Cantata Non sa che sia dolore BWV 209
Ruby Hughes [soprano], Anna Besson [flute]
Camerata Øresund, Peter Spissky [Director]
Johann Sebastian Bach [1685-1750]
Cantata Non sa che sia dolore BWV 209
1. Sinfonia
2. Recitative: Non sa che sia dolore
3. Aria: Tuo saver al tempo e l’eta contrasta
4. Recitative: Tuo saver al tempo e l’età contrasta
5. Aria: Ricetti gramezza e pavento
Cantata Non sa che sia dolore BWV 209 is a secular aria first performed in Leipzig in 1747. The background to the Italian cantata is shrouded in great mystery and doubts have even been expressed about Bach’s authorship of the work. Although the occasion for which Bach composed the Cantata remains ambiguous the reference to the town of Ansbach in the second recitative does suggest that Bach was referencing the composer Guiseppe Torelli. He had been court composer of the Margrave of Brandenburg in 1698 and introduced a number of Italian works. Bach’s transcription of Torelli’s violin concerto (BWV 979) shows his familiarity with the composer’s music.
The anonymous libretto presents a dramatic scene typical of the Italian chamber cantatas common to that of Alessandro Scarlatti and Handel. It tells the story of a young Italian artist departing from Ansbach, Germany to his native land in order to partake in military service. He is saying farewell on the quay to his sorrowful friends.
The work is conceived as two recitatives and arias preceded by a sinfonia. This substantial opening movement begins with a characteristic theme with frequent repetition and virtuosic flute parts that hint at a concerto-like movement and its many similarities to the preceding Ouverture BWV 1067 will be apparent to the listener.
The first recitative reflects on the nature of human sorrow and refers to Minerva, the goddess of wisdom. It is followed by the first aria, Parti pur e con dolore the centre-piece of the cantata, a gem that is attractive melodically and touchingly expressive. The cheerful music reflects the young man’s joy in soon seeing his native land. The brief second recitative addresses individual in whose honour the work is performed questioning their choices. The minor key of this short secco movement gives weight to the gravity of the event and ensures an immediate contrast between it and the concluding aria.
The final aria is a bubbling da capo aria in the major, painting a picture of the departing sailor leaving trepidation and alarm behind, facing his voyage singing fearlessly despite the sorrows of imminent departure to come.
Norah O’Leary
