Was frag ich nach der Welt, BWV 94
Johann Sebastian Bach composed the church cantata (What should I ask of the world) 94 in Leipzig for the ninth Sunday after Trinity and first performed it on 6 August 1724. It is a chorale cantata, based on the hymn by Balthasar Kindermann (1664) on a melody by Ahasverus Fritsch. History and words. The cantata is the ninth chorale cantata of Bach's second annual cycle in Leipzig, composed for the Ninth Sunday after Trinity. The prescribed readings for the Sunday were from the Epistle to the Romans, a warning of false  gods and consolation in temptation (), and from the Gospel of Luke, the parable of the Unjust Steward (). The cantata is based on the chorale in eight stanzas of the poet Balthasar Kindermann (1664) on a melody by Ahasverus Fritsch. An unknown poet transformed the chorale to a cantata text, keeping stanzas 1, 3, 5, 7 and 8, expanding 3 and 5 by inserted recitatives, and rewriting 2, 4 and 6 to arias. The cantata text is only generally connected to the readings, referring to the statement in the Gospel "for the children of this world are in their generation wiser  than the children of light". The poet expresses turning away from the transient world to Jesus. Bach first performed the cantata on 6 August 1724. Scoring and structure. The cantata in eight movements is scored for four vocal soloists—soprano, alto, tenor and bass–and a four-part choir, flauto traverso, two oboes, two violins, viola, organ and continuo. Music. The opening chorus is dominated by the concertante flauto traverso in figurations reminiscent of a flute concerto. Bach wrote virtuoso music for flute here for the first time in a cantata for Leipzig. Probably an excellent flute player was available . Bach seems to have written again for him in "Herr Christ, der einge Gottessohn", BWV 96. Two themes of the opening ritornello of twelve measures, one for flute, the other for the strings and oboes, are derived from the melody of the hymn "O Gott, du frommer Gott" (1648). The chorale is sung by the soprano. The lively music in D major seems to represent the "world" rather than its negation. In the bass aria with continuo, comparing the world to "haze and shadow", tumbling motives illustrate vanishing, falling and breaking, whereas long held notes speak of stability (""). In the  third movement the tenor sings the chorale in rich ornamentation, the accompaniment of two oboes and continuo is similar to the (later) "" in the "Christmas Oratorio", #7 of Part I. The following alto aria, calling the world a "snare and false pretense", is dominated again by the flute. The arias for tenor and soprano are set in dance rhythms, Pastorale and Bourrée, describing the "world" rather than disgust of it. The cantata is concluded by the last two stanzas of the chorale in a four-part setting.