Bekennen will ich seinen Namen (I shall acknowledge His name), BWV 200, is an arrangement by Johann Sebastian Bach of an aria from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Creuz sterbende Liebe Jesu. He scored it for alto, two violins and continuo, possibly as part of a cantata for the feast of Purification. He probably led the first performance around 1742.
Bach arranged in Bekennen will ich seinen Namen an aria, "Dein Kreuz, o Bräutgam meiner Seelen" (Your cross, o bridegroom of my soul" from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Creuz sterbende Liebe Jesu. [1] [2] Bach's arrangement, dated around 1742–43, [3] was possibly part of a cantata for the Marian feast of Purification. [4] [5] The prescribed readings for the day were Malachi 3:1–4, and Luke 2:22–32. [6]
Bach likely performed his arrangement in 1742 in Leipzig. [6]
The aria is scored for solo alto voice, two violins, and basso continuo. [7] As with many of Bach's latest cantatas, the aria has a "quality of mellow assurance". It is in adapted ternary form but includes no clear reprise of the opening section. The vocal line includes melismas but no other word painting. [8]
Bekennen will ich seinen Namen (I shall acknowledge His name), BWV 200, is an arrangement by Johann Sebastian Bach of an aria from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Creuz sterbende Liebe Jesu. He scored it for alto, two violins and continuo, possibly as part of a cantata for the feast of Purification. He probably led the first performance around 1742.
Bach arranged in Bekennen will ich seinen Namen an aria, "Dein Kreuz, o Bräutgam meiner Seelen" (Your cross, o bridegroom of my soul" from Gottfried Heinrich Stölzel's passion-oratorio Die leidende und am Creuz sterbende Liebe Jesu. [1] [2] Bach's arrangement, dated around 1742–43, [3] was possibly part of a cantata for the Marian feast of Purification. [4] [5] The prescribed readings for the day were Malachi 3:1–4, and Luke 2:22–32. [6]
Bach likely performed his arrangement in 1742 in Leipzig. [6]
The aria is scored for solo alto voice, two violins, and basso continuo. [7] As with many of Bach's latest cantatas, the aria has a "quality of mellow assurance". It is in adapted ternary form but includes no clear reprise of the opening section. The vocal line includes melismas but no other word painting. [8]