"Ich habe genug" (BWV 8Ich habe genug (original: Ich
habe genung, English: "I have enough" or "I am
content"), BWV 82, is a church cantata by Johann
Sebastian Bach. He composed the solo cantata for bass
in Leipzig in 1727 for the Feast Mariae Reinigung
(Purification of Mary) and first performed it on 2
February 1727. In a version for soprano, BWV 82a,
possibly first performed in 1731, the part of the
obbligato oboe is replaced by a flute. Part of the
music appears in the Notebook for Anna Magdal...(+)
"Ich habe genug" (BWV 8Ich habe genug (original: Ich
habe genung, English: "I have enough" or "I am
content"), BWV 82, is a church cantata by Johann
Sebastian Bach. He composed the solo cantata for bass
in Leipzig in 1727 for the Feast Mariae Reinigung
(Purification of Mary) and first performed it on 2
February 1727. In a version for soprano, BWV 82a,
possibly first performed in 1731, the part of the
obbligato oboe is replaced by a flute. Part of the
music appears in the Notebook for Anna Magdalena Bach.
The work is often performed and the most frequently
recorded of all the Bach cantatas.
Bach composed the cantata in his fourth year in Leipzig
for the feast Purification of Mary. The extant
autograph score and the parts show that he performed it
at least three more times, in a version for soprano,
BWV 82a, the first possibly in 1731 or even as early as
1730, another version for soprano in 1735; and again
for bass, with minor changes to the original version,
after 1745. Bach obviously had a high regard for this
work. The first recitative and most of the aria
Schlummert ein were copied to the Notebook for Anna
Magdalena Bach in a version with continuo
accompaniment, presumably entered by Anna Magdalena
Bach for her own use. Other cantatas that Bach
performed for the occasion are, according to Alfred
Dürr, Komm, du süße Todesstunde, BWV 161, Ich lasse
dich nicht, du segnest mich denn, BWV 157, and Der
Friede sei mit dir, BWV 158, with similar topics.
In the first version of the cantata, the choice of the
bass voice probably illustrates the old man Simeon. The
soprano voice shows more clearly that the situation
applies to that of any believer.
The first movement, an aria, begins with an expressive
melody of the obbligato oboe which is picked up by the
voice on the words Ich habe genug (I have enough). The
beginning upward leap of a minor sixth is reminiscent
of the aria Erbarme dich (Have mercy) in Bach's St
Matthew Passion and the aria Wenn kömmst du, mein
Heil? (When will you come, my salvation?) from Wachet
auf, ruft uns die Stimme, BWV 140. The first motif is
changed to a phrase that appears at the end of three
vocal sections. A similar motif begins the middle
section on the words Ich hab ihn erblickt (I have seen
him), turning upwards in the end. Klaus Hofmann notes a
"feeling of serene contentedness with life" in "elegiac
tones" as the aria's expression. Musicologist Julian
Mincham notes "that instant when body and soul come to
rest and are resigned and in complete harmony. Bach
encapsulates this experience of peace and acquiescent
submission beyond anything that mere words can convey."
He sees the "flowing oboe arabesques", which the singer
imitates twice on the word Freude (joy) as a "clear
indication that their expressive function is to
proclaim the Christian's personal bliss, an
inextricable element of this important experience of
life".
The following recitative begins with the same words as
the aria, Ich habe genug, on a new melody. The middle
section stresses the words Laßt uns mit diesem Manne
ziehn! (Let us go with this man!), speaking of
following Jesus, by an arioso in which the continuo
follows the singer.
The central aria Schlummert ein, ihr matten Augen (Fall
asleep, you weary eyes) is a "Schlummer-Arie" (slumber
aria). In a complex structure, it is not only a da capo
aria of three sections framed by a ritornello of the
strings, but repeats the first section in the center of
the middle section. Frequent use of pedal point
suggests rest, fermatas stop the forward motion, as
described by Mincham who writes, "The frequent pauses,
where everything temporarily comes to a standstill, are
suggestive of that peaceful closing of life where there
is no activity and disorder is a thing of the
past".
A short secco recitative, Mein Gott! wenn kömmt das
schöne: Nun! (My God! When will the lovely 'now!'
come) ends with a downward continuo line, suggesting
both "taking one's leave and being lowered into the
welcoming grave".
The concluding aria is a joyful dance, anticipating
death as the fulfilment of desire, Ich freue mich auf
meinen Tod (I am looking forward to my death). The
"joyful longing for the hereafter" is expressed by
"agile coloraturas that characterize the entire
movement". Mincham notes that the final aria
corresponds to the first in similarity of the scoring
with the obbligato instrument, key, and triple time.
The final aria is faster, marked "vivace". The text
first treats the "joy of anticipation of death and the
desire for it to happen imminently", then, treated in
the middle section, the "conviction that death will
release us from the misery of the world to which we
have been chained".
Although originally scored for bass, oboe, two violins,
viola, and basso continuo, I created this arrangement
for Flute, Bassoon & Strings (2 Violins, Viola &
Cello).
PARTITION