rssThe last note is never the last. It is rather a point of departure for something to come. - Seymour Bernstein
2010, November 19
Cantata BWV 185
JS Bach Cantata BWV 185: Barmherziges Herze der ewigen Liebe
(Merciful heart of eternal love)
Fourth Sunday after Trinity July 14 1715
Weimar Cantatas
Scoring: Clarino (small trumpet), oboe, violin I,II, viola, continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 6; p 528
Reading: Epistle Romans 8:18-23
Reading: Gospel Luke 6:36-42
Words: Salomo Franck
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 415-418
Whittaker vol 1 p 79-84
Green p 391-393
Terry vol 2 p 463
Boyd p 59
The version written for performance in Weimar calls for oboe, SATB, strings and continuo. A trumpet was added for the Leipzig version.
1 Barmherziges Herze der ewigen Liebe: Aria S T Duet and chorale in trumpet part)
The chorale melody in a PDF excerpt by C.S. Terry
Eduard Wesley plays the clarino part on an oboe in the Leusink recording. Harnoncourt uses an oboe d'amore for the chorale. The chorale stands apart from the agitated singers.
2 Ihr Herzen, die ihr euch: Alto recitative
A lovely melodic statement with a transition to an arioso near the end. The Leusink performance is a bit more forceful.
3 Sei bemüht in dieser Zeit: Alto aria
A wonderful oboe obbligato accompanies this aria.
4 Die Eigenliebe schmeichelt sich!: Bass recitative
Straightforward declamatory recitation.
5 Das ist der Christen Kunst: bass aria
Dürr states that the text is most unsuitable to an aria as there are no episodes. Bach gets around this difficulty by repeating the introductory line at the beginning and end of each section.
6 Ich ruf zu dir, Herr Jesu Christ: Chorale
The same chorale melody of part one, with a violin part added in counterpoint. Unfortunately, neither of my recordings bring out the violin part adequately. It is buried in both and judging from the mp3 samples online, also in Koopman's performance. Suzuki (vol 4), is most discernible. PDF score of the chorale.
The music
Aria, recitative, aria, Part 1, 2 and 3, Harnoncourt
Recitative, aria, chorale, Part 4, 5 and 6, Harnoncourt
The score with old style clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Duet soprano, tenor, clarino, continuo (NBA: violoncello, violone and organ) |
| 2 | Alto recitative, violin I,II, viola, bassoon, continuo (NBA: violoncello, violone and organ) |
| 3 | Alto aria, oboe, violin I,II, viola, continuo (NBA: violoncello, violone and organ) |
| 4 | Bass recitativ, continuo (NBA: violoncello, violone and organ) |
| 5 | Bass aria, violin I,II, viola (strings in unison), continuo (NBA: violoncello, violone and organ) |
| 6 | Chorale SATB, violin I independent obbligato, clarino and oboe with soprano, violin II with alto, viola with tenor, continuo (NBA: violoncello, violone and organ)/td> |
Biblical references for each part
| Luke 6:36-42 | Be ye therefore merciful, as your Father also is merciful. Judge not, and ye shall not be judged: condemn not, and ye shall not be condemned: forgive, and ye shall be forgiven: Give, and it shall be given unto you; good measure, pressed down, and shaken together, and running over, shall men give into your bosom. For with the same measure that ye mete withal it shall be measured to you again. And he spake a parable unto them, Can the blind lead the blind? shall they not both fall into the ditch? The disciple is not above his master: but every one that is perfect shall be as his master. And why beholdest thou the mote that is in thy brother's eye, but perceivest not the beam that is in thine own eye? Either how canst thou say to thy brother, Brother, let me pull out the mote that is in thine eye, when thou thyself beholdest not the beam that is in thine own eye? Thou hypocrite, cast out first the beam out of thine own eye, and then shalt thou see clearly to pull out the mote that is in thy brother's eye. |
| Luke 6:36-42 | Darum seid barmherzig, wie auch euer Vater barmherzig ist. Richtet nicht, so werdet ihr auch nicht gerichtet. Verdammet nicht, so werdet ihr auch nicht verdammet. Vergebet, so wird euch vergeben. Gebt, so wird euch gegeben. Ein voll, gedrückt, gerüttelt und überflüssig Maß wird man in euren Schoß geben; denn eben mit dem Maß, da ihr mit messet, wird man euch wieder messen. Und er sagte ihnen ein Gleichnis: Mag auch ein Blinder einem Blinden den Weg weisen? Werden sie nicht alle beide in die Grube fallen? Der Jünger ist nicht über seinen Meister; wenn der Jünger ist wie sein Meister, so ist er vollkommen. Was siehest du aber einen Splitter in deines Bruders Auge, und des Balkens in deinem Auge wirst du nicht gewahr? Oder wie kannst du sagen zu deinem Bruder: Halt stille, Bruder! Ich will den Splitter aus deinem Auge ziehen; und du siehest selbst nicht den Balken in deinem Auge? Du Heuchler! Zieh zuvor den Balken aus deinem Auge und besiehe dann, daß du den Splitter aus deines Bruders Auge ziehest. |
References
Emmanuel Notes BWV 185.
Emmanuel Translation BWV 185.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
John Eliot Gardiner Cantatas, PDF index.
John Eliot Gardiner Cantatas Recording.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 185
2010, November 12
Cantata BWV 163
JS Bach Cantata BWV 163: Nur jedem das Seine
(Only to each his due)
Twenty-fourth Sunday after Trinity (Twenty-fifth Sunday after Pentecost) November 24 1715
Weimar Cantatas
Scoring: Violin I,II, viola, violoncello I,II, continuo (NBA: violoncello and keyboard)
Soprano, Alto, Tenor, Bass
Bärenreiter vol 10; p 407
Reading: Epistle Philippians 3:17-21
Reading: Gospel Matthew 22:15-22
Words: Salomo Franck
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 619-622
Whittaker vol 1 p 84-90
Green p 350-351
Terry vol 2 p 438
Boyd Robin A. Leaver p 323
Dürr observes that this cantata is in a chamber music style, in common with other cantatas written in this year, 1715.
1 Nur jedem das Seine: Tenor aria
Green says that this is the most challenging movement, but within the ability of intermediate players.
2 Du bist, mein Gott, der Geber aller Gaben: Bass recitative
3 Laß mein Herz die Münze sein: Bass aria
Contains a cello duet independent of the continuo, Green calls it challenging. (Green has a misprint, he states that the duet is in part 2.) I prefer Leusink's performance, it is more prayerful, while Harnoncourt presents the plea rather as a demand. Also, I find the cello parts clearer in the Leusink performance, with Frank Wakelkamp and Thom Pitt.
4 Ich wollte dir: Soprano alto arioso
A lovely canonic duet with continuo. Dürr states this part is a prelude to the prayer in the next part.
5 Nimm mich mir und gib mich dir: Soprano alto chorus with chorale (Meinen Jesum laß ich nicht) in strings
The rendition of the chorale by the violins and viola is rather subtle, you really have to listen for it.
6 Führ auch mein Herz und Sinn: Chorale
Discussion of the chorale on Bach Cantatas.com
This chorale comes to us as the soprano and bass with figures. The inner voices of the performances have been filled in from the figuration.
Discussion of final chorale and Meinen Jesum laß ich nicht in PDF excerpt by C.S. Terry
The music
Aria, recitative, aria Parts 1 2 3 Harnoncourt
Recitative, aria, chorale, Parts 4 5 6 Harnoncourt
A link to download the score with old style clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Tenor aria, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
| 2 | Bass recitative, continuo (NBA: violoncello and keyboard) |
| 3 | Bass aria, violoncello I,II (obbligato), continuo (NBA: violoncello and keyboard) |
| 4 | Soprano and alto recitativ, continuo (NBA: violoncello and keyboard) |
| 5 | Soprano and alto aria, violin I,II, viola (in unison on chorale), continuo (NBA: violoncello and keyboard) |
| 6 | Chorale SATB, continuo (NBA: violoncello and keyboard) only soprano part and continuo survive |
Biblical reference
| Text | |
|---|---|
| Matthew 22:15-22 | Then went the Pharisees, and took counsel how they might entangle him in his talk. And they sent out unto him their disciples with the Herodians, saying, Master, we know that thou art true, and teachest the way of God in truth, neither carest thou for any man: for thou regardest not the person of men. Tell us therefore, What thinkest thou? Is it lawful to give tribute unto Caesar, or not? But Jesus perceived their wickedness, and said, Why tempt ye me, ye hypocrites? Shew me the tribute money. And they brought unto him a penny. And he saith unto them, Whose is this image and superscription? They say unto him, Caesar's. Then saith he unto them, Render therefore unto Caesar the things which are Caesar's; and unto God the things that are God's. When they had heard these words, they marvelled, and left him, and went their way. |
| Matthew 22:15-22 | Da gingen die Pharisäer hin und hielten einen Rat, wie sie ihn fingen in seiner Rede. Und sandten zu ihm ihre Jünger samt des Herodes Dienern und sprachen: Meister, wir wissen, daß du wahrhaftig bist und lehrest den Weg Gottes recht und fragest nach niemand; denn du achtest nicht das Ansehen der Menschen. Darum sage uns, was dünket dich? Ist's recht, daß man dem Kaiser Zins gebe, oder nicht? Da nun Jesus merkte ihre Schalkheit, sprach er: Ihr Heuchler, was versuchet ihr mich? Weiset mir die Zinsmünze! Und sie reichten ihm einen Groschen dar. Und er sprach zu ihnen: Wes ist das Bild und die Überschrift? Sie sprachen zu ihm: Des Kaisers. Da sprach er zu ihnen: So gebet dem Kaiser, was des Kaisers ist, und Gott, was Gottes ist. Da sie das höreten, verwunderten sie sich und ließen ihn und gingen davon. |
References
Emmanuel Notes BWV 163.
Emmanuel Translation BWV 163.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Discussion at Answers.com
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 163
2010, November 07
Rob Mosher
Rob Mosher is a composer and soprano sax player writing thirty-one instrumental melodies in the style of Bach chorales. He is writing one a day for thirty-one days and will complete the project on November 19, 2010. His blog presents a melody daily as it is completed.
He is planning to record these compositions using Kickstarter which uses the internet to fund such projects.
Good luck on completing the project.
2010, November 03
Two Chorale Treatments
Here are two chorale treatments, 200 years apart, from James Pressler at Virtually Baroque.
Sigfrid Karg-Elert: Herzlich tut mich verlangen (a minor)
J.S. Bach: Herzlich thut mich verlangen, BWV 727 (f# minor)
Sigfrid Karg-Elert: Allein Gott in der Höh sei Ehr (G Major)
J.S. Bach: Allein Gott in der Höh sei Ehr, BWV 664 (A Major)
