View source for Ach wie flüchtig, ach wie nichtig, BWV 26

{{Short description|Church cantata by Johann Sebastian Bach}}
{{Infobox Bach composition
| name                 = {{lang|de|Ach wie flüchtig, ach wie nichtig}}
| bwv                   = 26
| image                 = Michael Franck.jpg
| caption               = Michael Franck, author of the hymn's text and melody
| type                  = [[Chorale cantata cycle|Chorale cantata]]
| occasion              = 24th Sunday after [[Trinity Sunday|Trinity]]
| performed             = {{Start date|1724|11|19|df=y}}
| movements             = 6
| chorale               = {{based on|"{{langr|de|[[Ach wie flüchtig, ach wie nichtig]]}}"|[[Michael Franck]]}}
| vocal                 = [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] choir and solo
| instrumental          = {{hlist | horn | flauto traverso | 3 oboes | 2 violins | viola | organ | continuo }}
}}
'''{{lang|de|Ach wie flüchtig, ach wie nichtig}}''' (Ah, how fleeting, ah how insignificant),<ref name="Dellal" /> '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}26''', is a [[Bach cantata|church cantata]] by [[Johann Sebastian Bach]]. He composed the [[Chorale cantata (Bach)|chorale cantata]] in [[Leipzig]] for the 24th Sunday after [[Trinity Sunday|Trinity]] and first performed it on 19 November 1724.
The cantata is based upon the [[hymn]] "{{langr|de|[[Ach wie flüchtig, ach wie nichtig]]}}", versed and composed by [[Michael Franck]] in 1652. The tune was later edited by [[Johann Crüger]]. It is the only time Bach used this hymn, except BWV 644 ([[Orgelbüchlein]]). Its [[Theme (narrative)|theme]], the transience of human life, is the only connection to the prescribed gospel reading. The first and last [[stanza]] are used unchanged in both text and tune: the former is treated as a [[chorale fantasia]], the latter as a four-part closing chorale. An unknown [[Libretto|librettist]] paraphrased the inner stanzas as [[aria]]s and [[recitative]]s. Bach scored the cantata for four vocal soloists, a [[SATB|four-part choir]], and a [[Baroque instruments|Baroque instrumental]] ensemble of horn, flute, three oboes, strings and continuo.
{{TOC limit|2}}
== History and words ==
Bach wrote the cantata in 1724 in his second year in Leipzig for the [[List of church cantatas by liturgical occasion#24th Sunday after Trinity (Trinity XXIV)|24th Sunday after Trinity]].<ref name="Dürr" /> That year, Bach composed a [[chorale cantata cycle]], begun on the first Sunday after [[Trinity Sunday|Trinity]].<ref name="Wolff" /> The prescribed readings for the Sunday were from the [[Epistle to the Colossians]], a prayer for the Colossians ({{Sourcetext|source=Bible|version=King James|book=Colossians|chapter=1|verse=9|range=–14}}), and from the [[Gospel of Matthew]], the story of the [[Raising of Jairus' daughter]] ({{Sourcetext|source=Bible|version=King James|book=Matthew|chapter=9|verse=18|range=–26}}). The cantata is based on "[[Ach wie flüchtig, ach wie nichtig]]", a hymn in 13 [[stanza]]s by [[Michael Franck]] (1652),<ref name="chorale text" /> to a melody by [[Johann Crüger]] (1661),<ref name="chorale melody" /> "a meditation on the transience of human life and of all earthly goods".<ref name="Hofmann" /> This aspect is the only connection to the gospel. An unknown poet retained the first and the last stanza unchanged the outer [[Movement (music)|movement]]s 1 and 6 of the cantata. He derived the four inner movements as a sequence of alternating [[aria]]s and [[recitative]]s from the inner stanzas.<ref name="Wolff" /> [[John Eliot Gardiner]] points out that "several of Bach's late Trinity season cantatas" concentrate on "the brevity of human life and the futility of earthly hopes".<ref name="Gardiner" />
Bach first performed the cantata on 19 November 1724.<ref name="Wolff" /> It is the only time that he used this hymn.<ref name="Mincham" />
== Music ==
=== Scoring and structure ===
Bach structured the cantata in six [[Movement (music)|movements]]. The text and tune of the hymn appear unchanged in the outer choral movements, a [[chorale fantasia]] and a four-part closing chorale, which frame a sequence of alternating [[aria]]s and [[recitative]]s. Bach scored the work for four vocal soloists ([[soprano]], [[alto]], [[tenor]], [[Bass (voice type)|bass]]), a [[SATB|four-part choir]] and a [[Baroque instruments|Baroque instrumental]] ensemble of a [[Natural horn|horn]] (Co) doubling the soprano in the chorale, [[flauto traverso]] (Ft), three [[oboe]]s (Ob), two [[violin]]s (Vl), [[viola]] (Va), [[Organ (music)|organ]] (Org) and [[basso continuo]].<ref name="Bischof" /> <!-- The title page of the autograph score reads: ""<ref name="Grob" /> -->
In the following table of the movements, the scoring follows the [[Neue Bach-Ausgabe]].<ref name="Bischof" /> The [[Key (music)|keys]] and [[time signature]]s are taken from [[Alfred Dürr]], using the symbol for common time (4/4).<ref name="Dürr" />
{{Classical movement header | show_text_source = yes | work = ''Ach wie flüchtig, ach wie nichtig'' | instruments1 = Winds | instruments2 = Strings | instruments3 = Others }}
{{Classical movement row
| id = m1
| number = [[#1|1]]
| title = {{langr|de|Ach wie flüchtig, ach wie nichtig}}
| text_source = [[Michael Franck|Franck]]
| type = Chorale fantasia
| vocal = SATB
| instruments1 = {{nowrap|Co Ft 3Ob}}
| instruments2 = 2Vl Va
| instruments3 = Org Bc
| key = {{nowrap|[[A minor]]}}
| time = {{music|common-time}}
}}
{{Classical movement row
| id = m2
| number = [[#2|2]]
| title = {{langr|de|So schnell ein rauschend Wasser schießt}}
| text_source = anon.
| type = Aria
| vocal = T
| instruments1 = Ft
| instruments2 = Vl
| instruments3 = Org Bc
| key = [[C major]]
| time = 6/8
}}
{{Classical movement row
| id = m3
| number = [[#3|3]]
| title = {{langr|de|Die Freude wird zur Traurigkeit}}
| text_source = anon.
| type = Recitative
| vocal = A
| instruments1 =
| instruments2 =
| instruments3 = Org Bc
| key =
| time = {{music|common-time}}
}}
{{Classical movement row
| id = m4
| number = [[#4|4]]
| title = {{langr|de|An irdische Schätze das Herze zu hängen}}
| text_source = anon.
| type = Aria
| vocal = B
| instruments1 = 3Ob
| instruments2 =
| instruments3 = Org Bc
| key =
| time = {{music|common-time}}
}}
{{Classical movement row
| id = m5
| number = [[#5|5]]
| title = {{langr|de|Die höchste Herrlichkeit und Pracht}}
| text_source = anon
| type = Recitative
| vocal = S
| instruments1 =
| instruments2 =
| instruments3 = Org Bc
| key = [[E minor]]
| time = {{music|common-time}}
}}
{{Classical movement row
| id = m6
| number = [[#6|6]]
| title = {{langr|de|Ach wie flüchtig, ach wie nichtig}}
| text_source = [[Michael Franck|Franck]]
| type = Chorale
| vocal = SATB
| instruments1 = Co Ft 3Ob
| instruments2 = 2Vl Va
| instruments3 = Org Bc
| key = A minor
| time = {{music|common-time}}
}}
{{End}}
=== Music ===
{{anchor|1}}
The opening chorus, "{{langr|de|Ach wie flüchtig, ach wie nichtig}}" (Ah, how fleeting, ah how insignificant),<ref name="Dellal" /> is a [[chorale fantasia]]. The instruments play concertante music, to which the soprano sings the [[cantus firmus]] line by line. The lower voices act as a "self-contained group", mostly in [[homophony]], and "declaim the individual lines of text in unison at the end of each choral passage, using a melodic formula derived from the beginning of the hymn." Bach illustrates the imagery of the text, "fleetingness and insubstantiality" in [[Motif (music)|motifs]] such as "abrupt chords separated by pauses and&nbsp;... hurrying scale figures".<ref name="Hofmann" /> Gardiner comments: {{blockquote|Long before the first statement of Franck's hymn (sopranos doubled by cornetto) Bach establishes the simile of man's life to a rising mist which will soon disperse. Fleet-footed scales, crossing and recrossing, joining and dividing, create a mood of phantasmal vapour.<ref name="Gardiner" />}} The [[Musicology|musicologist]] Julian Mincham compares the instrumental music to "mist and fog, images which imply movements of wind and air" and hears the lower voices as "evincing a feeling of primeval power and solidarity".<ref name="Mincham" />
{{anchor|2}}
In the first aria, the text "{{langr|de|So schnell ein rauschend Wasser schießt}}" (As quickly as rushing water)<ref name="Dellal" /> is illustrated in the flute, the violin and the tenor voice by "fast-flowing" music,<ref name="Hofmann" /> "each musician required to keep changing functions – to respond, imitate, echo or double one another – while variously contributing to the insistent onwardness of the tumbling torrent".<ref name="Gardiner" />
{{anchor|3}}
In a recitative for alto, "{{langr|de|Die Freude wird zur Traurigkeit}}" (Joy becomes sadness),<ref name="Dellal" /> images such as flowers speak of transience until the grave.<ref name="Mincham" /> The Bach scholar [[Klaus Hofmann]] describes it as a "far-reaching coloratura [which] culminates in an uneasy dissonance".<ref name="Hofmann" />
{{anchor|4}}
In the last aria, an "unusual oboe trio"<ref name="Wolff" /> accompanies the bass voice in "{{langr|de|An irdische Schätze das Herze zu hängen}}" (To hang one's heart on earthly treasures).<ref name="Dellal" /><ref name="Wolff" /> Gardiner comments: "He scores this [[Danse Macabre|Totentanz]] (Dance of the dead) for three oboes and continuo supporting his bass soloist in a mock [[bourrée]]", the oboes undermining in "throbbing accompaniment&nbsp;... those earthly pleasures by which men are seduced", then representing "through jagged figures&nbsp;... the tongues of flame which will soon reduce them to ashes, and finally in hurtling semiquaver scales of 6/4 chords&nbsp;... surging waves which will tear all worldly things apart".<ref name="Gardiner" /> Mincham sees a connection of the runs to those of movement 1, but points out how different their function is here: {{blockquote|now depicting thunder flames, stormy seas and the destruction of the world. The descending scales played in unison by the three oboes have great force. The vocalist has several prominent images, notably the long [[melisma]] on the word "{{langr|de|zerschmettert}}" (shatter) and the weird, descending chromatic phrase towards the end, suggestive of a world of chaos and foolishness.<ref name="Mincham" />}}
{{anchor|5}}
A recitative for soprano, "{{langr|de|Die höchste Herrlichkeit und Pracht}}" (The highest glory and magnificence),<ref name="Dellal" /> expresses that even highest power will not escape death.<ref name="Mincham" />
{{anchor|6}}
The closing chorale, "{{langr|de|Ach wie flüchtig, ach wie nichtig}}" (Ah, how fleeting, ah how insignificant),<ref name="Dellal" /> is a four-part setting.<ref name="Dürr" />
== Recordings ==
The listing is taken from the selection on the Bach Cantatas Website.<ref name="Oron" /> Instrumental groups playing period instruments in [[historically informed performance]]s are highlighted green under the header {{abbr|Instr.|Type of instruments}}.
{{Cantata discography header|work=''Ach wie flüchtig, ach wie nichtig'' | instruments={{abbr|Instr.|Type of instruments}}}}
{{Cantata discography row
| id = Werner
| title = {{lang|fr|Les Grandes Cantates de J. S. Bach Vol. 10}}
| conductor = {{sortname|Fritz|Werner}}
| choir = [[Heinrich-Schütz-Chor Heilbronn]]
| orchestra = [[Pforzheim Chamber Orchestra]]
| soloists = {{plainlist|
* [[Friederike Sailer]]
* [[Claudia Hellmann]]
* [[Helmut Krebs]]
* [[Erich Wenk]]
}}
| label = [[Erato Records|Erato]]
| year = {{Start date|1961}}
| orchestra_type = Chamber
}}
{{Cantata discography row
| id = Richter
| title = ''Bach Cantatas Vol. 5 – Sundays after Trinity II''
| conductor = {{sortname|Karl|Richter|dab=conductor}}
| choir = [[Münchener Bach-Chor]]
| orchestra = [[Münchener Bach-Orchester]]
| soloists = {{plainlist|
* [[Ursula Buckel]]
* [[Hertha Töpper]]
* [[Ernst Haefliger]]
* [[Theo Adam]]
}}
| label = [[Archiv Produktion]]
| year = {{Start date|1966}}
| orchestra_type =
}}
{{Cantata discography row
| id = Hellmann
| title = ''Bach Kantaten, Vol. 2: BWV 26, BWV 62, BWV 191''
| conductor = {{sortname|Diethard|Hellmann}}
| choir = [[Bachchor Mainz]]
| orchestra = [[Bachorchester Mainz]]
| soloists = {{plainlist|
* [[Herrat Eicker]]
* [[Marie-Luise Gilles]]
* [[Alexander Young (tenor)|Alexander Young]]
* [[Siegmund Nimsgern]]
}}
| label = DdM-Records Mitterteich 1968
| year = {{Start date|1968}}
| orchestra_type =
}}
{{Cantata discography row
| id = Harnoncourt
| title = ''J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 7''
| conductor = {{sortname|Nikolaus|Harnoncourt}}
| choir = {{plainlist|
* [[Wiener Sängerknaben]]
* [[Chorus Viennensis]]
}}
| orchestra = [[Concentus Musicus Wien]]
| soloists = {{plainlist|
* soloist of the [[Wiener Sängerknaben]]
* [[Paul Esswood]]
* [[Kurt Equiluz]]
* [[Siegmund Nimsgern]]
}}
| label = [[Teldec]]
| year = {{Start date|1973}}
| orchestra_type = Period
}}
{{Cantata discography row
| id = Rotzsch
| title = ''Bach Made in Germany Vol. 4 – Cantatas V''
| conductor = {{sortname|Hans-Joachim|Rotzsch}}
| choir = [[Thomanerchor]]
| orchestra = [[Gewandhausorchester]]
| soloists = {{plainlist|
* [[Regina Werner]]
* [[Rosemarie Lang]]
* [[Peter Schreier]]
* {{nowrap|[[Hermann Christian Polster]]}}
}}
| label = Eterna
| year = {{Start date|1977}}
| orchestra_type =
}}
{{Cantata discography row
| id = Richter 1978
| title = ''J. S. Bach: Kantaten/Cantatas BWV 80, BWV 26, BWV 116''
| conductor = {{sortname|Karl|Richter|dab=conductor}}
| choir = [[Münchener Bach-Chor]]
| orchestra = [[Münchener Bach-Orchester]]
| soloists = {{plainlist|
* [[Edith Mathis]]
* [[Trudeliese Schmidt]]
* [[Peter Schreier]]
* {{nowrap|[[Dietrich Fischer-Dieskau]]}}
}}
| label = [[Archiv Produktion]]
| year = {{Start date|1978}}
| orchestra_type =
}}
{{Cantata discography row
| id = Rilling
| title = {{lang|de|Die Bach Kantate Vol. 59}}
| conductor = {{sortname|Helmuth|Rilling}}
| choir = [[Gächinger Kantorei]]
| orchestra = [[Bach-Collegium Stuttgart]]
| soloists = {{plainlist|
* [[Arleen Augér]]
* [[Doris Soffel]]
* [[Adalbert Kraus]]
* [[Philippe Huttenlocher]]
}}
| label = [[Hänssler Classic|Hänssler]]
| year = {{Start date|1980}}
| orchestra_type =
}}
{{Cantata discography row
| id = Leusink
| title = ''Bach Edition Vol. 11 – Cantatas Vol. 5''
| conductor = {{sortname|Pieter Jan|Leusink}}
| choir = [[Holland Boys Choir]]
| orchestra = [[Netherlands Bach Collegium]]
| soloists = {{plainlist|
* [[Ruth Holton]]
* [[Sytse Buwalda]]
* [[Nico van der Meel]]
* [[Bas Ramselaar]]
}}
| label = [[Brilliant Classics]]
| year = {{Start date|1999}}
| orchestra_type = Period
}}
{{Cantata discography row
| id = Gardiner
| title = ''Bach Cantatas Vol. 19: Greenwich/Romsey''
| conductor = {{sortname|John Eliot|Gardiner}}
| choir = [[Monteverdi Choir]]
| orchestra = [[English Baroque Soloists]]
| soloists = {{plainlist|
* [[Joanne Lunn]]
* [[William Towers (countertenor)|William Towers]]
* [[Paul Agnew]]
* [[Peter Harvey (bass)|Peter Harvey]]
}}
| label = [[Soli Deo Gloria (record label)|Soli Deo Gloria]]
| year = {{Start date|2000}}
| orchestra_type = Period
}}
{{Cantata discography row
| id = Koopman
| title = ''J. S. Bach: Complete Cantatas Vol. 14''
| conductor = {{sortname|Ton|Koopman}}
| orchestra = [[Amsterdam Baroque Orchestra & Choir]]
| soloists = {{plainlist|
* [[Lisa Larsson]]
* [[Annette Markert]]
* [[Christoph Prégardien]]
* [[Klaus Mertens]]
}}
| label = [[Antoine Marchand]]
| year = {{Start date|2000}}
| orchestra_type = Period
}}
{{Cantata discography row
| id = Suzuki
| title = ''J. S. Bach: Cantatas Vol. 28  – Cantatas from Leipzig 1724''
| conductor = {{sortname|Masaaki|Suzuki}}
| orchestra = [[Bach Collegium Japan]]
| soloists = {{plainlist|
* [[Yukari Nonoshita]]
* [[Robin Blaze]]
* [[Makoto Sakurada]]
* [[Peter Kooy]]
}}
| label = [[BIS Records|BIS]]
| year = {{Start date|2004}}
| orchestra_type = Period
}}
{{End}}
== References ==
{{reflist | 30em
| refs =
<ref name="Bischof">{{cite web
| last = Bischof
| first = Walter F.
| url = http://webdocs.cs.ualberta.ca/~wfb/cantatas/26.html
| title = BWV 26 Ach wie flüchtig, ach wie nichtig
| publisher = [[University of Alberta]]
| access-date = 12 November 2015
}}</ref>
<ref name="Dellal">{{cite web
| last = Dellal
| first = Pamela
| author-link = Pamela Dellal
| url = https://www.emmanuelmusic.org/bach-translations/bwv-26
| title = BWV 26&nbsp;– Ach wie flüchtig, ach wie nichtig
| publisher = [[Emmanuel Music]]
| access-date = 20 August 2022
}}</ref>
<ref name="Dürr">{{cite book
| last = Dürr
| first = Alfred
| author-link = Alfred Dürr
| title = Die Kantaten von Johann Sebastian Bach
| year = 1981
| publisher = Deutscher Taschenbuchverlag
| isbn = 3-423-04080-7
| volume = 1
| edition = 4
| pages = [https://archive.org/details/diekantatenvonjo0002durr/page/520 520–522]
| language = de
| url = https://archive.org/details/diekantatenvonjo0002durr/page/520
}}</ref>
<ref name="Gardiner">{{Cite AV media notes
| last = Gardiner
| first = John Eliot
| author-link = John Eliot Gardiner
| url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG115
| title = Johann Sebastian Bach (1685-1750) / Cantatas Nos 3, 13, 14, 26, 81 & 155
| publisher = [[Soli Deo Gloria (record label)|Soli Deo Gloria]] (at [[Hyperion Records]] website)
| year = 2006
| access-date = 19 January 2019
}}</ref>
<ref name="Hofmann">{{cite web
| last = Hofmann
| first = Klaus
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C28c%5BBIS-SACD1451%5D.pdf
| title = Ach wie flüchtig, ach wie nichtig, BWV 26 / Ah how fleeting, ah how trivial
| publisher = Bach Cantatas Website
| page = 8
| year = 2004
| access-date = 14 November 2012
}}</ref>
<ref name="Mincham">{{cite web
| last = Mincham
| first = Julian
| url = http://www.jsbachcantatas.com/documents/chapter-25-bwv-26
| title = Chapter 25 Bwv 26 – The Cantatas of Johann Sebastian Bach
| publisher = The Cantatas of Johann Sebastian Bach
| year = 2010
| access-date = 18 August 2022
}}</ref>
<ref name="Oron">{{cite web
| last = Oron
| first = Aryeh
| url = http://www.bach-cantatas.com/BWV26.htm
| title = Cantata BWV 26 Ach wie flüchtig, ach wie nichtig
| publisher = Bach-Cantatas
| access-date = 12 November 2015
}}</ref>
<ref name="Wolff">{{cite web
| last = Wolff
| first = Christoph
| author-link = Christoph Wolff
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C14c%5BAM-3CD%5D.pdf
| title = Conclusion of the second yearly cycle (1724–25) of the Leipzig church cantatas
| publisher = Bach Cantatas Website
| pages = 2, 3
| year = 2000
| access-date = 14 November 2012
}}</ref>
<ref name="chorale text">{{cite web
| url = http://www.bach-cantatas.com/Texts/Chorale122-Eng3.htm
| title = Ach wie flüchtig, ach wie nichtig / Text and Translation of Chorale
| publisher = Bach Cantatas Website
| year = 2009
| access-date = 14 November 2012
}}</ref>
<ref name="chorale melody">{{cite web
| url = http://www.bach-cantatas.com/CM/Ach-wie-fluchtig.htm
| title = Chorale Melodies used in Bach's Vocal Works / Ach wie flüchtig, ach wie nichtig
| publisher = Bach Cantatas Website
| year = 2006
| access-date = 14 November 2012
}}</ref>
}}
== Sources ==
* {{IMSLP|work=Ach wie flüchtig, ach wie nichtig, BWV 26 (Bach, Johann Sebastian)}}
* [https://www.bach-digital.de/receive/BachDigitalWork_work_00000033?lang=en Ach wie flüchtig, ach wie nichtig BWV 26; BC A 162 / Chorale cantata (24th Sunday after Trinity)] [[Leipzig University]]
* [https://www.uvm.edu/~classics/faculty/bach/BWV26.html BWV 26 Ach wie flüchtig, ach wie nichtig] English translation, [[University of Vermont]]
* Luke Dahn: [http://www.bach-chorales.com/BWV0026_6.htm BWV 26.6] bach-chorales.com
== External links ==
* [https://www.bachvereniging.nl/en/bwv/bwv-26/ Ach wie flüchtig, ach wie nichtig, BWV 26]: performance by the [[Netherlands Bach Society]] (video and background information)
{{Good article}}
{{Church cantatas by Johann Sebastian Bach}}
{{Bach cantatas|state=expanded}}
{{Authority control}}
{{DISPLAYTITLE:''Ach wie flüchtig, ach wie nichtig'', BWV 26}}
{{DEFAULTSORT:Ach Wie Fluchtig Ach Wie Nichtig Bwv 26}}
[[Category:Church cantatas by Johann Sebastian Bach]]
[[Category:1724 compositions]]