O holder Tag
BWV 210 performed by the Netherlands Bach Society
Violin and direction by Sayuri Yamagata
Grote Kerk, Naarden
Behind the music
Story
Story
Texts
Texts
Credits
Credits
Between blessing and sin
Ode to music becomes pious wedding cantata
12 January 1729: Duke Christian of Saxe-Weissenfels visits Leipzig and is lavishly feted – which, of course, includes music. Bach was the first to be appointed to write a new work for the occasion, leading to the premiere of O angenehme Melodei BWV 210a. The soloist is almost sure to have been Anna Magdalena Bach (Bach’s second wife), with whom the duke was acquainted from her days at his art-loving court.
An occasional work like this could easily have disappeared into a drawer, were it not for the fact that Bach continued to perform this cantata, at least four times. That was facilitated by its rather generic content: after all, an exposé of the power of music is suitable for practically any occasion. A few new recitatives here and a few small adjustments to the words of the arias there, and lustre was added once again to a prominent event, without too much extra work. This was the case for BWV 210a, which was rewritten to become BWV 210, O holder Tag, erwünschte Zeit, for the occasion of a wedding.
A wedding? You might expect something a bit more festive for an event like that, such as the sparkling cantata 201, Geschwinde, ihr wirbelnden Winde. Because what should we make of a line like ‘bei verliebte Eheleuten soll’s stille sein’ (for loving spouses, it must be silent)? Silence at a wedding party? Was music a threat? Yet this pious reflection appears to have fitted the anonymous husband and wife perfectly. Recent research points towards an ambitious young couple: the Berlin court physician Georg Ernst Stahl and Johanna Schrader. They were good friends of Carl Philipp Emanuel Bach, whose father Sebastian occasionally stayed with them.
In five arias, Bach achieves maximum variety with regard to instrumentation and atmosphere. From the beautiful ‘beseelte Lieder’, we go via ‘matte Töne’ and ‘zarte Harmonie’ to the paradoxical third aria. Here, the flute is silenced in vain, as it goes its own way – more virtuoso than ever. This is followed by a stylised polonaise and a chorale-like closing aria; absolutely not a cheerful dance. This serious character suggests that the solo cantata was intended for connoisseurs. The lyricist who rewrote the words expressly thanks them again for their good taste… and undoubtedly their well-filled purse!
- BWV
- 210
- Title
- O holder Tag
- Instrument
- soprano
- Genre
- cantatas
- Year
- 1729/1741
- City
- Leipzig
- Occasion
- wedding
- First performance
- 19 September 1741
- Special notes
- For this wedding cantata, Bach used the cantata he had written earlier: 'O! angenehme Melodei', BWV 210a
Extra videos
Vocal texts
Original
1. Rezitataiv (Sopran)
O holder Tag, erwünschte Zeit,
willkommen, frohe Stunden!
Ihr bringt ein Fest, das uns erfreut.
Weg, Schwermut, weg, weg, Traurigkeit!
Der Himmel, welcher vor uns wachet,
hat euch zu unsrer Lust gemachet:
drum lasst uns fröhlich sein!
Wir sind von Gott darzu verbunden,
uns mit den Frohen zu erfreun.
2. Arie (Sopran)
Spielet, ihr beseelten Lieder,
werfet die entzückte Brust
in die Ohnmacht sanfte nieder!
Aber durch der Saiten Lust
stärket und erholt sie wieder!
3. Rezitativ (Sopran)
Doch, haltet ein,
ihr muntern Saiten;
denn bei verliebten Eheleuten
soll's stille sein.
Ihr harmoniert nicht mit der Liebe;
denn eure angebornen Triebe
verleiten uns zur Eitelkeit,
und dieses schickt sich nicht zur Zeit.
Ein frommes Ehepaar
will lieber zu dem Dankaltar
mit dem Gemüte treten
und ein beseeltes Abba beten;
es ist vielmehr im Geist bemüht
und dichtet in der Brust ein angenehmes Lied.
4. Arie (Sopran)
Ruhet hie, matte Töne,
matte Töne, ruhet hie!
Eure zarte Harmonie
ist vor die beglückte Eh'
nicht die wahre Panacee.
5. Rezitativ (Sopran)
So glaubt man denn, daß die Musik verführe
und gar nicht mit der Liebe harmoniere?
O nein! Wer wollte denn nicht ihren Wert betrachten,
auf den so hohe Gönner achten?
Gewiss, die gütige Natur
zieht uns von ihr auf eine höhre Spur.
Sie ist der Liebe gleich, ein großes Himmelskind,
nur, daß sie nicht, als wie die Liebe, blind.
Sie schleicht in alle Herzen ein
und kann bei Hoh' und Niedern sein.
Sie lockt den Sinn
zum Himmel hin
und kann verliebten Seelen
des Höchsten Ruhm erzählen.
Ja, heißt die Liebe sonst
weit stärker als der Tod,
wer leugnet?
Die Musik stärkt uns in Todes Not.
O wundervolles Spiel!
Dich, dich verehrt man viel.
Doch, was erklingt dort vor ein Klagelied,
das den geschwinden Ton beliebter Saiten flieht?
6. Arie (Sopran)
Schweigt, ihr Flöten, schweigt, ihr Töne,
denn ihr klingt dem Neid nicht schöne,
eilt durch die geschwärzte Luft,
bis man euch zu Grabe ruft!
7. Rezitativ (Sopran)
Was Luft? was Grab?
Soll die Musik verderben,
die uns so großen Nutzen gab?
Soll so ein Himmelskind ersterben,
und zwar für eine Höllenbrut?
O nein! Das kann nicht sein.
Drum auf, erfrische deinen Mut!
Die Liebe kann vergnügte Saiten
gar wohl vor ihrem Throne leiden.
Indessen laß dich nur den blassen Neid verlachen,
was wird sich dein Gesang
aus Satans Kindern machen?
Genug, daß dich der Himmel schützt,
wenn sich ein Feind auf dich erhitzt.
Getrost, es leben noch Patronen,
die gern bei deiner Anmut wohnen.
Und einen solchen Mäzenat
sollst du auch itzo in der Tat
an seinem Hochzeitfest verehren.
Wohlan, laß deine Stimme hören!
8. Arie (Sopran)
Großer Gönner, dein Vergnügen
muß auch unsern Klang besiegen,
denn du verehrst uns deine Gunst.
Unter deinen Weisheitsschätzen
kann dich nichts so sehr ergötzen
als der süßen Töne Kunst.
9. Rezitativ (Sopran)
Hochteurer Mann, so fahre ferner fort,
der ecken Harmonie wie itzt geneigt zu bleiben;
so wird sie dir dereinst die Traurigkeit vertreiben.
So wird an manchem Ort
dein wohlverdientes Lob erschallen.
Dein Ruhm wird wie ein Demantstein,
ja wie ein fester Stahl beständig sein,
bis daß er in der ganzen Welt erklinge.
Indessen gönne mir,
daß ich bei deiner Hochzeit Freude
ein wünschend Opfer zubereite
und nach Gebühr
dein künftig Glück und Wohl besinge.
10. Arie (Sopran)
Seid beglückt, edle beide,
edle beide, seid beglückt!
Beständige Lust
erfülle die Wohnung, vergnüge die Brust,
bis daß euch die Hochzeit des Lammes erquickt.
Translation
1. Recitative (Soprano)
O gracious day, desired time,
welcome, happy hours!
You bring a festival that delights us.
Away, heaviness, hence, hence, sadness!
Heaven, which watches over us,
has created you for our pleasure:
so let us be joyful!
For by God we are commanded
to share happiness with the joyful.
2. Aria (Soprano)
Play, you soulful songs,
toss the enchanted breast
into a gentle swoon!
But through the delight of the strings
strengthen and uplift it again!
3. Recitative (Soprano)
Yet cease now,
you cheerful strings;
for around a loving betrothed couple
all should be quiet.
You do not harmonize with love;
for your innate urgings
direct us towards idleness,
and this does not suit the moment.
A virtuous pair of newly-weds
would rather approach the altar of gratitude
with full heart and spirit
and offer a devout "Abba;"
their spirits are much more deeply stirred
and in their hearts a pleasant song is formed.
4. Aria (Soprano)
Rest here, weary notes,
weary notes, rest here!
Your tender harmony
At this fortunate marriage
is not the appropriate remedy.
5. Recitative (Soprano)
So is it thought that music distracts
and has no accord with love at all?
Oh no! Who would not consider its worth,
recognized by such lofty patrons?
Indeed, kind Nature
draws us through it to a higher path.
It resembles love, a great child of heaven,
yet not, like love, in being blind.
It slips into every heart
and can dwell with great and lowly people.
It attracts the mind
towards heaven
and can for loving souls
describe the glory of the Highest.
Yes, if love is surely called
far stronger than death -
and who would deny it? -
Music fortifies us during death's suffering.
O marvelous art!
You, you are greatly honored.
Yet, what is that which sounds like a lament,
which flees from the brisk sound of the beloved strings?
6. Aria (Soprano)
Silence, you flutes, silence your tones,
since your sound is not appealing to envy.
Hasten through the darkened air,
until you are called to the grave!
7. Recitative (Soprano)
What air? What grave?
Shall the music perish
that was of such service to us?
Shall such a child of heaven die,
and even for a brood from hell?
O no! That cannot be.
Then arise, refresh your spirit!
Love can certainly tolerate
delightful strings before its throne.
Meanwhile pale envy may be scorned;
what concern are Satan's children
to your song?
It is enough that heaven protects you,
when an enemy is hot upon you.
Be comforted that there is no lack of patrons
who would gladly live among your charms.
And for such a great a Maecenas
you shall even now be of service
and honor him at his wedding feast.
Well then, let us hear your voice!
8. Aria (Soprano)
Great patrons, your pleasure
must also rule our sounds,
since you grant us your favor.
Among your stores of wisdom
nothing can bring you as much delight
as the art of sweet music.
9. Recitative (Soprano)
Most honored lord, carry on thus,
remaining partial, as now, to refined music;
so it will henceforth drive away all sadness from you.
Thus, in many lands
your well-deserved praise will echo.
Your fame will be like a diamond,
and endure indeed like hardest steel,
until it is heard throughout the entire world.
In the meantime permit me
at the celebration of your wedding
to prepare a heart-felt offering,
and according to custom
invoke your future health and happiness in song.
10. Aria (Soprano)
Be happy, noble couple,
noble couple, be happy!
May constant joy
fill your household, delight your heart,
until you celebrate at the Feast of the Lamb.
translation © Pamela Dellal
Credits
-
- Release date
- 17 October 2024
-
- Recording date
- 10 September 2022
-
- Location
- Grote Kerk, Naarden
-
- Violin and direction
- Sayuri Yamagata
-
- Soprano
- Julia Doyle
-
- Violin 2
- Lidewij van der Voort
-
- Viola
- Deirdre Dowling
-
- Cello
- Lucia Swarts
-
- Double bass
- Robert Franenberg
-
- Traverso
- Marten Root
-
- Oboe
- Rodrigo Lopez Paz
-
- Harpsichord
- Siebe Henstra
-
- Organ
- Laurens de Man
-
- Director and editor
- Onno van Ameijde
-
- Music recording
- Guido Tichelman, Lilita Dunska, Pim van der Lee
-
- Music edit and mix
- Guido Tichelman
-
- Camera
- Rieks Soepenberg, Carrien Dijkstra, Maria Smeets, Jorne Tielemans
-
- Lights
- Ernst-Jan Thieme
-
- Grip
- Patrick Galvin, Jason Mulder
-
- Assistant director
- Tom Peeters
-
- Styling
- Ellen Julianus
-
- Assistant music recording
- Marloes Biermans
-
- Producer concert
- Laura Jonker
-
- Producer film
- Marieke de Blaay
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