Johann Sebastian Bach, "Wachet auf, ruft uns die Stimme"

1. Chorus
Wachet auf, ruft uns die Stimme Der Wächter sehr hoch auf der Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heißt diese Stunde, Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohlauf, der Bräut'gam kömmt, Steht auf, die Lampen nehmt! Halleluja! Macht euch bereit zu der Hochzeit, Ihr müßet ihm entgegengehn!	Wake, arise, the voices call us Of watchmen from the lofty tower; Arise, thou town Jerusalem! Midnight's hour doth give its summons; They call to us with ringing voices; Where are ye prudent virgins now? Make haste, the bridegroom comes; Rise up and take your lamps! Alleluia! Prepare to join The wedding feast, Go forth to meet him as he comes!
2. Recitative
Er kommt, er kommt, Der Bräutgam kommt! Ihr Töchter Zions, kommt heraus, Sein Ausgang eilet aus der Höhe In euer Mutter Haus. Der Bräutgam kommt, der einem Rehe Und jungen Hirsche gleich Auf denen Hügeln springt Und euch das Mahl der Hochzeit bringt. Wacht auf, ermuntert euch! Den Bräutgam zu empfangen! Dort, sehet, kommt er hergegangen.	He comes, he comes, The bridegroom comes! O Zion's daughters, come ye forth, His journey hieth from the heavens Into your mother's house. The bridegroom comes, who to a roebuck And youthful stag is like, Which on the hills doth leap; To you the marriage meal he brings. Rise up, be lively now The bridegroom here to welcome! There, look now, thence he comes to meet you.
3. Duet
Sopran Wenn kömmst du, mein Heil? Bass Ich komme, dein Teil. Sopran Ich warte mit brennendem Öle. Sopran, Bass {Eröffne, Ich öffne} den Saal beide Zum himmlischen Mahl Sopran Komm, Jesu! Bass Komm, liebliche Seele!	Soul When com'st thou, my Savior? Jesus I'm coming, thy share. Soul I'm waiting with my burning oil. Soul, Jesus Now open the hall both For heaven's rich meal. Soul Come, Jesus! Jesus Come, O lovely soul!
4. Chorus
Zion hört die Wächter singen, Das Herz tut ihr vor Freuden springen, Sie wacht und stehet eilend auf. Ihr Freund kommt vom Himmel prächtig, Von Gnaden stark, von Wahrheit mächtig, Ihr Licht wird hell, ihr Stern geht auf. Nun komm, du werte Kron', Herr Jesu, Gottes Sohn! Hosianna! Wir folgen all' zum Freudensaal Und halten mit das Abendmahl.	Zion hears the watchmen singing, Her heart within for joy is dancing, She watches and makes haste to rise. Her friend comes from heaven glorious, In mercy strong, in truth most mighty, Her light is bright, her star doth rise. Now come, thou precious crown, Lord Jesus, God's own Son! Hosannah pray! We follow all To joy's glad hall And join therein the evening meal.
5. Recitative
So geh herein zu mir, Du mir erwählte Braut! Ich habe mich mit dir Von Ewigkeit vertraut. Dich will ich auf mein Herz, Auf meinem Arm gleich wie ein Siegel setzen Und dein betrübtes Aug ergötzen. Vergiß, o Seele, nun Die Angst, den Schmerz, Den du erdulden müssen; Auf meiner Linken sollst du ruhn, Und meine Rechte soll dich küssen.	So come within to me, Thou mine elected bride! I have myself to thee Eternally betrothed. I will upon my heart, Upon my arm like as a seal engrave thee And to thy troubled eye bring pleasure. Forget, O spirit, now The fear, the pain Which thou hast had to suffer; Upon my left hand shalt thou rest, And this my right hand shall embrace thee.
6. Duet
Seele Mein Freund ist mein, Bass Und ich bin dein, beide Die Liebe soll nichts scheiden. Seele, Bass Ich will(du sollst) mit dir(mir) in Himmels Rosen weiden, beide Da Freude die Fülle, da Wonne wird sein.	Soul My friend is mine, Jesus And I am thine, Both Let love bring no division. Soul, Jesus I will(You shall) graze with thee(me) on heaven's roses pasture, Both Where pleasure in fullness, where joy will abound.
7. Chorus
Gloria sei dir gesungen Mit Menschen- und mit Engelzungen, Mit Harfen und mit Zimbeln schön. Von zwölf Perlen sind die Pforten An deiner Stadt, wir sind Konsorten Der Engel hoch um deinen Thron. Kein Aug hat je gespürt, Kein Ohr hat mehr gehört Solche Freude. Das sind wir froh, i-o, i-o, Ewig in dulci jubilo.	Gloria to thee be sung now With mortal and angelic voices, With harps and with the cymbals, too. Of twelve pearls are made the portals; Amidst thy city we are consorts Of angels high around thy throne. No eye hath yet perceived, No ear hath e'er yet heard Such great gladness. Thus we find joy, Io, io, Ever in dulci jubilo!

Peter Maxwell Davies' Arrangements III

-- Liner Notes from 'Renaissance & Baroque Realisations' --

Johann Sebastian Bach
Prelude & Fugue in C-sharp minor
Prelude & Fugue in C-sharp major
Both from 'The 48' Book I
(unconducted chamber performances)

The C-sharp minor was realised in 1972 to precede a performance of the Schoenberg/Webern Kammersymphonie, Opus 9, whose home key is the relative E major. The C-sharp major came two years later as an 'advance companion-piece' to Maxwell Davies's own Ave Maris Stella (Unicorn-Kanchana UKCD 2038), which shares the same key-centre. Subsequently the Fires began to perform the two preludes and fugues as a unit.

The choice of these preludes and fugues is in part simply a sign of affection for them and partly a function of the original concert-pairings mentioned above - but it also relates to the particular resonance created by the keys of C-sharp major and minor when transferred from the keyboard, where they are already rare, to the instrumental combination used, and above all to the two stringed instruments.

The C-sharp minor prelude is notable for the frequent hocket-like division of melodic lines, particularly between the timbrally distinct flute and clarinet. In the fugue, the marimba takes its place as an absolutely equal voice in the texture.

Anyone who enjoys musical puzzles and detective-work will have a field-day with the Prelude and Fugue in C-sharp major. The orchestration of the prelude 'X-rays' the music to reveal cross-relationships with the fugue which are anywhere from implicit to non-existent in the original, while the fugue pokes fun at Webernesque Klangfarbenmelodie by segmenting the subject into three successive instrumental colours.

triumph of the overt

The Aviator is finally a watchable Scorcese film. The best of his in recent memory. Finally his actors are acting the breadth of the film.

Stokowsky's rendition of Bach's Organ Toccata is offered here in honor of a couple triumphant moments.

What is missing from many movies recently is any sort of mystique. Lucas is the real culprit of over-explanation, and even my beloved Jeunet is leaning towards the overt in his "Amelie II, the cute go to war," or better known as "A Very Long Engagement."

Listen to Badalamenti's "L'anniversaire d'Irvin" from "City of Lost Children." Angelo Badalamenti's oaken, and rose-garnished strings appear again in "A Very Long Engagement."