Buy Tickets Contribute

Calendar & Tickets

2021-2022 Season

Tickets and ticket policies

The Bach Institute

Event Calendar

Directions & Parking

Who We Are

History & Mission

Ryan Turner, Artistic Director

John Harbison, Principal Guest Conductor

Craig Smith Memorial

Musicians

Musician's Spotlight

Staff & Boards

Support

Annual Fund

Hercules Society

Pat Krol Fund

Cantata & Solo Underwriting Support

Planned Giving

Volunteer

Advertise

Engagement

Musical Conversations

Lieberson Fellows

Past Fellows

News & Reviews

Emmanuel Music in the News

Press Releases

Recordings

Buy CDs

Notes & Translations

Bach Notes & Translations

Motets & Liturgical Works Notes & Translations

Program Notes & Translations

Mailing List Contact Us

Bach Cantata Notes

BWV 182



Bach Cantata BWV 182 was one of the earliest works written in Weimar and is thus one of Bach's earliest cantatas. It has a charming chamber-sized orchestration of recorder, one violin, two violas, cello and organ. The opening sinfonia has the sound of early morning about it. The recorder and solo violin trade off piquant dotted lines against the pizzicato of the other strings. The opening chorus is delightfully child-like in its portrayal of Jesus' entrance into Jerusalem. The solo bass intones a line from Psalm 40 as an introduction to the stirring aria with the strings. The solo recorder returns as the obbligato to the poignant alto aria. This is the beginning of the transition of the cantata from the joyous entrance into Jerusalem to a meditation on the Passion. The continuo aria with tenor is a further passion-like piece. It would not be out of place in one of the Passion settings. After the penultimate chorale prelude on the tune "Jesu Kreuz, Leiden und Pein," the light chorus "So lasset uns gehen in Salem der Freuden" ends the cantata.

©Craig Smith


Emmanuel Music is the Ensemble-in-Residence at Emmanuel Church
15 Newbury Street • Boston, MA 02116 • 617.536.3356 • music@emmanuelmusic.org