rssLord, teach us to take our hearts and look them in the face, however difficult it may be. - D.L. Sayers
Cantata
2011, April 23
Cantata BWV 179
JS Bach Cantata BWV 179: Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei
(See to it that thy God-fearing be not hypocrisy)
Eleventh Sunday after Trinity August 8 1723
Scoring: Oboe or Oboe da caccia I, II, Violin I,II, Viola, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 8; p 104
Reading: Epistle 1 Corinthians 15:1-10
Reading: Gospel Luke 18:9-14
Words: Anonymous
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 493-496
Whittaker vol 1 p 594-600
Green p 380-381
Terry vol 2 p 456
Boyd p 449
Unlike the last two cantatas which started with a chorus built: Instrumental introduction, Prelude, Fugue, this cantata plunges right into a complex vocal fugue. Perhaps this was the second of a two part performance with Cantata BWV 199 composed earlier in Weimar.
1 Chorus: Siehe zu, daß deine Gottesfurcht nicht
Green: phrases long, many chromaticisms including descending chromatic scales that may prove a challenge for good intonation.
Whittaker calls this chorus wild, fierce and vehemently denunciatory.
A complex fugue, one wonders how much the Leipzig listeners were able to appreciate the music. Comparing the two versions from Kuijken and Koopman, the musical structure comes through more clearly in Kuijken's one voice per part.
2 Tenor recitative: Das heutge Christentum
The tenor sings with just the continuo accompanying.
3 Tenor aria: Falscher Heuchler Ebenbild
179.3 Tenor aria
236.5 Quonium
Green: complex melodic line in unison by violin I and oboes.
Koopman takes this aria at a much faster tempo than Kuijken, leaving me a little breathless.
4 Bass recitative: Wer so von innen wie von außen ist
Klaus Mertens is perfect, the tempo is right, Koopman's tempo is nearly the same. I like them both.
5 Soprano aria: Liebster Gott, erbarme dich
179.5 Soprano aria: oboes da caccia gardiner
179.5 Soprano aria: Kuijken, Gerlinde Sämann
234.4 A Qui tollis: flutes
Green: sustained and long duet for oboes da caccia.
A very lovely soprano aria with a beautiful oboe duet. Koopman at 5 minutes is significantly faster than Kuijken at 6 minutes, 21 seconds, but once it gets going the tempo does not seem at all forced.
6 Chorale: Ich armer Mensch, ich armer Sünder
Discussion of the chorale on Bach Cantatas.com
Discussion of the chorale from C.S. Terry, in a PDF excerpt
The last phrase of the chorale is very interesting.
Listen to the last phrase by Leusink
Listen to the last phrase by Leonhardt
Listen to the last phrase by Kuijken
Listen to an mp3 of the last phrase on an organ
Listen to the last phrase on the piano
Thank you Taylor Morgeson, at the University of North Texas, for help with the harmonic analysis.
Whittaker says of this last phrase that the last line is highly chromatic, almost baffling to us even today; there are few choirs that could sing the final bar unaccompanied and in perfect intonation...The chromaticism is explained by the agonized cry of the text.
The music
Harnoncourt - 1 2 3 4 Chorus, Tenor recitative, Tenor aria, Bass recitative
Harnoncourt - 5 6 Soprano aria, Chorale
Complete cantata in old clefs, PDF
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, violin I with soprano, violin II with alto, viola with tenor, continuo |
| 2 | Tenor recitative, continuo |
| 3 | Tenor aria, violin I,II, oboe I,II, continuo |
| 4 | Bass recitative, continuo |
| 5 | Soprano aria, oboe da caccia I,II, continuo |
| 6 | Chorale SATB, violin I, oboe I,II with soprano, violin II with alto, viola with tenor, continuo |
Biblical references for each part
References for the text: Luther's German Bible, King James Bible
| Ecclesiasticus 1:28-9 |
| King James from unbound bible, does not appear in my bound edition 28. Distrust not the fear of the Lord when thou art poor: and come not unto him with a double heart. 29. Be not an hypocrite in the sight of men, and take good heed what thou speakest. |
| google translator of king james Misstrauen nicht die Furcht des Herrn, wenn du bist arm: und kommen nicht zu ihm mit einem Doppel-Herz. Seien Sie nicht ein Heuchler in den Augen der Menschen und beherzigen, was du redest. |
| Durr 1-34 in German bible Sei nicht ungehorsam dem Gebot der Gotesfurcht, und deine Gott nicht mit falschem Herzen. google translation Do not be disobedient to the commandment of the fear of God and your God is not with the wrong heart. |
| movement 1 lyrics Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei, und diene Gott nicht mit falschem Herzen! |
References
Emmanuel Notes BWV 179.
Emmanuel Translation BWV 179.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
Julian Mincham's article
2011, April 17
Cantata BWV 46
JS Bach Cantata BWV 46: Schauet doch und sehet, ob irgend ein Schmerz sei
(Behold then and see if there is any sorrow)
Tenth Sunday after Trinity August 1 1723
Scoring: Trumpet, Corno da tirarsi, Recorder or flauto dolce I,II, Oboe da caccia I,II, Violin I,II, Viola, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 7; p 519-582
Reading: 1 Corinthians 12:1-11
Reading: Gospel: Luke 19:41-48
Words: Anonymous
Key: d minor
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 477-481
Whittaker vol 1 p 637-644
Green p 110-112
Terry vol 2 p 233
S.A. Crist in Boyd p 434
Chafe p 132
According to Spitta: This cantata is companion piece to BWV 105 and they were undoubtedly composed at the same tome. They are alike in structure and in the feeling too, so far as the different characteristics of the subjects admit. Chafe p 132 also finds this cantata to a very considerable degree paired with Cantata 105 of the week before, in both its musical and its theological character. He also says, p 134, this cantata describes a motion from God'd wrathful side as manifested in the Old Testament narrative of destruction to His merciful side as manifested in Jesus and the message of the Gospel.
This cantata uses a large ensemble, but all the instruments are not used at any one time. Bach seems to be exploring the colors of the sounds as they relate to the text. The whole is very elaborate, not what one would expect in Ordinary Time in the church calendar.
1 Chorus: Schauet doch und sehet, ob irgendein
Like the first section of BWV 105, this section has an instrumental introduction, this time 16 measures long. The vocal parts begin in measure 17. The fugue starts at measure 67 accompanied at first only with the continuo, other instruments enter at m 86
BWV 232.9 Leonhardt Gloria: Qui tollis
BWV 232.9 Gloria:Qui tollis PDF
BWV 46.1 Gardiner, with 16 measure intro, and fugue.
BWV 46.1 First half of Chorus PDF
Qui tollis by Leonhardt, mp3
Section of 46.1 m17-m66 koopman, mp3, to compare
Qui tollis of BWV 232 starts on m 17 of BWV 46.1, after the instrumental introduction. The Qui Tollis of the b minor mass used to be the eighth section but the Gloria has been split so that in the new editions it is the ninth section. You will see it listed as both in different places.
Measure 67 starts second half, the fugue. Whittaker p639, speaking of the second half: The harmonic scheme and contrapuntal freedom are almost unbelievably harsh, false relations and extraordinary clashes are numerous; the effect is one of terrific power and terrible grimness. It is chorally the most difficult work ever written by Bach.
Perhaps to baroque ears the music seemed extremely dissonant, but since modern ears have become accustomed to Shostakovich et al and have been assaulted by heavy metal, it may be difficult for us to hear the harshness.
The instruments mostly double the voice parts, though the recorders have a fugal part of their own on an equal basis. - Dürr
2 Tenor recitative: So klage du, zerstörte Gottesstadt
The recorders are prominent. The strings also fill in the harmony, unusual in a recitative.
3 Bass aria: Dein Wetter zog sich auf von weiten,
Green: this is a dramatic and difficult solo for a power voice capable of rapid coloratura singing. Dürr states that this is the dramatic high point of the cantata. Wrath is addressed generally to the city of Jerusalem. Whittaker says this is one of the finest arias in all the cantatas.
4 Alto recitative: Doch bildet euch, o Sünder, ja nicht ein
Straightforward declamation.
5 Alto aria: Doch Jesus will auch bei der Strafe
Dürr decscribes this section as designed to contrast in every respect the bass aria above; there is no instrumental bass, the continuo is replaced with two oboes da caccia in unison, a procedure then known as 'basset'. Bach invariably made use of it with a special purpose in mind, and here it characterizes the innocence of the devout, whom Jesus will protect personally from the flash of divine vengeance. Crist says this use of higher instruments is used by Bach infrequently and usually when something unearthly is depicted.
6 Chorale: O großer Gott von Treu, (O großer Gott von Macht verse 9)
Discussion of the chorale on Bach Cantatas.com
Discussion of the chorale from C.S. Terry, in a PDF excerpt
Chafe p 132
The music
Chorus, Gardiner.
Koopman - 1 2 3 Chorus, alto recitative, soprano aria
Koopman - 4 5 6 Bass recitative, tenor aria, chorale
Complete cantata in old clefs, PDF
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, flauto dolce I,II, corno da tirarsi, oboe da caccia I,II, violin I,II, viola, continuo (NBA: organ) |
| 2 | Tenor recitative, flauto dolce I,II, violin I,II, viola, continuo (NBA: organ) |
| 3 | Bass aria, trumpet, violin I,II, viola, continuo (NBA: organ) |
| 4 | Alto recitative, continuo (NBA: organ) |
| 5 | Alto aria, flauto dolce I,II, oboe da caccia I,II unison |
| 6 | Chorale SATB, flauto dolce I,II, violin I,II, viola, corno da tirarsi with soprano, continuo (NBA: organ) |
Biblical references for each part
References for the text: Luther's German Bible, King James Bible
| Scripture | Luther | King James | |
|---|---|---|---|
| 1 | Jeremiah 1:12 | Euch sage ich allen, die ihr vorübergehet: Schauet doch und sehet, ob irgendein Schmerz sei wie mein Schmerz, der mich getroffen hat. Denn der HERR hat mich voll Jammers gemacht am Tage seines grimmigen Zorns. | Is it nothing to you, all ye that pass by? behold, and see if there be any sorrow like unto my sorrow, which is done unto me, wherewith the LORD hath afflicted me in the day of his fierce anger. |
| 4 | Luke 13:5 | Ich sage: Nein, sondern so ihr euch nicht bessert, werdet ihr alle auch also umkommen. | I tell you, Nay: but, except ye repent, ye shall all likewise perish. |
| 5 | Matthew 23:37 | Jerusalem, Jerusalem, die du tötest die Propheten und steinigest, die zu dir gesandt sind, wie oft habe ich deine Kinder versammeln wollen, wie eine Henne versammelt ihre Küchlein unter ihre Flügel; und ihr habt nicht gewollt! | O Jerusalem, Jerusalem, thou that killest the prophets, and stonest them which are sent unto thee, how often would I have gathered thy children together, even as a hen gathereth her chickens under her wings, and ye would not! |
References
Emmanuel Notes BWV 46.
Emmanuel Translation BWV 46.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
Julian Mincham's discussion
2011, April 11
Cantata BWV 105
JS Bach Cantata BWV 105: Herr, gehe nicht ins Gericht mit deinem Knecht
(Lord, enter not into judgement with Thy servant)
Ninth Sunday after Trinity July 25 1723
Scoring: Horn, Oboe I,II, Violin I,II, Viola, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 7; p 411
Reading: Epistle 1 Corinthians 10:6-13
Reading: Gospel Luke 16:1-9
Words: Anonymous
Key: g minor
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 464-467
Whittaker vol 1 p 630-637
Green p 234-236
Terry vol 2 p 342
Boyd p 215
A cantata focused on guilt and death. Whittaker calls it a "masterpiece". Dürr says of this cantata might well be numbered among the most sublime descriptions of the soul in baroque and Christian art.
1 Chorus: Herr, gehe nicht ins Gericht mit deinem
This section is in two parts in the manner of a motet. The first 47 measures form a prelude, an adagio in common time. The first half is introduced by an 8 measure instrumental section. Green says of the first half: the chorus and orchestra are independent. Melodic parallelisms (i.e. thirds, fourths, and sixths) between the choir and orchestra which may prove distracting to less experienced choral ensembles. This section of the movement has very pervasive imitation. The horn, violin I and oboe I play a high independent part in the first half; violin II and oboe II, join in another voice, and the viola is alone. I know this is confusing, it pays to look at the score.
This video is helpful, with score following music.
The second half of this movement, a four part fugue, begins at m 47 where the tempo changes to allegro in cut time. The tenor enters in m 47, bass at m 52, soprano at m 57, alto at m 62, with no instruments until the viola enters in m 72 doubling the tenor; violin II enters in m 77 doubling the alto, violin I in m 82 doubling the soprano. This second half Dürr calls an example of a permutation fugue, without free episodes, with the subjects arranged in series, each occurring in leader and follower form (dux and comes). Thus this section is a more strict form than other sorts of fugues.
2 Alto recitative: Mein Gott, verwirf mich nicht
A straight declamatory statement with continuo only.
3 Soprano aria: Wie zittern und wanken
Green states: exposed oboe part. My favorite part is at the end of the soprano part: m 93 the soprano sings a g flat while the oboe plays an e flat a third below. No continuo part for this aria.
4 Bass recitative: Wohl aber dem, der seinen Bürgen weiß
Not so insistent as the alto recitative, more in the nature of a story, more musical. Whittaker says of this movement: The mood changes suddenly and completely.
5 Tenor aria: Kann ich nur Jesum mir zum Freunde machen
Green: High and difficult horn part, rapid and technically involved violin I. The tenor has the happiest music, a da capo aria, quite singable with a wonderful obbligato voice shared between the horn and the violin I. Dürr says of this movement: The melody is songlike, almost like that of a dance, and the rhythm and harmony are relaxed.
6 Chorale: Nun, ich weiß, du wirst mir stillen (Jesu, der du meine Seele verse 11)
The character of the music returns to the quieter, graver atmosphere of the opening prelude. The end falls to silence in the strings, not the usual ending for a four-part chorale, but fulfilling the quieting of the conscience.
Bach notes this movement Siebenstimmig, seven voices. S with horn and oboe I,II doubling, ATB with continuo doubling the basses makes four, then violin I, violin II and viola each with independent (though homophonic) voices, make a total of seven parts.
Discussion of the chorale on Bach Cantatas.com
Discussion of the chorale from C.S. Terry, in a PDF excerpt
The music
Herreweghe - complete cantata with score following music.
Harnoncourt - 1 2 Chorus, alto recitative
Harnoncourt - 3 4 soprano aria, bass recitative
Harnoncourt - 5 6 tenor aria, chorale
Complete cantata in old clefs, PDF
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, oboe, oboe d'amore, violin I,II, viola, continuo (NBA: organ) |
| 2 | Tenor recitative, continuo (NBA: organ) |
| 3 | Alto aria, oboe d'amore, continuo (NBA: organ) |
| 4 | Bass recitative, continuo (NBA: organ) |
| 5 | Tenor bass duet aria, violin I,II, continuo (NBA: organ) |
| 6 | Chorale SATB, violin I obbligato with descant melody, horn, oboe I,II with soprano, violin II with alto, viola with tenor, continuo (NBA: organ) |
Biblical references for each part
References for the text: Luther's German Bible, King James Bible
| Scripture | Luther | King James | |
|---|---|---|---|
| 1 | Psalm 143:2 | Und gehe nicht ins Gericht mit deinem Knechte; denn vor dir ist kein Lebendiger gerecht. | And enter not into judgment with thy servant: for in thy sight shall no man living be justified. |
| 2 | Psalm 51:11 | Verbirg dein Antlitz von meinen Sünden und tilge alle meine Missetat. | Cast me not away from thy presence; and take not thy holy spirit from me. |
| 2 | Malachi 3:5 | Und ich will zu euch kommen und euch strafen und ein schneller Zeuge sein wider die Zauberer, Ehebrecher und Meineidigen und wider die, so Gewalt und Unrecht tun den Tagelöhnern, Witwen und Waisen und den Fremdling drücken und mich nicht fürchten, spricht der Herr Zebaoth. | And I will come near to you to judgment; and I will be a swift witness against the sorcerers, and against the adulterers, and against false swearers, and against those that oppress the hireling in his wages, the widow, and the fatherless, and that turn aside the stranger from his right, and fear not me, saith the LORD of hosts. |
| 3 | Romans 2:15 | damit, daß sie beweisen, des Gesetzes Werk sei beschrieben in ihrem Herzen, sintemal ihr Gewissen sie bezeuget, dazu auch die Gedanken, die sich untereinander verklagen oder entschuldigen, | Which shew the work of the law written in their hearts, their conscience also bearing witness, and their thoughts the mean while accusing or else excusing one another;) |
| 4 | Colossians 2:14 | und ausgetilget die Handschrift, so wider uns war, welche durch Satzungen entstund und uns entgegen war, und hat sie aus dem Mittel getan und an das Kreuz geheftet. | Blotting out the handwriting of ordinances that was against us, which was contrary to us, and took it out of the way, nailing it to his cross; |
References
Emmanuel Notes BWV 105.
Emmanuel Translation BWV 105.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
By Carol Traupman-Carr
Classical.net discussion, Simon Crouch.
By Julian Mincham
BWV 105 on Answers.com
2011, April 03
Cantata BWV 136
JS Bach Cantata BWV 136: Erforsche mich, Gott, und erfahre mein Herz
(Search me, God, and learn my heart)
Eighth Sunday after Trinity July 18, 1723
Scoring: Horn, Oboe d'amore I,II, Violin I,II, Viola, Organ, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 7; p 289
Reading: Epistle Romans 8:12-17
Reading: Gospel Matthew 7:15-23
Words: Unknown librettist
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 453-456
Whittaker vol 1 p 349-354
Green p 301-303
Terry vol 2 p 398
Stephen A. Crist in Boyd p 156
1 Chorus: Erforsche mich, Gott, und erfahre mein Herz; prüfe mich und erfahre, wie ichs meine!
Green says the horn part is critical and very difficult, requiring an expert player. Twenty years later this piece was reworked into the Cum Sancto Spiritu from the Mass in A Major BWV 234.
Compare with the first movement, here in an mp3 file.
You can find more information here.
Dürr says of this piece that it is of indifferent quality and exhibits a certain lack of purposefulness in its development. Whittaker says in spite of the splendid and animated counterpoint, it fails to grip.
Some musicians are dissatisfied with this work, but most find it pleasant listening. Stephen Crist finds the music at odds with the text. In the process of making the videos for YouTube, I have listened to it many times and have grown very fond of the entire cantata.
2 Tenor recitative: Ach, daß der Fluch, so dort die Erde schlägt
Straight secco statement.
3 Alto aria: Es kömmt ein Tag
Green says this part contains a prominent and fairly difficult oboe d'amore solo. Crist (in Boyd) says that there is some evidence that this piece was composed earlier.
4 Bass recitative: Die Himmel selber sind nicht rein
Again a straight declaration.
5 Tenor bass aria: Uns treffern zwar der Sünden Flecken,
Bach calls for violin I,II in unison; Green recommends treating as a solo part, calls it very difficult. Dürr part imitative and part homophonic writing for the voices, this movement closely resembles the secular duets of the Cöthen years. Whittaker p352 says of this section: The tenor bass duet is not devoid of charm, but it is not a success as a whole and is evidently patched up from some previous work.
6 Chorale: Wo soll ich fliehen hin verse 9
Discussion of chorale on Bach Cantatas.com
C.S. Terry comments on the chorale in a PDF excerpt
Horn doubles soprano; it goes above the standard range for modern instrument here and in part one. Green says the horn part may require editing.
The music
BWV 136.1 and 136.2 Koopman
BWV 136.3 and 136.4 Koopman
BWV 136.5 and 136.6 Koopman
Music on Bach Cantatas.com
Cum Sancto Spiritu from BWV 234
Here is a PDF file of the Sanctus in old clefs.
BWV 136.1 mp3
Here is a PDF file of BWV 136.1 in old clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, oboe, oboe d'amore, violin I,II, viola, continuo (NBA: organ) |
| 2 | Tenor recitative, continuo (NBA: organ) |
| 3 | Alto aria, oboe d'amore, continuo (NBA: organ) |
| 4 | Bass recitative, continuo (NBA: organ) |
| 5 | Tenor bass duet aria, violin I,II, continuo (NBA: organ) |
| 6 | Chorale SATB, violin I obbligato with descant melody, horn, oboe I,II with soprano, violin II with alto, viola with tenor, continuo (NBA: organ) |
Biblical references for each part
References for the text: King James Bible
| Scripture | Text | |
|---|---|---|
| 1 | Psalm 139:23 | Search me, O God, and know my heart: try me, and know my thoughts |
| 1 | Psalm 139:23 | Erforsche mich, Gott, und erfahre mein Herz; prüfe mich und erfahre, wie ich's meine |
References
Emmanuel Notes BWV 136.
Emmanuel Translation BWV 136.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
WikiPedia article
From Julian Mincham
