Bach - Cantata BWV 169 "Gott Soll Allein Mein Herze Haben" (Ct.rc.: Aafje Heynis / Remastered)

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Johann Sebastian Bach (1685-1750)
Cantata BWV 169 "Gott Soll Allein Mein Herze Haben"
00:00 I. Sinfonia
08:40 II. Arioso en Recitatief: Gott soll allein
12:18 III. Aria: Gott soll allein
20:40 IV. Recitatief: Was ist die Liebe Gottes?
21:40 V. Aria: stirb in mir
27:07 VI. Recitatief: Doch meint es auch dabei
27:53 VII. Koor: Du süsse Liebe

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Contralto: Aafje Heynis
Organ: Albert de Klerk
Netherlands Chamber Orchestra & Chorus
Conductor: Anton Van Der Horst
Recorded in 1958
New mastering in 2022 by AB for CMRR
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Cantata BWV 169 dates from the third year of production in Leipzig (1725-1726). The unknown author of the libretto of this cantata develops the affirmation of Christ reported in the Gospel of Matthew: "Love Yahweh your God with all your heart, with all your soul and with all your mind: this is the greatest and first commandment." That is why the soloist sings "God alone must possess my heart." And this in spite of the seductions of the earthly world, which are nothing compared to the eternal bliss to which the faithful are promised. This love of God is the supreme good that must lead him to paradise. As the cantata "Herr Christ, der einge Gottessohn" BWV 96 for the same Sunday says, the Christian must die to the world by renouncing all its temptations. This is precisely the teaching repeated by the apostle John: Do not love either the world or the things in the world. If anyone loves the world, the love of the Father is not in him; because everything in the world the desire of the flesh and the desire of the eyes and the showy display of one's means of life does not originate with the Father, but originates with the world. Furthermore, the world is passing away and so is its desire, but the one who does the will of God remains forever (1 John 2: 15-16). But the faithful must also observe the second commandment, that of love of neighbor, which is only the corollary of the first. Love of God, love of neighbor, this is what the concluding chorale stanza implores for grace.

Like the other cantatas for solo voice from Bach's creative period, this one is very sober, but it is remarkable to observe the subtle differentiation in the composition of each piece, in terms of style and instrumental color, creating contrasts and renewing the expressive registers, and thus the interest and above all the attention of the listeners. A brilliant introduction is followed by three pieces, in turn arioso, aria and recitative, where the voice is supported only minimally, by the basso continuo or the organ. The chorus of three oboes falls silent after the initial sinfonia (except to support the singing of the final chorale), and it is not until the second aria (no. 5) that the strings intervene. The final chorale requires only four polyphonic voices for one minute.

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Other Album available // Bach: Brandenburg Concertos BWV 1046-1051 Szymon Goldberg
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Johann Sebastian Bach PLAYLIST (reference recordings): https://www.youtube.com/playlist?list=PL3UZpQL9LIxOLRwxl1dEfDrH3c8mX5UB1

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