Cantata 149 was composed most likely for the Feast of St. Michael the Archangel in 1728, and it’s considered a “sister” cantata to BWV 19 for the same occasion in 1726 (which we listened to last year).
Its libretto, by C. F. Henrici (Picander), is based on one of the readings for the day, from the book of Revelation (or Apocalypse), chapter 12, verses 7-12. The reading describes a “war in Heaven” in which Michael and his angels fight and defeat the dragon, who is banished from Heaven and falls to earth. The opening movement is a direct quote from Psalms 118 (15-16), and the closing chorale is a text by Martin Schalling from 1571.
St. Michael’s was a major feast in Bach’s times, so the occasion called for a big scale work with typical celebratory forces: 3 trumpets, timpani, 3 oboes, bassoon, strings, 4-part choir and continuo.
For the opening, Bach parodied the final movement of a secular cantata, BWV 208 (“Hunt Cantata”), replacing the hunting horns for trumpets and changing the key from F (home for the horns) to D, which is comfortable for the trumpets and a typical key for festive music. Given the celebratory character of the Hunt Cantata’s final verses, the casting of the music to the new text resulted in a very successful parody, with only some minor clues to its secular origins, like the mostly homophonic delivery of the text and the da capo structure. Particularly interesting is the dialog between the bassoon and the first trumpet, audible right from the outset as the bassoon responds to the trumpet call.
All other movements of the cantata are either original or very successful parodies of music now lost.
The second movement is a bass aria with continuo, with a couple of interesting characteristics: a simpler continuo line for the violone paired with a more elaborate and agile one which can be taken by the cello or the bassoon. The wide range of motifs on the continuo line could be a nod to the “power and might” reference in the text.
Then, an alto secco recitative alludes to the angels of God protecting the believer, which leads to a soprano aria with strings illustrating this protection in a gentle 3/8 meter. The aria includes interesting word-painting, like sustained long notes for “schlafe” (“sleep”) contrasted immediately with sharp chords on “wachet sie” (“stand watch”), or strings of appoggiaturas to represent the angels’ hands.
Next, a secco recitative for the tenor expresses thanks and repentance, with a clever illustration of the angel carrying the believer into Heaven using an ascending scale at the end.
The recitative leads to a fascinating aria/duet for the tenor and alto, accompanied by solo bassoon. The text again refers to angels guarding the believer’s sleep, and the animated bassoon line, with its special color, could represent the activity of the guardians at night.
The final chorale closes with a surprise fanfare of the trumpets (and bassoon) at the very end, as a shining star adorning the whole cantata.
