BWV 208a Was mir behagt, ist nur die muntre Jagd!
Frohlockender Götterstreit Nameday of Augustus III, Elector of Saxony and King of Poland (3 August). Revision by an unknown poet of the text of Salomo Franck (cf. BWV 208; Movements 8 and 12 are completely re-written); Text in manuscript; Facs and apograph: Neumann T, p. 462. 3 August 1740 or 1742, Leipzig; Parody ← BWV 208. NBA I/37, Krit. Bericht. The English original follows below after this transcription of the manuscript, Newmann, p. 462-469: FROLOCKENDER GOETTER-STREIT (1.) Recit. (Diana) Was mir behagt (2.) Aria. (Diana) Jagen ist der Lust der Götter,
(3.) Recit. (Endymion) Wie? schönste Göttin, wie? (4.) Aria. Willst du dich nicht mehr ergezen
(5.) Recit. (Diana und Endymion) (Diana) (Endymion) Duetto (Diana und Endymion) (6.) Recit. (Pan) Ich, der ich sonst ein Gott (7.) Aria. (Pan) Ein Fürst ist seines landes Pan. (8.) Recit. (Pales) Mein Opfer soll gewißlich nicht (9.) Aria. (Pales) Schaafe können sicher weyden
(10.) Recit. (Diana) So stimmit mit ein, (11.) Aria à 4. Lebe, Sonne dieser Erden, (12.) Aria à duetto. (Endymion und Diana) Ihr Strahlen der Freuden (13.) Aria. (Pan) Weil die wollenreiche Heerden (14.) Aria. (Pales) Ihr Felder und Auen, (15.) Corus Ihr lieblichste Blicke, ihr freudige Stunden,
A Merry Contest of the Gods Diana, Endymion, Pan, Pales(1) 1. Recit. (Diana) My only joy 2. Aria (Diana) Hunting is the gods' true pleasure,
3. Recit. (Endymion) What, fairest goddess? What?
(Diana) I love thee even still! But yet Today hath such a day appeared Which I before all else Must with my loving kiss Give dutiful attendance. Most dearly loved August, The Saxons’ joy, Can in most welcome fortune’s favor His lofty nameday feast now witness. (Endymion) Then grant me this, Diana, that I may at once Be thy companion And, too, an off ’ring here may kindle. Duet (Diana and Endymion) Yes, yes! We’ll bring our flames of fervor Within a hearty wish together. 6. Recit. (Pan) I, who am wont a god Amongst these fields to be, I’ll now lay down my shepherd’s staff, To Friederich Augustus’ scepter yield, For this illustrious Pan his land so happy maketh, That wood and field and all are live with laughter! 7. Aria (Pan) A prince is his own Country’s Pan! Just as the body lacking spirit No life nor animation hath, So is that land a deadman’s hollow Which lacking head and prince exists And thus its finest part doth miss. 8. Recit. (Pales) My off ’ring shall most surely not The last one be. No, no! I will before thy feet now lay it; For while the whole wide land with “Vivat” rings, Shall, too, this lovely field, Thee, mighty hero, prince and king, To praise, itself be stirring.(3) 9. Aria (Pales) Sheep may ever graze securely
Then join the song, And to the day’s delight perfection bring! 11. Chorus (All Four) Live, O sun of this our earth now, While Diana doth by night On the tow’r of heaven watch, While the woodlands change with verdure, Live, O sun of this our earth now. 12. Aria (Diana, Endymion) Ye bright rays of gladness Now banish all sadness, Redouble your glances in ages forthcoming! The father of Saxons, Augustus shall live long, Augustus must flourish. 13. Aria (Pan)(4) While the herds all woolly-coated 14. Aria (Pales)(5) Ye pastures and meadows, 15. Chorus Ye fairest of glances, ye hours delighted,
1. Pales was the goddess or god of shepherds, honored on April 21 in the Parilia or Palilia, the feast of the founding of Rome (cf. Ovid, Fasti 4. 721ff.). The ceremony included lustration of the herds and bonfires through which participants jumped three times (cf. the last three lines of 5: zünde and Flammen). In Movement 5 of the present version hohes Nahmens Fest replaces Franck's Ursprungsfest 'foundation feast,' an apparent reference to the association of Pales with the foundation of Rome. While such authors as Vergil, very familiar to baroque poets, refer to Pales as feminine, Servius' note on Vergil's Georgics 3. 1, says that Varro (1st cent. B. C) treated Pales as masculine. Pales is masculine also in Arnobius (3rd cent. A. D) and Martianus Capella (5th cent.). While Franck makes Pales feminine in BWV 208 and Bach assigns the role to a soprano, a textual change in 8 leaves the gender inexplicit in the present version. The voice parts are not indicated in Bach's manuscript of the text (there is no music). 13 and 14 are assigned to Pan and Pales, respectively, the reverse of the assignment in BWV 208. 2. This alludes to Endymion's everlasting sleep. Cf. Apollodorus, I. 56 and Pausanias, 5. 1. 5. 3. There are curious changes in the text of this movement: the gender of Pales is suppressed, and there is an only partially effective attempt to make Pales' point clearer. In the version of 1713 Pales means that her gift will not be the final one of the festival, for her gift will be to inspire the fields to add their own gift of praise for Christian. Yet the following aria hardly has the character of such an exhortation. Only in 13 does Pales seem to prepare to make good on her promise, and then it is actually Pan who in 14 commands the fields to cry "Vivat" in praise of Christian. In this revision, however, Pales predicts that her (or his) gift will not be the last because the field will stir itself to make an addition offering. But there still remains a slight inconsistency, for it is Pales who now in 14, apparently not relying on the spontaneity of the fields, summons the fields directly to join in the congratulations. 4. This aria is assigned to Pales in the version of 1713 (BWV 208). 5. This aria is assigned to Pan in BWV 208. © Copyright Z. Philip Ambrose |