Bach composed the cantata Stay with us, for it draws on toward evening BWV 6 for Easter Monday 1725. In fact, it is certain that a chorale cantata had been planned for that feast day, but for some unknown reason, the annual cycle of chorale cantatas broke off just before Easter 1725. For BWV 6, Bach fell back on a text by an author whose texts he had already set numerous times in his first Leipzig annual cycle of cantatas (which are conspicuous by their ever constant structure and use of two chorale settings). From the gospel for Easter Monday, the story of the Emmaus disciples, only the disappearing daylight and the fear of being left alone are made the subject of discussion. A truly magnificent choral movement opens the cantata. The first chorale for soprano and violoncello piccolo, which Bach later included in his "Schübler-Choräle," is also well-known outside of the cantata.
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)1 CoroStay with us, for it draws on toward evening
2 Aria
and the day is almost ended.O exalted Son of God,
3 Choral
though we dare to come before thee,
may our boldness not offend.
For one favour we implore thee:
Stay and be our blessed light,
for the darkness comes this night.O stay with us, Lord Jesus Christ,
Lord, in these hard and troubled days,
for evening comes and day is past;
thy holy word, the heav’nly light,
may we keep ever burning bright.
grant faithfulness in all our ways,
that wethy word and sacrament
may keep unspotted till our end. 4 Recitativo...
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)1 Coro
Bleib bei uns denn es will Abend werden,
2 Aria (Solo A)
und der Tag hat sich geneiget.Hochgelobter Gottessohn,
3 Choral
lass es dir nicht sein entgegen,
dass wir itzt vor deinem Thron
eine Bitte niederlegen:
Bleib, ach bleibe unser Licht,
weil die Finsternis einbricht.Ach bleib bei uns, Herr Jesu Christ,
weil es nun Abend worden ist,
dein göttlich Wort, das helle Licht,
lass ja bei uns auslöschen nicht.In dieser letzt’n betrübten Zeit
4 Recitativo
Verleih uns, Herr, Beständigkeit,
dass wir dein Wort und Sacrament,
rein b’halten bis an unser End....
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Postscript of the Edition Carus 31.006/03
Karin Wollschläger
Translation: David KosvinerBach composed the cantata Bleib bei uns, denn es will Abend werden (Stay with us, for it draws on toward evening) BWV 6 for Easter Monday, which fell on 2 April in 1725. He had completed the annual cycle of chorale cantatas immediately previously and then, with BWV 6, returned to the style and language of the first annual cycle of cantatas. Bach later assigned the work to the third annual cycle. The beginning of the Easter Monday Gospel reading (Luke 24:13–35) is the basis for the text of the opening choral movement and provides the name for the whole cantata. The rest of the cantata’s libretto is comprised of three chorale verses by Philipp Melanchton and Nicolaus Selnecker (no. 3) as well as Martin Luther (no. 6) and madrigal-like poetry by an unknown author (nos. 2, 4, 5). It ties up with the themes of light and darkness which are already present in the Gospel text. The form of the opening choral movement is based on the French overture. In the first slow section, the winds (two oboes and an oboe da caccia) introduce the principal motive, which is suffused with sighs, over gentle note repetitions in the upper strings; this
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Nachwort der Ausgabe Carus 31.006/03
Karin Wollschläger
Bach komponierte die Kantate Bleib bei uns, denn es will Abend werden BWV 6 für Ostermontag, den 2. April 1725. Unmittelbar zuvor hatte er den Choralkantatenjahrgang beendet und wandte sich nun mit BWV 6 wieder der Formensprache des ersten Kantatenjahrganges zu. Bach hat das Werk dann später dem dritten Jahrgang zugeordnet. Der Beginn des Ostermontagsevangeliums (Lk 24,13–35) ist Textgrundlage des einleitenden Chorsatzes und damit Namensgeber für die gesamte Kantate. Das weitere Kantatenlibretto setzt sich aus drei Choralstrophen von Philipp Melanchton und Nicolaus Selnecker (Nr. 3) sowie Martin Luther (Nr. 6) und der madrigalischen Dichtung eines unbekannten Autors (Nr. 2, 4, 5) zusammen. Es knüpft an die Licht- und Dunkelheit-Thematik an, die bereits im Evangelientext angelegt ist. Der einleitende Chorsatz ist formal an die französische Ouvertüre angelehnt. Im ersten langsamen Teil führen die Bläser (zwei Oboen und eine Oboe da caccia) über weichen Tonrepetitionen der hohen Streicher das von Seufzern durchzogene Hauptmotiv ein, das später vom Chor übernommen wird. Im schnellen Mittelteil verleiht das strenge Fugieren des „denn es will Abend werden und der Tag
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Composer
Johann Sebastian Bach
| 1685-1750Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.
Bach vocal
Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details
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Editor
Reinhold Kubik
| 1942
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Continuo realization
Reinhold Kubik
| 1942
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Preface writer
Karin Wollschläger
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Translator
Jean Lunn
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