Falsche Welt, dir trau ich nicht (False world, I don't
trust you), BWV 52, is a church cantata by Johann
Sebastian Bach. He composed the solo cantata for
soprano in Leipzig for the 23rd Sunday after Trinity
and it was first performed on 24 November 1726.
Bach composed the cantata, a solo cantata for a
soprano, in 1726 in Leipzig for the 23rd Sunday after
Trinity. The prescribed readings for the Sunday were
from the Epistle to the Philippians, "our conversation
is in heaven" (Philippians...(+)
Falsche Welt, dir trau ich nicht (False world, I don't
trust you), BWV 52, is a church cantata by Johann
Sebastian Bach. He composed the solo cantata for
soprano in Leipzig for the 23rd Sunday after Trinity
and it was first performed on 24 November 1726.
Bach composed the cantata, a solo cantata for a
soprano, in 1726 in Leipzig for the 23rd Sunday after
Trinity. The prescribed readings for the Sunday were
from the Epistle to the Philippians, "our conversation
is in heaven" (Philippians 3:17–21), and from the
Gospel of Matthew, the question about paying taxes,
answered by "Render unto Caesar..." (Matthew
22:15–22). The unknown poet takes from the gospel the
idea that the world is false and that man should
concentrate on God. He refers to the murder of Abner by
Joab, described in 2 Samuel 3:27, as an example for the
world's falseness. The closing chorale is the first
verse of Adam Reusner's "In dich hab ich gehoffet,
Herr" (1533). The beginning line is the last idea of
the "Te Deum". Bach used verse 4 of the chorale, "Mir
hat die Welt trüglich gericht't", in his St Matthew
Passion.
The cantata is set for just one singer, but the
instrumentation is rich. Similar to other cantatas of
the later Leipzig period, Bach used an instrumental
movement from an earlier period as a sinfonia, in this
case the opening movement of his first Brandenburg
Concerto, dominated by horns and oboes, in its early
version without a violino piccolo. In the first aria
the soprano is accompanied by two violins, in the
second aria of dance character, by three oboes.
The two horns of the sinfonia return in the closing
chorale, horn 1 supporting the soprano, horn 2 playing
a fifth part.
Although originally scored for a soprano soloist, a
four-part choir (only for the final chorale), two
horns, three oboes, bassoon, two violins, viola, and
basso continuo, I created this arrangement for Winds (2
French Horns, Flute, Oboe & Bb Clarinet) & Strings (2
Violins, Viola & Cello).
PARTITION