Search results

Ich habe genug (I have enough) BWV 82 is one of the best known, most regularly performed and consistently recorded of J.S. Bach's approximately 200 extant sacred cantatas. ¹ In the text, by an anonymous author, the narrator repeatedly expresses their readiness to die, in faith that they will be received by their saviour in eternal life. The whole cantata expresses a fearless ‘longing for death’ (Schweitzer, 1911/1966, p. 114), coupled with a serene contentment. Bach's setting of this text for religious purposes not only supports the sentiments expressed by the narrator but colours, illuminates, vitalises and elevates it in ways that startle the ear, quicken the spirit and stir the imagination. In the third and final aria of the cantata, Bach employs an almost-jaunty dance rhythm to accompany the narrator's anticipatory delight in their own death, liberated from worldly and bodily suffering. After identifying some of the ingenious ways Bach animates the text, I offer some speculations and elaborations as to how and why this work has had such an enduring presence in the Western musical canon, for believers and non-believers alike.

The proceedings of the 17 editions of the conference of the Spanish Association of Scientific Experts in Tourism constitute a valuable archival resource within the research on Spanish tourism. But so far their contents have not been analyzed. The aim of this chapter is to examine the research that has been presented at its conference by means of a bibliometric analysis of the proceedings of 17 editions. The study focuses on the origin of the research (countries, regions, institutions, and authors), as well as its characteristics in terms of themes dealt with, geographical areas researched, methodologies, disciplinary areas, and attitudes toward tourism. Implications for the evolution of the research are discussed in terms of knowledge contributions and the shaping of major tourism research traditions.