J. S. Bach - Cantata "Wer weiß, wie nahe mir mein Ende", BWV 27

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Johann Sebastian Bach (1685-1750)
Cantata "Wer weiß, wie nahe mir mein Ende", BWV 27 (1726)
I. Chorale and Recitativo (Soprano-Alto-Tenor): "Wer weiß, wie nahe mir mein Ende" - "Das weiß der liebe Gott allein" [00:00]
II. Recitativo (Tenor): "Mein Leben hat kein ander Zeil" [4:57]
III. Aria (Alto): "Wilkommen! will ich sagen" [5:46]
IV. Recitativo (Soprano): "Ach, wer doch schon im Himmel wär!" [10:17]
V. Aria (Bass): "Gute Nacht, du Weltgetummel!" [10:57]
VI. Chorale: "Welt, ade! Ich bin dein mude" [14:34]
Audio from: • J.S. Bach - Wer weiß, ...
Score from: imslp.org/wiki/Wer_wei%C3%9F,...)

[@SPscorevideos]

I. Chorale and Recitativo (Soprano-Alto-Tenor): "Wer weiß, wie nahe mir mein Ende" - "Das weiß der liebe Gott allein" [00:00]
II. Recitativo (Tenor): "Mein Leben hat kein ander Zeil" [4:57]
III. Aria (Alto): "Wilkommen! will ich sagen" [5:46]
IV. Recitativo (Soprano): "Ach, wer doch schon im Himmel wär!" [10:17]
V. Aria (Bass): "Gute Nacht, du Weltgetummel!" [10:57]
VI. Chorale: "Welt, ade! Ich bin dein mude" [14:34]
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[@bernsdums6243]

If you are the greatest composer of all time, why do you keep "borrowing" other people's music without crediting them?

[@SPscorevideos]

Sorry?

[@jaydenfung1]

@@SPscorevideos I believe he is referring to Bach's employment of Vivaldi's "Spring" in the aria.

[@jaydenfung1]

Bach was known to have studied and listened to Vivaldi, and Vivaldi was famous all over Europe. "The Four Seasons" was so famous that virtually anyone who listened to this cantata would have recognized it immediately, so crediting was unnecessary (and unconventional). Using another composer's work in one's own was considered a great compliment.

[@SPscorevideos]

@@jaydenfung1 I wouldn't say that a vague resemblance in half phrase is "borrowing" something...

[@jaydenfung1]

@@SPscorevideos You could argue that, but given Bach's interest in Vivaldi, I wouldn't be surprised if Spring is the fragment's origin.