Despite having the distinction of being labeled "Cantata No. 1," Wie schön leuchtet der Morgenstern ("How beautifully shines the morning star") is neither Bach's first cantata, nor indeed even an early work. It was composed in Leipzig for the feast of the Annunciation of the Blessed Virgin Mary, and first performed on March 25, 1725. It therefore forms part of the second cycle (or Jahrgang) of church cantatas upon which Bach embarked after being elected Kantor of the Thomasschule in Leipzig in 1723. This cycle is notable for its concentration on the so-called "chorale cantata," works in which both text and music are based on a chorale, or hymn. BWV1 takes its name from the particularly beautiful chorale written by Philipp Nicolai in 1599. Following the customary procedure, the unknown librettist leaves the first and last verses unchanged, while setting the inner verses as freely adapted poetry. The hymn was particularly associated with the twentieth Sunday after Trinity, although it was also widely used on other occasions. The Annunciation was an important festival in the Lutheran church, but since it fell during Lent when music was not allowed in Leipzig's churches, it was celebrated with music only on those occasions when it occurred during Holy Week, when the lifting of the ban on Palm Sunday allowed for the performance of a cantata. BWV1 is scored for two horns, two oboes da caccia, two solo (concertante) violins, and orchestral parts for two violins, viola, and continuo. The vocal disposition is soprano, alto, tenor, and bass soli and chorus. In keeping with the usual form of the "chorale cantatas" of 1724/5, the work is framed by opening and closing choruses in which the chorale melody is introduced, in both instances by the sopranos supported by the first horn. The opening chorus is a superbly constructed fantasia, with the remaining vocal and instrumental parts weaving joyous, dance-like counterpoint around the intonation of the hymn. Between come two arias, both introduced by short recitatives. The first, for soprano, has an obbligato part for oboe da caccia, and continues to invoke the spirit of the dance, while the tenor aria "Unser Mund und Ton der Saiten" is an extended da capo with obbligato parts for the two solo violins to illustrate the "sound of strings" (Ton der Saiten) mentioned in the text. ~ All Music Guide
