ], ] 1959
* ''Les Grandes Cantates de J.S. Bach Vol. 18'', ], ], ], ] 1964 * ''Les Grandes Cantates de J.S. Bach Vol. 18'', ], ], ], ] 1964
* ''Bach: Two Solo Cantatas: Cantata BWV 169, Gott soll allein mein Herze haben; Cantata BWV 82, Ich habe genug'', ], ], ], ] 1966 * ''J. S. Bach: Cantatas Nos. 56 & 82'', ], ], ], ] 1965
* ''Bach: Two Solo Cantatas: Cantata BWV 169, Gott soll allein mein Herze haben; Cantata BWV 82a, Ich habe genug'', ], ], ], ] 1966
* ''J.S. Bach: Kantaten BWV 56 & 82'' ], ], ] 1969
* ''J. S. Bach: Kantaten BWV 56 & 82'' ], ], ] 1969
* ''Bach: Cantatas (BWV 56, 4, 82)'' ], ], Sony 1977 * ''Bach: Cantatas (BWV 56, 4, 82)'' ], ], Sony 1977
* ''Die Bach Kantate Vol. 4'', ], ], ], ] 1983 * ''Die Bach Kantate Vol. 4'', ], ], ], ] 1983
* ''J.S. Bach: Solokantaten'', ], ], ], Schwann Musica Sacre 1984 * ''J. S. Bach: Solokantaten'', ], ], ], Schwann Musica Sacre 1984
* ''J.S. Bach: Cantatas BWV 202 · 82a · 199'', ], Ensemble Instrumental de Basse Normandie, ], Rudolphe 1986 * ''J. S. Bach: Cantatas BWV 202 · 82a · 199'', ], ], ], Rudolphe 1986
* ''J.S. Bach: Cantatas BWV 82 · 49 · 58'', ], ], ], Accent 1993 * ''J. S. Bach: Kantaten BWV 56, 82, 158'', ], ], ] (dir.), ] 1991.
* ''J.S. Bach: Cantatas for the Feast of Purification of Mary'', ], ], ], ] 2000 * ''J. S. Bach: Cantates pour basse'', ], ], ], ], 1991.
* ''J.S. Bach: Complete Cantatas Vol. 16'', ], ], ], Antoine Marchand 2001 * ''J. S. Bach: Cantatas BWV 82 · 49 · 58'', ], ], ], Accent 1993
* J. S. Bach: ''Wedding Cantatas BWV 82, 202, 210, ],'' ], ], Decca, 1996.
* ''J. S. Bach: Cantatas for the Feast of Purification of Mary'', ], ], ], ] 2000
* ''J. S. Bach: Complete Cantatas Vol. 16'', ], ], ], Antoine Marchand 2001
* ''Bach Cantatas BWV 82 and 199'', ], ], ], ], 2002 * ''Bach Cantatas BWV 82 and 199'', ], ], ], ], 2002
* ''Bach Cantatas'', ], ], ], ], 2004
* ''Bach: Kantaten · Cantatas BWV 82, BWV 158, BWV 56'', ], ], ], Capriccio 2006 * ''Bach: Kantaten · Cantatas BWV 82, BWV 158, BWV 56'', ], ], ], Capriccio 2006
* ''J.S. Bach: Cantatas Vol. 38 (Solo Cantatas) - BWV 52, 55, 82, 58'', ], ], ], ] 2006 * ''J. S. Bach: Cantatas Vol. 38 (Solo Cantatas) – BWV 52, 55, 82, 58'', ], ], ], ] 2006
* ''German Baroque Cantatas'', ] (singer and conductor), ], Sony Classical 2007 * ''German Baroque Cantatas'', ] (singer and conductor), ], Sony Classical 2007
* ''Bach Cantatas for Bass BWV 82/158/56/203'' ], ], ]. ] 2013
* ''J. S. Bach: Cantata BWV 82'', ], {{ill|Thomas E. Bauer|de}}, ], All of Bach 2014
* ''J. S. Bach: Cantatas'' ''BWV 54, 82 & 170'', ] (countertenor), ], ], Hyperion 2017

== Notes ==
{{notelist}}


== References == == References ==
Line 86: Line 156:
| colwidth = 30em | colwidth = 30em
| refs = | refs =
<ref name="Dürr">{{cite book

<ref name="dürr">
{{cite book
| last = Dürr | last = Dürr
| first = Alfred | first = Alfred
| authorlink = Alfred Dürr | author-link = Alfred Dürr
| title = Die Kantaten von Johann Sebastian Bach | title = Die Kantaten von Johann Sebastian Bach
| year = 1971 | year = 1981
| publisher = Bärenreiter-Verlag | publisher = Deutscher Taschenbuchverlag
| oclc = 523584 | isbn = 3-423-04080-7
| volume = 1 | volume = 1
| language = German | edition = 4
| pages =
}}
| language = de
</ref>
| url = https://archive.org/details/diekantatenvonjo0002durr/page/542
}}</ref>


<ref name="wolff"> <ref name="Wolff">{{cite book
{{cite book
| last = Wolff | last = Wolff
| first = Christoph | first = Christoph
| authorlink = Christoph Wolff | author-link = Christoph Wolff
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C16c%5BAM-3CD%5D.pdf | url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C16c%5BAM-3CD%5D.pdf
| title = Bach’s Third Yearly Cycle of Cantatas (1725-1727) - I | title = Bach's Third Yearly Cycle of Cantatas (1725–1727) – I
| publisher = bach-cantatas.com | publisher = bach-cantatas.com
| format = PDF
| page = 7 | page = 7
| year = 2001 | year = 2001
| accessdate = 27 January 2013 | access-date = 27 January 2013
}} }}</ref>
</ref>


<ref name="hofmann"> <ref name="Hofmann">{{cite web
{{cite web
| last = Hofmann | last = Hofmann
| first = Klaus | first = Klaus
| authorlink = Klaus Hofmann | author-link = Klaus Hofmann
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C38c%5BBIS-SACD1631%5D.pdf | url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C38c%5BBIS-SACD1631%5D.pdf
| title = Ich habe genung, BWV 82 / I am content | title = Ich habe genung, BWV 82 / I am content
| publisher = bach-cantatas.com | publisher = bach-cantatas.com
| format = PDF
| page = 6 | page = 6
| year = 2006 | year = 2006
| accessdate = 27 January 2013 | access-date = 27 January 2013
}} }}</ref>
</ref>


<ref name="mincham"> <ref name="Mincham">{{cite web
{{cite web
| last = Mincham | last = Mincham
| first = Julian | first = Julian
| url = http://www.jsbachcantatas.com/documents/chapter-36-bwv-82.htm | url = https://www.jsbachcantatas.com/documents/chapter-36-bwv-82
| title = Chapter 36 BWV 82 Ich habe genug / I have sufficient. | title = Chapter 36 BWV 82 – The Cantatas of Johann Sebastian Bach
| publisher = jsbachcantatas.com | publisher = jsbachcantatas.com
| year = 2010 | year = 2010
| accessdate = 27 January 2013 | access-date = 24 August 2022
}}</ref>

}} }}
</ref>


=== Cited sources ===
* {{cite web
| url = http://www.bach-digital.de/receive/BachDigitalWork_work_00000103?lang=en
| title = Ich habe genung (1st version) BWV 82.1, BWV 82, BC A 169a
| website = ]
| date = 2020
| access-date = 2 January 2023
| ref = {{sfnref|Bach Digital 1|2020}}
}}
* {{cite web
| url = http://www.bach-digital.de/receive/BachDigitalWork_work_00000104?lang=en
| title = Ich habe genung (2nd version) BWV 82.2, BWV 82, BC A 169b
| website = ]
| date = 2020
| access-date = 2 January 2023
| ref = {{sfnref|Bach Digital 2|2020}}
}}
* {{cite web
| url = http://www.bach-digital.de/receive/BachDigitalWork_work_00000105?lang=en
| title = Ich habe genung (3rd version) BWV 82.3, BWV 82, BC A 169c
| website = ]
| date = 2020
| access-date = 2 January 2023
| ref = {{sfnref|Bach Digital 3|2020}}
}}
* {{cite book
| last1 = Dürr
| first1 = Alfred
| author-link1 = Alfred Dürr
| last2 = Jones
| first2 = Richard D. P.
| author-link2 = Richard D. P. Jones
| chapter-url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA661
| chapter = ''Ich habe genung'', BWV 82
| title = The Cantatas of J. S. Bach
| publisher = ]
| year = 2006
| isbn = 0-19-929776-2
| pages = 661–666
}} }}


== External links == == External links ==
{{commons category|BWV 82 – "Ich habe genung"}}
* {{IMSLP|work=Ich habe genug, BWV 82 (Bach, Johann Sebastian)}}
* : English translation, ]
* : performance by the ] (video and background information)
* : English translation, ]
* : text, scoring, ]


{{Bach's third cantata cycle and later}}
The first source is the score.
* {{IMSLP2|id=Cantatas, BWV 81-90 (Bach, Johann Sebastian)|cname=Cantatas, BWV 81-90}}

General sources are found for the ]s. Several databases provide additional information on each single cantata:
* history, scoring, sources for text and music, translations to various languages, discography, discussion, ''bach-cantatas'' website
* English translation, discussion, ]
* history, scoring, ''Bach'' website {{de icon}}
* English translation, ]
* text, scoring, ]

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Latest revision as of 02:52, 3 August 2024

Church cantata by Johann Sebastian Bach
Ich habe genug
BWV
  • 82
  • 82a
Solo church cantata by J. S. Bach
Simeon, painted by Aert de Gelder, c. 1700
EnglishI have enough
Native nameIch habe genung
OccasionPurification of Mary
Performed2 February 1727 (1727-02-02): Leipzig
Movements5
VocalSolo bass (82a: soprano)
Instrumental

Ich habe genug (original: Ich habe genung, English: "I have enough" or "I am content"), BWV 82, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig in 1727 for the Feast Mariae Reinigung (Purification of Mary) and first performed it on 2 February 1727. In a version for soprano, BWV 82a, possibly first performed in 1731, the part of the obbligato oboe is replaced by a flute. Part of the music appears in the Notebook for Anna Magdalena Bach. The cantata is one of the most recorded and performed of Bach's sacred cantatas. The opening aria and so-called "slumber aria" are regarded as some of the most inspired creations of Bach.

History and words

Bach composed the cantata in his fourth year in Leipzig for the feast Purification of Mary. The prescribed readings for the feast day were taken from the book of Malachi, "the Lord will come to his temple" (Malachi 3:1–4), and from the Gospel of Luke, the purification of Mary and the presentation of Jesus at the Temple, including Simeon's canticle Nunc dimittis (Luke 2:22–32), on which the libretto is based. In previous years Bach had composed two cantatas concentrating on Simeon's canticle, Erfreute Zeit im neuen Bunde, BWV 83, in 1724 and the chorale cantata on Martin Luther's paraphrase of the canticle, Mit Fried und Freud ich fahr dahin, BWV 125, in 1725. More than in these earlier works, the text of Ich habe genug stresses the desire to escape earthly misery and be united with Jesus. Until recently the poet's identity was not known, but recent research suggests that he was Christoph Birkmann, a student at the University of Leipzig in the 1720s.

Bach first performed the cantata on 2 February 1727. The extant autograph score and the parts show that he performed it at least three more times, in a version for soprano, BWV 82a, the first possibly in 1731 or even as early as 1730, another version for soprano in 1735; and again for bass, with minor changes to the original version, after 1745. Bach obviously had a high regard for this work. The first recitative and most of the aria "Schlummert ein" were copied to the Notebook for Anna Magdalena Bach in a version with continuo accompaniment, presumably entered by Anna Magdalena Bach for her own use. Other cantatas that Bach performed for the same occasion are, according to Alfred Dürr, Komm, du süße Todesstunde, BWV 161, Ich lasse dich nicht, du segnest mich denn, BWV 157, and Der Friede sei mit dir, BWV 158, with similar topics.

In the first version of the cantata, the choice of the bass voice probably illustrates the old man Simeon. The soprano voice shows more clearly that the situation applies to that of any believer.

Structure and scoring

The cantata is structured in five movements, with alternating arias and recitatives. In the first version it was scored for a bass soloist and a Baroque instrumental ensemble of oboes (Ob), two violins (Vl), viola (Va), and basso continuo. It takes about 23 minutes to perform. Another version exists for soprano, transposed from C minor to E minor with the oboe part replaced by flute and slightly altered. In the 1740s version for bass, an oboe da caccia is the obbligato instrument.

In the following table, the scoring follows the Neue Bach-Ausgabe (New Bach Edition), for the version for bass in C minor. The keys and time signatures are from Alfred Dürr, and use the symbol for common time. The continuo, played throughout, is not shown.

Movements of Ich habe genug, BWV 82
No. Title Text Type Vocal Winds Strings Key Time
1 Ich habe genug Birkmann Aria Bass Ob 2Vl Va C minor
8
2 Ich habe genug Birkmann Recitative Bass common time
3 Schlummert ein, ihr matten Augen Birkmann Aria Bass Ob (ad lib) 2Vl Va E-flat major common time
4 Mein Gott! wenn kömmt das schöne: Nun! Birkmann Recitative Bass common time
5 Ich freue mich auf meinen Tod Birkmann aria Bass Ob 2Vl Va C minor
8

Music

"Ich habe genug" Hans Hotter, Sidney Sutcliffe (oboe), Philharmonia Orchestra, Anthony Bernard (cond.), 1950

The first movement, an aria, begins with an expressive melody of the obbligato oboe which is picked up by the voice on the words "Ich habe genug" (I have enough). The beginning upward leap of a minor sixth is reminiscent of the aria "Erbarme dich" (Have mercy) in Bach's St Matthew Passion and the aria "Wenn kömmst du, mein Heil?" (When will you come, my salvation?) from Wachet auf, ruft uns die Stimme, BWV 140. The first motif is changed to a phrase that appears at the end of three vocal sections. A similar motif begins the middle section on the words "Ich hab ihn erblickt" (I have seen him), turning upwards in the end. Klaus Hofmann notes a "feeling of serene contentedness with life" in "elegiac tones" as the aria's expression. Musicologist Julian Mincham notes "that instant when body and soul come to rest and are resigned and in complete harmony. Bach encapsulates this experience of peace and acquiescent submission beyond anything that mere words can convey." He sees the "flowing oboe arabesques", which the singer imitates twice on the word "Freude" (joy) as a "clear indication that their expressive function is to proclaim the Christian's personal bliss, an inextricable element of this important experience of life".

The following recitative begins with the same words as the aria, "Ich habe genug", on a new melody. The middle section stresses the words "Laßt uns mit diesem Manne ziehn!" (Let us go with this man!), speaking of following Jesus, by an arioso in which the continuo follows the singer.

"Schlummert ein, ihr matten Augen" Hotter and others, 1950

The central aria, beginning "Schlummert ein, ihr matten Augen" (Fall asleep, you weary eyes), is a Schlummer-Arie (slumber aria). In a complex structure, it is not only a da capo aria of three sections framed by a ritornello of the strings, but repeats the first section in the center of the middle section. Frequent use of pedal point suggests rest, fermatas stop the forward motion, as described by Mincham who writes, "The frequent pauses, where everything temporarily comes to a standstill, are suggestive of that peaceful closing of life where there is no activity and disorder is a thing of the past".

A short secco recitative, beginning "Mein Gott! wenn kömmt das schöne: Nun!" (My God! When will the lovely 'now!' come), ends with a downward continuo line, suggesting both "taking one's leave and being lowered into the welcoming grave".

The concluding aria is a joyful dance, anticipating death as the fulfillment of desire, "Ich freue mich auf meinen Tod" (I am looking forward to my death). The "joyful longing for the hereafter" is expressed by "agile coloraturas that characterize the entire movement". Mincham notes that the final aria corresponds to the first in similarity of the scoring with the obbligato instrument, key, and triple time. The final aria is faster, marked "vivace". The text first treats the "joy of anticipation of death and the desire for it to happen imminently", then, treated in the middle section, the "conviction that death will release us from the misery of the world to which we have been chained".

Recordings

As one of the best known of Bach's church cantatas, set for both a male and a female soloist, it is "the most frequently recorded of all the Bach cantatas over a period of more than sixty years", with 101 complete recordings listed, and several more of individual movements, especially the version from Anna Magdalena Bach's notebook. Dietrich Fischer-Dieskau recorded the cantata three times, in 1951 with Karl Ristenpart, in July 1968 with Karl Richter, in 1983 with Helmuth Rilling. In 1966, Janet Baker was the soloist in a recording conducted by Yehudi Menuhin.

Notes

  1. "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.

References

  1. ^ Dürr & Jones 2006, p. 661.
  2. Cantagrel, Gilles (2010), Les Canatates de J.-S. Bach (in French), Fayard, ISBN 9782213644349
  3. Whittaker, William Gillies (1978), The Cantatas of Johann Sebastian Bach: sacred and secular, Volume I, Oxford University Press, pp. 378–384, ISBN 019315238X
  4. ^ Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 542–545. ISBN 3-423-04080-7.
  5. ^ Wolff, Christoph (2001). Bach's Third Yearly Cycle of Cantatas (1725–1727) – I (PDF). bach-cantatas.com. p. 7. Retrieved 27 January 2013.
  6. ^ Mincham, Julian (2010). "Chapter 36 BWV 82 – The Cantatas of Johann Sebastian Bach". jsbachcantatas.com. Retrieved 24 August 2022.
  7. ^ Hofmann, Klaus (2006). "Ich habe genung, BWV 82 / I am content" (PDF). bach-cantatas.com. p. 6. Retrieved 27 January 2013.
  8. Bach Digital 1 2020.
  9. Bach Digital 2 2020.
  10. Bach Digital 3 2020.
  11. Dürr & Jones 2006, pp. 661–666.
  12. "BACH Kantaten BWV 56, 4, 82 / Richter".

Cited sources

External links

Church cantatas by Johann Sebastian Bach
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Leipzig
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(1723–24)
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