Luogo e data di registrazione		(luogo e data di registrazione non indicati)
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Teldec "Das Alte Werk" | 6.35836 EX | 2 LPs - durata 42' 05" - 48' 16" | (p) 1989 | DIGITAL DMM
	Edizione CD		Teldec Classics | LC 6706 | 8.35836 ZL | 2 CDs - durata 42' 05" - 48' 16" | (p) 1989 | DDD
	Cover		Johann Sebastian Nach, einige Jahre vor seiner Ernennung zum Kantor in Leipzig. Gemälde con JJ. Ihle (1720) Bach Museum Eisenach.
	Note		In questo volume sono presenti anche La Cantate BWV 185, BWV 186 e BWV 188 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Nele Anders Bach also composed the Cantata "Es wartet alles auf dich" (BWV 187) for the Seventh Sunday after Trinity (of the year 1726, however, so that this cantata belongs to the third annual cycle). The author of the verse, which tells the Gospel story of the feeding of the five thousand, is unknown. It was taken from a collection of Prayers for Sundays and Feast Days printed in a second edition in Rudolstadt in 1726. The texts, which all have the same structure - Old Testament dictum - recitative - aria - New Testament dictum - aria - recitative (and chorus) - chorale - seem to have enjoyed great popularity at the time, with their cheerful mood, the picture they paint of a kind and gracious God and their intimate relationship to nature. For Bach’s cousin Johann Ludwig Bach, who held the office of Kapellmeister at the Meiningen court from 1711 onwards, also used them for his cantatas. Johann Sebastian Bach, incidentally, performed eighteen of these in 1726, and incorporated them into the third annual cycle of his own cantatas. Unlike his cousin, Johann Sebastian, who loved the rhetoric form, reduces the eight movements of the original to seven chiastically arranged movements, the intellectual centre of which is the New Testament text in the fourth movement. The musical emphasis, though, lies on the large-scale first choral movement, which is exceptionally characteristic of Bachs mature cantata style. The symphonically conceived introduction, which returns in ritornello fashion either in larger sections, or in small motifs in between the contrapuntally arranged vocal sections, and which is heard once more in full at the end, already contains the thematic material of all the vocal movements that follow. Bach's considerable interest in questions of theological exegesis led him to take his bearings in the word-bound structuring of the movement from the old psalmody: this is evident in the fact that he does not choose a soloistic form, preferring to skilfully combine canonic and concertante elements in a figured chorus. Nos. 2-6 also interpret the de tempore text in a Lutheran sense - "so take up the psalter and you will have a fine mirror, clear and bright, that will show you what Christianity is ..." (Bible of 1534) - while No. 7, the hymnic chorale ”Singen wir aus Herzensgrund" (Let us sing with all our hearts) by Hans Vogel (1563), gives a final résumé of all the preceding material. The plan of the keys used supports this concept: the beginning and end of the cantata are in the same key, G minor, while the remaining movements switch to other, related keys (B flat major, E flat major, C minor). Only the vox Christi in the bass aria, No. 4, underlines its central position by returning to G minor. Just how much Bach valued this particular cantata is shown by his reuse of the first, third, fourth and fifth movements, according to the so-called "parody method,” in his Mass in G minor, BWV 235, which dates without so much as a shadow of a doubt from later than l726.