Composed for the Twenty-fourth Sunday after Trinity, which fell on November 19, 1724, Bach's Cantata No. 26 "Ach, wie flüchtig, ach wie nichtig" (Ah, how fleeting, ah how futile) (BWV 26) sets a text obsessed with the brevity and futility of life by an unknown poet. Bach responded to the text's images and intent by writing one of his quickest-tempoed and most dance-like cantatas. "Ach, wie flüchtig, ach wie nichtig" is scored for soprano, alto, tenor and bass soloists, chorus, and a large orchestra of natural horn, transverse flute, a trio of oboes, strings, and basso continuo. The cantata is in dark, almost demonic A minor, with its first, fifth, and sixth movements in the tonic; its second in the relative major of C major; and its third and fourth in the minor dominant of E minor. The first movement is a fast and furious motet-like piece for chorus and full orchestra, with the orchestra having the main musical material and the chorus interjecting lines from the opening verse. The second movement is an aria in swinging, swaying gigue rhythm for flute, concertante violin, and tenor. The third movement is a highly embellished and deeply anguished secco recitative for alto and continuo. The fourth is a muscular aria for bass and three oboes in a driving bourree rhythm. The fifth movement is a very brief and very painful secco recitative for soprano and continuo. "Ach, wie flüchtig, ach wie nichtig" concludes with a monumental harmonization of the last lines of the hymn for the entire chorus and orchestra. ~ James Leonard, All Music Guide
