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| movements = 6 | text_poet = Salomon Franck | chorale = by Ludwig Helmbold | vocal = choir and solo | instrumental = }} ''ドイツ語:O heilges Geist- und Wasserbad'' (O holy bath of Spirit and water), , is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Trinity Sunday and led the first performance on 16 June 1715. Bach had taken up regular cantata composition a year before when he was promoted to concertmaster at the Weimar court, writing one cantata per month to be performed in the ''ドイツ語:Schlosskirche'', the court chapel in the ducal ''Schloss''. ''ドイツ語:O heilges Geist- und Wasserbad'' was his first cantata for Trinity Sunday, the feast day marking the end of the first half of the liturgical year. The libretto by the court poet Salomo Franck is based on the day's prescribed gospel reading about the meeting of Jesus and Nicodemus. It is close in content to the gospel and connects the concept of the Trinity to baptism. The music is structured in six movements, alternating arias and recitatives, and scored for a small ensemble of four vocal parts, strings and continuo. The voices are combined only in the closing chorale, the fifth stanza of Ludwig Helmbold's hymn "ドイツ語:Nun laßt uns Gott dem Herren", which mentions scripture, baptism and the Eucharist, in a summary of the cantata's topic. Based on the text full of Baroque imagery, Bach composed a sermon in music, especially in the two recitatives for the bass voice, and achieved contrasts in expression. He led the first performance, and probably another on the Trinity Sunday concluding his first year as Thomaskantor in Leipzig on 4 June 1724. == Background == On 2 March 1714 Bach was appointed ''ドイツ語:Konzertmeister'' (concert master) of the Weimar ''ドイツ語:Hofkapelle'' (court chapel) of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. The position was created for him, possibly on his demand, giving him "a newly defined rank order" according to Christoph Wolff. From 1695, an arrangement shared the responsibility for church music at the ''ドイツ語:Schlosskirche'' (court church) between the ''ドイツ語:Kapellmeister'' Samuel Drese and the ''ドイツ語:Vize-Kapellmeister'' , who took care of one Sunday per month while the ''ドイツ語:Kapellmeister'' served on three Sundays. The pattern probably continued from 1704, when Strattner was succeeded by Drese's son Johann Wilhelm. When ''ドイツ語:Konzertmeister'' Bach also assumed the principal responsibility for one cantata a month, the ''ドイツ語:Kapellmeister's'' workload was further reduced to two Sundays per month. The performance venue on the third tier of the court church, in German called ''ドイツ語:Himmelsburg'' (Heaven's Castle), has been described by Wolff as "congenial and intimate", calling for a small ensemble of singers and players. Performers of the cantatas were mainly the core group of the ''ドイツ語:Hofkapelle'', formed by seven singers, three leaders and five other instrumentalists. Additional players of the military band were available when needed, and also town musicians and singers of the gymnasium. Bach as the concertmaster probably led the performances as the first violinist, while the organ part was played by Bach's students such as Johann Martin Schubart and Johann Caspar Vogler. Even in settings like chamber music, Bach requested a strong continuo section with cello, bassoon and violone in addition to the keyboard instrument. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「O heilges Geist- und Wasserbad, BWV 165」の詳細全文を読む スポンサード リンク
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