Wachet! betet! betet! wachet! BWV 70

Schlosskirche Weimar 1660

Wachet! betet! betet! wachet!, BWV 70, is a church cantata by Johann Sebastian Bach. It was composed in Leipzig for the 27th Sunday after Trinity and was first performed on 21 November 1723. The cantata is based on an earlier work, BWV 70a, which Bach composed in Weimar in 1716.

History and Context[edit | edit source]

The original version of the cantata, BWV 70a, was written for the Second Sunday of Advent in Weimar. When Bach moved to Leipzig, he expanded the cantata to fit the liturgical requirements of the 27th Sunday after Trinity. This involved adding four new movements and reworking the existing ones to create a more elaborate structure.

Structure and Scoring[edit | edit source]

The cantata is scored for four-part choir, soloists (soprano, alto, tenor, and bass), and an orchestra consisting of trumpets, timpani, oboes, strings, and continuo. The work is divided into two parts, intended to be performed before and after the sermon.

Movements[edit | edit source]

The cantata consists of the following movements:

Chorus: Wachet! betet! betet! wachet!
Recitative (tenor): Er kommt, er kommt, der Bräutigam kommt!
Aria (bass): Wenn kömmt der Tag, an dem wir ziehen
Recitative (alto): Er kommt, er kommt, der Bräutigam kommt!
Aria (tenor): Hebt euer Haupt empor
Recitative (bass): Ach, soll nicht dieser große Tag
Aria (soprano): Laßt der Spötter Zungen schmähen
Recitative (alto): Jedoch bei dem unartigen Geschlechte
Chorale: Freu dich sehr, o meine Seele

Text[edit | edit source]

The text of the cantata is based on a combination of biblical passages and hymns. The opening chorus and several of the recitatives emphasize the themes of vigilance and prayer, reflecting the Gospel of Matthew's parable of the Ten Virgins.

Musical Features[edit | edit source]

The cantata opens with a dramatic chorus that sets the tone for the entire work. The use of trumpets and timpani adds a festive and urgent character. The arias and recitatives that follow explore various aspects of the Christian anticipation of the Second Coming.

Performance History[edit | edit source]

Wachet! betet! betet! wachet! has been performed and recorded by numerous ensembles and conductors. It remains a significant part of the Bach cantata repertoire and is frequently included in liturgical and concert settings.