rssPeople change and forget to tell each other. - Lillian Hellman
2010, December 19
Cantata BWV 132
JS Bach Cantata BWV 132: Bereitet die Wege, bereitet die Bahn
(Prepare the way, prepare the course)
Fourth Sunday of Advent Dec 22 1715
Weimar Cantatas
Scoring: Oboe, violin I,II, viola, violoncello, Continuo (NBA: organ and violone or bassoon)
Soprano, Alto, Tenor, Bass
Bärenreiter vol 1; p 121
Reading: Epistle Philippians 4:4-7
Reading: Gospel John 1:19-28
Words: Salomo Franck
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 86-89
Whittaker vol 1 p 90-93
Green p 293-295
Terry vol 2 p 186
Boyd p 60
For the last Sunday of Advent in 1715, this is the last cantata I am listening to from Weimar.
1 Bereitet die Wege, bereitet die Bahn! Soprano aria
More than a third the length of the cantata, this runs about seven minutes. The wind instruments are quite prominent in the Leonhardt version. This aria is very pleasant listening, with the instruments in counterpoint to the singer.
2 Willst du dich Gottes Kind und Christi Bruder nennen: Tenor recitative
The initial statement moves into a melodic closing.
3 Wer bist du? Frage dein Gewissen: Bass aria
A cello obbligato plays in counterpoint to the bass.
4 Ich will, mein Gott, dir frei heraus bekennen: Alto recitative
Leonhardt's version is more formal; Suzuki is more intimate.
5 Christi Glieder, ach bedenket: Alto aria
Violin obbligato, Green calls it difficult. I say it takes a virtuoso. The violin never takes a breather.
6 Ertöt uns durch deine Güte,: Chorale
This cantata ends with the aria 132.5. If a final chorale is appended, it has been done by someone other than Bach. Alfred Durr says "No closing chorale survives, though Franck prescribed for it the fifth verse of the hymn 'Herr Christ, der einig Gotts Sohn'." He goes on to say that the final chorale may have been written on a loose sheet of paper which has been lost.
He continues, "For today's performances, then, the best course of action is to borrow the chorale with the same text from Cantata 164, transposing it into A Major."
Since this is one of Bach's earliest cantatas, written in 1715, that sheet of paper had plenty of time to get lost, even before he died. The New Bach Edition simply ends the cantata with the aria and does not even make a note that a chorale might ever have existed.
Leonhardt states in his liner notes that the chorale is lost and the standard practice is to use the chorale from BWV 164, which apparently he does since he does end with a chorale in his recording. Leusink also ends with a chorale, also from 164.
Most of the discussions on the Cantata website end the cantata with the aria and there are only a couple of brief mentions of the lost chorale.
Terry also says the chorale is a substitution.
The music
Leonhardt Soprano aria, Tenor recitative
Leonhardt Bass aria, Alto recitative, Alto aria, Chorale
Suzuki soprano aria
PDF of cantata score in old clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Soprano aria, oboe, violin I,II, viola, bassoon, continuo (NBA: violoncello and organ) |
| 2 | Tenor recitative, continuo (NBA: violone and organ) |
| 3 | Bass aria, violoncello obbligato, continuo (NBA: violone and organ) |
| 4 | Alto recitativ, violin I,II, viola, continuo (NBA: organ) |
| 5 | Alto aria, violin obbligato, continuo (NBA: organ) |
| 6 | Chorale lost |
Biblical references for each part
References for the text: King James Bible
| Scripture | Text | ||
|---|---|---|---|
| 1 | Isaiah 40:3-4 | The voice of him that crieth in the wilderness, Prepare ye the way of the Lord, make straight in the desert a highway for our God. Every valley shall be exalted, and every mountain and hill shall be made low: and the crooked shall be made straight, and the rough places plain. | Es ist eine Stimme eines Predigers in der Wüste: Bereitet dem Herrn den Weg; machet auf dem Gefilde eine ebene Bahn unserm Gott! Alle Täler sollen erhöhet werden, und alle Berge und Hügel sollen geniedriget werden, und was ungleich ist, soll eben, und was höckericht ist, soll schlicht werden. |
References
Emmanuel Notes BWV 132.
Emmanuel Translation BWV 132.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 132
2010, December 12
Cantata BWV 162
JS Bach Cantata BWV 162: Ach! Ich sehe, jetzt, da ich zur Hochzeit gehe
(Ah! now I see, as I go to the marriage)
Twentieth Sunday after Trinity October 25 1716
Weimar Cantatas
Scoring: Violin I,II, Viola, Corno da tirarsi (slide horn) added to Leipzig version, Continuo (NBA: Violone, violoncello, bassoon, organ)
Soprano, Alto, Tenor, Bass
Bärenreiter vol 10; p 27
Reading: Ephesians 5:15- 21
Reading: Gospel Matthew 22:1-14
Words: Salomo Franck
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 585-589
Whittaker vol 1 p 65-70
Green p 348-350
Terry vol 2 p 434
Boyd p 4
In the Leipzig version of this cantata, Bach employs a horn, the corno da tirarsi in the first and last movements.
Corno da tirarsi information
Corno da tirarsi, more information
A thesis on the corno da tirarsi by Olivier Picon
A discussion of horns in Bach's works on Bach Cantatas.com
Some baroque horns by Matthew Parker
Another cantata, not for the Christmas season, this is assigned to the last week of October. The Harnoncourt recording below under Music tends to take the tempos a little slower.
1 Ach! ich sehe, itzt, da ich zur Hochzeit gehe: bass aria
2 O großes Hochzeitfest: tenor recitative
3 Jesu, Brunnquell aller Gnaden: soprano aria
The Barenreiter score places an empty instrumental obbligato staff above the soprano. There is not agreement among writers regarding this part; most recordings attempt to place the part in the right hand of the organ. Suzuki has reconstructed an obbligato part for recorder.
4 Mein Jesu, laß mich nicht: alto recitative
I think this is my favorite part of this cantata, I can't say why.
5 In meinem Gott bin ich erfreut: alto, tenor aria duet
About 4 minutes in length this duet also has a prominent continuo part with a cello that is very attractive.
6 Ach, ich habe schon erblicket: Chorale
Discussion of the chorale in an excerpt from C.S. Terry
The music
Harnoncourt part 1 2 3 4
Harnoncourt part 5 6
PDF of cantata score in old clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Bass, violin I,II, viola, corno da tirarsi has independent line in Leipzig version, continuo (NBA: Violone, violoncello, bassoon, organ) |
| 2 | Tenor, continuo (NBA: Violone, violoncello, bassoon, organ) |
| 3 | Soprano aria, obbligato instrument part lost, continuo (NBA: Violone, violoncello, bassoon, organ) |
| 4 | Alto, continuo (NBA: Violone, violoncello, bassoon, organ) |
| 5 | Alto tenor duet, continuo (NBA: Violone, violoncello, bassoon, organ) |
| 6 | Chorale SATB, corno da tirarsi (Leipzig version), violin I with soprano, violin II with alto, viola with tenor, continuo (NBA: Violone, violoncello, bassoon, organ) |
Biblical references for each part
References for the text: King James Bible, Luther's German Bible
| Scripture | Text | ||
|---|---|---|---|
| 2 | Isaiah 66:1 | Thus saith the Lord, The heaven is my throne, and the earth is my footstool: where is the house that ye build unto me? and where is the place of my rest? | So spricht der Herr: Der Himmel ist mein Stuhl und die Erde meine Fußbank; was ist's denn für ein Haus, das ihr mir bauen wollt, oder welches ist die Stätte, da ich ruhen soll? |
| 4 | Revelation 19:9 | And he saith unto me, Write, Blessed are they which are called unto the marriage supper of the Lamb. And he saith unto me, These are the true sayings of God. | Und er sprach zu mir: Schreibe: Selig sind, die zum Abendmahl des Lammes berufen sind. Und er sprach zu mir: Dies sind wahrhaftige Worte Gottes. |
| 5 | Isaiah 61:10 | I will greatly rejoice in the LORD, my soul shall be joyful in my God; for he hath clothed me with the garments of salvation, he hath covered me with the robe of righteousness, as a bridegroom decketh himself with ornaments, and as a bride adorneth herself with her jewels. | Ich freue mich im Herrn, und meine Seele ist fröhlich in meinem Gott; denn er hat mich angezogen mit Kleidern des Heils und mit dem Rock der Gerechtigkeit gekleidet, wie einen Bräutigam mit priesterlichem Schmuck gezieret, und wie eine Braut in ihrem Geschmeide bärdet. |
References
Emmanuel Notes BWV 162.
Emmanuel Translation BWV 162.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 162
BWV 162 on Wikipedia
2010, December 10
Cantata BWV 161
JS Bach Cantata BWV 161: Komm, du süße Todesstunde
(Come thou sweet death's hour)
Sixteenth Sunday after Trinity September 27 1716
Weimar Cantatas
Scoring: Two recorders, two violins, viola, continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 9; p 27
Reading: Epistle Ephesians 3:13-21
Reading: Gospel Luke 7:11-17
Words: Salomo Franck
Bach Bibliography
Recordings
Bach: Christus Der Ist Mein Leben
Conductor: Philippe Herreweghe
Ensemble: Ghent Collegium Vocale, Ghent Collegium Vocale Choir
Soprano: Dorothee Mields
Alto: Matthew White
Tenor: Hans Jörg Mammel
Bass: Thomas Bauer
Label: Harmonia Mundi 901969
Date: 04/08/2008
Review
Discussion
Literature
Dürr p 542-546
Whittaker vol 1 p 156-160
Green p 346-348
Terry vol 2 p 432
Boyd p 256 Stephen A. Crist
Dürr states that this composition is of indescribable charm; he dwells at length on use of the chorale melody in all sections. Whittaker says this is the first cantata that uses the "Passion chorale" Herzlich tut mich verlangen. Dürr also mentions that the first section makes an impression on the listener similar to the opening of the St. Matthew Passion.
Recorders play an important part in this cantata which is a parable of life and death. Not for Advent or the Christmas season, this cantata is assigned to a Sunday in September.
1 Komm, du süße Todesstunde: Alto aria with chorale played by the organ
Recorders play a prominent part.
2 Welt, deine Lust ist Last: Tenor recitative
Herreweghe's recording brings out the cello part of the continuo in the arioso section at the end a little more strongly.
3 Mein Verlangen: Tenor aria
Enjoyable listening.
4 Der Schluß ist schon gemacht: Alto recitative
Very melodic declamation.
5 Wenn es meines Gottes Wille: Chorus
The music is quite light hearted.
6 Der Leib zwar in der Erden: Chorale
Discussion of the chorale by C.S. Terry;
Discussion of the chorale on Cantatas.com;
PDF of chorale with independent recorder part
The music
BWV 161 part 1 2 3 4 Harnoncourt
BWV 161 part 5 6 Harnoncourt
BWV 161.1 Leusink
BWV 161.3 Leusink
BWV 161.5 Leusink
BWV 161.5 Gardiner
PDF of cantata score in old clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Aria, recorder I,II, organ, alto, Leipzig version adds soprano (Dürr states may be of doubtful authenticity), continuo (NBA: organ) |
| 2 | Tenor recitative, continuo (NBA: organ) |
| 3 | Tenor aria, violin I,II, viola, continuo (NBA: organ) |
| 4 | Alto recitativ, recorder I,II, violin I,II, viola, continuo (NBA: organ) |
| 5 | SATB, recorder I,II, violin I,II, viola, continuo (NBA: organ) |
| 6 | Chorale SATB, recorder I,II obbligato in unison, violin I with soprano, violin II with alto, viola with tenor, continuo (NBA: organ)/td> |
References
Emmanuel Notes BWV 161.Emmanuel Translation BWV 161.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
John Eliot Gardiner Cantatas Recording.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 161
2010, December 04
Cantata BWV 155
JS Bach Cantata BWV 155: Mein Gott, wie lang', ach lange?
(My God, how long, ah how long?)
Second Sunday after Epiphany January 19 1716
Weimar Cantatas
Scoring: Violin I,II, viola, bassoon, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 2; p 563
Reading: Romans 12: 6-16
Reading: John 2:1-11
Words: Salomo Franck
Recordings
Discussion
Literature
Dürr p 191-194
Whittaker vol 1 p 100-103
Green p 337-339
Terry vol 2 p 425
Boyd p 290 Stephen A. Crist
This is a short cantata, about fourteen minutes long and very pleasant listening. Green says the orchestral parts are accessible to intermediate players, except for a difficult and exposed bassoon solo in movement two.
1 Mein Gott, wie lang, ach lange?: Soprano recitative
An unusual for a cantata, a recitative at the start.
2 Du mußt glauben, du mußt hoffen: Alto and tenor aria
Whittaker states that this contains one of the finest bassoon obbligati Bach ever wrote. The alto and tenor frequently sing in parallel thirds and sixths.
3 So sei, o Seele, sei zufrieden!: Bass recitative
A striking harmony on wormwood (wermuth which is bitter, in contrast to honey, Honigseim) measure 10 beat 2, E flat in bass part against F sharp up to G in the continuo:
measures 7-11 BWV 155.3;
measures 7-11 BWV 155.3 mp3.
4 Wirf, mein Herze, wirf dich noch: Soprano aria
Dotted rhythms.
5 Ob sich's anließ, als wollt er nicht,: Chorale
A straight four part setting, especially attractive.
Discussion of the chorale by C.S. Terry;
Discussion of the chorale on Cantatas.com
The music
PDF of cantata score in old clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Soprano recitative, violin I,II, viola, continuo (NBA: organ) |
| 2 | Alto and tenor aria, bassoon obbligato, continuo (NBA: organ) |
| 3 | Bass recitative, continuo (NBA: organ) |
| 4 | Soprano aria, violin I,II, viola, continuo (NBA: organ) |
| 5 | Chorale SATB, violin I,II, viola, continuo (NBA: organ) |
References
Emmanuel Notes BWV 155.Emmanuel Translation BWV 155.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
John Eliot Gardiner Cantatas Recording.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 155
