rssBach may be important not just as a supreme historical figure in western culture, who did what he could with what he had, but also in the way he epitomises a particular mode of thinking, a complex of beliefs about how the world coheres that almost amounts to a musical form of holism. - John Butt
2010, September 08
Cantata BWV 54
JS Bach Cantata BWV 54: Widerstehe doch der Sünde
(Hold thou firm against all evil)
Third Sunday in Lent March 24 1715
Weimar Cantatas
Scoring: Violin I,II, viola I,II, Continuo
Alto or countertenor
Bärenreiter vol 7; p 161
Reading: Epistle Ephesians 5:1-9
Reading: Gospel Luke 11:14-28
Words: Georg Christian Lehms
Bach Bibliography
Recordings
Sacred Cantatas for Alto
Conductor: Helmut Müller-Brühl
Alto: Marianne Beate Kielland
Orchestra/Ensemble: Cologne Chamber Orchestra, Cologne Chamber Choir
Naxos 8.557621
Date: 12/13/2005
Review and sound samples here
Don Satz' review here
Cantatas for Alto
Conductor: Philippe Herreweghe
Alto: Andreas Scholl
Orchestra/Ensemble: Collegium Vocale
Date: 2000
Harmonia Mundi HMC 901644
Sound samples here
Handel Arias
Conductor: Thomas Dunn
Countertenor: Russell Oberlin
Orchestra/Ensemble: Baroque Chamber Orchestra
Date: 03/13/2007 re-release; Original 1959
Deutsche Grammophon 000818502
Review here
Discussion
Literature
Dürr p 253-55
Whittaker vol 1 p 367
Simon Heighes in Boyd's Oxford Companion p 524
Green p 137
This is one of only twelve solo cantatas that has survived, and only one of nine without an SATB ensemble. Green says the cantata would work well with solo strings. S. Heighes states: The first aria...has long been admired for its harmonic richness, particularly the startling unprepared dissonances of the opening bars (dominant 7th chords reiterated over a tonic pedal) and the arresting deceptive cadences at bars 45 and 51. Dürr describes these deceptive cadences as "harmonic audacities."
All sources agree that this cantata has a very low reach for the alto voice, probably the lowest of all the cantatas, and thus works well with a countertenor.
1 Widerstehe doch der Sünde: Alto aria
The opening chord in "Bach's harmonic arsenal":
Play chord sound file
1: E flat tonic pedal
5: B flat (only in the figured bass, not in the upper instruments)
7: d
2: f
4: A flat
Footnote from wiki article: J.S. Bach, for example, was particularly fond of the sound produced by the dominant seventh harmony played over, i.e., suspended against, the tonic pedal tone.[For example, near the beginning of the Toccata of BWV 565. Bach's Cantata BWV 54 also uses this suspension as the opening chord in E-flat Major.]
Dürr, p 255, states that this chord is also used at the beginning of BWV 61.4, the bass recitative, and here again it represents an awakening out of security and indifference.
Robert Kelley figured bass symbols (http://www.robertkelleyphd.com/figuredbass.htm)
First deceptive cadence, measure 45, sung by Andreas Scholl, with Philippe Herreweghe.
Second deceptive cadence, measure 51 sung by Andreas Scholl, with Philippe Herreweghe.
Herreweghe brings out the sound of the deceptive cadences in the instruments, but I really admire Russell Oberlin's more dramatic reading, especially at the change of character of the aria in measure 42 at the beginning of the middle section between the da capo repeats. The perfect recording would require time travel, Russell Oberlin with Philippe Herreweghe.
2 Die Art verruchter Sünden: Alto recitative
3 Wer Sünde tut, der ist vom Teufel: Alto aria
The second aria and last piece, with elements of fugue, is a quartet structure for violins, violas, singer and continuo.
The music
Glenn Gould conducts and comments, Russell Oberlin sings (1962): Aria
GG and R. Oberlin: Recitative, Aria
Glenn Gould, a few more comments about Bach before the cantata performance.
Glenn's ensemble:
bass viol (2), cello (4), piano
violin I (6), violin II (4), viola I (2), viola II (2)
Russell Oberlin interview segment 1
Russell Oberlin interview segment 2
Russell Oberlin interview segment 3
Russell Oberlin interview segment 4
Another interview on YouTube from the past
Interview on Soundcheck WNYC
Russell Oberlin sings Handel arias at Presto
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Alto aria, violin I,II, viola I,II, violoncello or bassoon and continuo |
| 2 | Alto recitative, continuo |
| 3 | Alto aria, violin I,II, viola I,II, and continuo |
Biblical references for each part
References for the text: Luther's German Bible and King James Bible
| Scripture | Text | |
|---|---|---|
| 2 | Matthew 23:27 | Woe unto you, scribes and Pharisees, hypocrites! for ye are like unto whited sepulchres, which indeed appear beautiful outward, but are within full of dead men's bones, and of all uncleanness. |
| 2 | Matthew 23:27 | Wehe euch, Schriftgelehrte und Pharisäer, ihr Heuchler, die ihr gleich seid wie die übertünchten Gräber, welche auswendig hübsch scheinen, aber inwendig sind sie voller Totenbeine und alles Unflats. |
| 3 | I John 3:8 | He that committeth sin is of the devil; for the devil sinneth from the beginning. For this purpose the Son of God was manifested, that he might destroy the works of the devil. |
| 3 | I John 3:8 | Wer Sünde tut, der ist vom Teufel; denn der Teufel sündiget von Anfang. Dazu ist erschienen der Sohn Gottes, daß er die Werke des Teufels zerstöre. |
References
Emmanuel Notes BWV 54.
Emmanuel Translation BWV 150.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
WikiPedia article
John Eliot Gardiner Cantatas, PDF index.
John Eliot Gardiner Cantatas Recording.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 54
2010, August 31
Cantata BWV 18
JS Bach Cantata BWV 18: Gleich wie der Regen und Schnee vom Himmel fällt
(Even as the rain and snow fall from Heaven)
Sexagesimae Sunday mo day year (second Sunday before Ash Wednesday)
Weimar Cantatas
Scoring: Four violas, Bassoon, Violoncello, Organ (Leipzig version adds two recorders)
Soprano, Alto, Tenor, Bass
Bärenreiter vol 3; p 285
Reading: Epistle Corinthians II 11:19-12:9 God's power is mighty in the weak
Reading: Gospel Luke 8:4-15 The parable of the sower
Words: Erdmann Neumeister
Bach Bibliography
The recordings
Discussion
The literature
Whittaker vol 1, p 141
C.S. Terry vol 2, p 178
Boyd p 193
Green p 42
Dürr p 231
The sentiments expressed in this cantata seem very foreign to my ears, but then I have not been following the rhetoric of the modern conflicts in the Middle East. Perhaps the split between the faithful and the infidel would seem contemporary to some.
There are no violins in this cantata, violas take their places.
The eighth Sunday before Easter, the earliest Sexagesima can occur is January 25 and the latest is February 28 (or February 29 in a leap year). The name of this Sunday has been dropped from modern vocabulary.
1: Sinfonia
The addition of the recorders in the later version significantly changes the character of the music.
First forty measures Leusink Weimar version
First forty measures Kuijken Leipzig version with recorders
2 Gleichwie der Regen und Schnee vom Himmel fällt: bass recitative
Short and enjoyable with the organ continuo.
3 Mein Gott, hier wird mein Herze sein: recitative with sections of the litany
Tenor prayer, soprano intones, then chorus with Hear us dear Lord God; bass recitative, soprano intones, then chorus with Hear us dear Lord God; tenor recitative, soprano intones, then chorus with Hear us dear Lord God; bass recitative, soprano intones, chorus finishes with Hear us dear Lord God, almost as a command from below. Verfolgung (persecution), in the bass recitative, is allotted the most extraordinary run in all his church music. ... This lengthy number, extending to nearly ninety bars, is a bold and interesting early experiment, and its like is not met with elsewhere in the cantatas. - Whittaker (p 144)
4 Mein Seelenschatz ist Gottes Wort: soprano aria
The soprano is accompanied by the four violas in unison.
5 Ich bitt, o Herr, aus Herzens Grund: chorale
Discussion of the final chorale on Bach-cantatas.com
Discussion of the final chorale by C. S. Terry in PDF extract
The music
Ton Koopman 1
Ton Koopman 2
Ton Koopman 3
Ton Koopman 4
Ton Koopman 5
PDF of the cantata score in old clefs
Instruments and voices for each part
| Instruments, voices | |
|---|---|
| 1 | Sinfonia: Viola I,II,III,IV, bassoon, violoncello, and continuo (NBA: organ) |
| 2 | Bass recitative: bassoon, and continuo (NBA: organ) |
| 3 | SATB aria, viola I,II,III, IV, and continuo (NBA: organ) |
| 4 | Soprano aria, viola I,II,III,IV and continuo (NBA: organ) |
| 5 | Chorale SATB, viola I,II,III,IV, bassoon, and continuo (NBA: organ) |
Biblical references for each part
References for the text: Luther's German Bible and King James Bible
| Scripture | Text | |
|---|---|---|
| 2 | Isaiah 55:-10-11 | For as the rain cometh down, and the snow from heaven, and returneth not thither, but watereth the earth, and maketh it bring forth and bud, that it may give seed to the sower, and bread to the eater: so shall my word be that goeth forth out of my mouth: it shall not return unto me void, but it shall accomplish that which I please, and it shall prosper in the thing whereto I sent it. |
| 2 | Isaiah 55:-10-11 | Denn gleichwie der Regen und Schnee vom Himmel fällt und nicht wieder dahin kommt, sondern feuchtet die Erde und macht sie fruchtbar und wachsend, daß sie gibt Samen zu säen und Brot zu essen, also soll das Wort, so aus meinem Munde gehet, auch sein: Es soll nicht wieder zu mir leer kommen, sondern tun, das mir gefällt, und soll ihm gelingen, dazu ich's sende. |
| 5 | Chorale | Durch Adams Fall is ganze verderbt, verse 8 Ich bitt, o Herr, aus Herzens Grund |
| 5 | Chorale | I pray, o Lord, from the bottom of my heart |
References
Emmanuel Notes BWV 18.
Emmanuel Translation BWV 18.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Answers.com article
John Eliot Gardiner Cantatas Recording.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 18
2010, August 26
Cantata BWV 152
JS Bach Cantata BWV 152: Tritt auf die Glaubensbahn
(Walk in the path of faith)
Sunday after Christmas December 30 1714
Weimar Cantatas
Scoring: Recorder, oboe, viola d'amore, viola da gamba, organ
Soprano, Bass
Bärenreiter vol 2; p 25
Reading: Epistle Galatians 4:1-7
Reading: Gospel Luke 2:33-40
Words: Salomon Franck: Luke 2:33-40
Recordings
Discussion
Literature
Dürr p 134-137
Whittaker vol 1 p 93-100
Green p 332-333
Boyd p 483
1 Sinfonia
Contrapuntally intricate (Green), this movement starts out with four slow measures, then moves into a fugal section related to BWV 536. Dürr states that this is one of the few purely instrumental fugues in the cantatas.
2 Tritt auf die Glaubensbahn: bass aria with oboe
Really a duet between oboe and bass, the oboe part is truly memorable. I can listen to this part over and over.
3 Der Heiland ist gesetzt: bass recitative and arioso
Tenth measure, transition to fifteen measure arioso. The famous drop of a tenth from F# to D# on 'zum Fall' occurs between the third and fourth measures.
4 Stein, der über alle Schätze: soprano aria
Lovely part for the viola d'amore
5 Es ärgre sich die kluge Welt: bass recitative
Straightforward declamation.
6 Wie soll ich dich, Liebster der Seelen, umfassen?: bass soprano duet
Dialog text alternates with the third voice of the oboe in canon.
Several things combine to make this an unusual cantata for Bach: the distinctive chamber orchestration with only two singers, no violins, no chorales, allusions rather than biblical texts, the use of the viola da gamba (only appears in six cantatas) and a viola d'amore (appears twice again in secular cantatas). Boyd (p 483) states that a feature of this cantata is that it includes no movements in da cappo form. There is no going back along the path of faith.
Green describes this as a true chamber cantata requiring strong players on all parts. It could be very effectively performed without a conductor.Ruth Holton is sublime in the Leusink recording; this is my favorite performance of this cantata. Everything is in miniature in this piece; when you have finished listening, you hardly feel you have heard a cantata.
The music
Sinfonia, aria, recitativ
Aria, recitativ, aria duet
Organ fugue bwv 536
BWV 152 in old clefs PDF
Instruments and voices for each part
| Instruments, voices | |
|---|---|
| 1 | Sinfonia: Recorder, oboe, viola d'amore, viola da gamba, and continuo (NBA: organ) |
| 2 | Bass aria: oboe, and continuo (NBA: viola da gamba, organ) |
| 3 | Bass recitative, continuo (NBA: viola da gamba, organ) |
| 4 | Soprano aria, recorder, viola d'amore and continuo (NBA: viola da gamba, organ) |
| 5 | Bass recitative, continuo (NBA: viola da gamba, organ) |
| 6 | Soprano bass duet, recorder, oboe, viola d'amore, continuo (NBA: viola da gamba, organ) |
The viola da gamba and the viola d'amore were members of the viol family played often in the baroque period. The number of strings varied and the tuning of the instruments depended on the music being played. There are people actively engaged in keeping these traditions alive.
- Here is a comparison of a viola da gamba and a modern violoncello.
- A viola d'amore by a modern maker.
- Images from the Viola d'amore Society of America
- Viola da gamba Society of America.
- WikiPedia article about viola d'amore.
Biblical references for each part
| King James Bible | Luther's German Bible | ||
|---|---|---|---|
| 3 | Luke 2:34 | And Simeon blessed them, and said unto Mary his mother, Behold, this child is set for the fall and rising again of many in Israel; and for a sign which shall be spoken against; | Und Simeon segnete sie und sprach zu Maria, seiner Mutter: Siehe, dieser wird gesetzt zu einem Fall und Auferstehen vieler in Israel und zu einem Zeichen, dem widersprochen wird |
| 2 3 4 | Psalm 118:22 | The stone which the builders refused is become the head stone of the corner. | Der Stein, den die Bauleute verworfen, ist zum Eckstein worden. |
References
Emmanuel Notes BWV 152.
Emmanuel Translation BWV 152.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 152
BWV 152 from Answers.com
2010, August 18
Cantata BWV 63
JS Bach Cantata BWV 63: Christen, ätzet diesen Tag
(Christians, engrave this day)
Christmas day December 25 1714
Weimar Cantatas
Scoring: Four trumpets, timpani, three oboes, bassoon, violin I,II, viola, violone, organo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 1; p 151
Reading: Epistle Titus 2:11-14
Reading: Gospel Luke 2:1-14
Bach Bibliography
Recordings
Conductor: Philip Pickett
Soprano: Catherine Bott
Countertenor: Christopher Robson
Tenor: Paul Agnew, Andrew King
Bass: Michael George
Orchestra/Ensemble: New London Consort
L'oiseau Lyre 452920
Date: 10/1997
Review and notes here.
Discussion
Literature
Dürr p 91-93
Whittaker vol 1 p 705
C.S. Terry vol 2 p 255
Robin A. Leaver in Boyd's Oxford Companion p 95
Green p 141
An unusual cantata in that there are no arias, no chorales, no scripture references, and four trumpets are employed in the choruses. In a very small package this is wonderful music with duets, obbligato oboe parts, a choral concerto and remarkably melodic recitatives. Green states that the instrumental parts are quite challenging and require expert players, especially in the outer movements. Whittaker minutely describes the development of the music.
1 Christen, ätzet diesen Tag: exuberant celebratory opening chorus
Trumpets and timpani play during the instrumental interludes, the choir acts together as a concerto instrument.
Guaranteed to wake up a sleepy congregation.
2 O selger Tag! o ungemeines Heute: alto recitative
Rather quiet, the alto sings of the blessings of the Savior's birth.
3 Gott, du hast es wohl gefüget: soprano bass duet with oboe
Green: exposed and intricate oboe solo. Dürr: this oboe part was transferred to organ for a later performance; he considers both alternatives should be available to contemporary performers. This is a very intense duet, two voices and an obbligato oboe.
4 So kehret sich nun heut: tenor recitative
Short, starts as a dry recitative, then Whittaker states that it develops into an arioso. Personally, it seems to me a straight recitative.
5 Ruft und fleht den Himmel an: tenor alto duet
The blend of canonical device, straightforward tunes and the circling movement provides a delightful picture of the happy condition of believers swinging and swaying in a dance of unbounded joy. - Whittaker p 708
6 Verdoppelt euch demnach, ihr heißen: bass recitativ
Emphatic, marked for eight parts: three oboes, bassoon, strings and continuo contribute seven independent lines (Whittaker p 706). To me the instrumental parts sound more like block chords.
7 Höchster, schau in Gnaden an: final chorus
Back with the trumpets and timpani
Green compares the orchestration of the opening and final choruses to the Brandenburg concerti; trumpets and timpani alternate with the choir making the impression of a concerto stronger, particularly in the opening chorus.
Parts two, three and four are my favorites, part two so personal, part three truly a trio with two voices and the oboe and part four with such a persuasive tenor.
The music
Here is a PDF of the cantata in old clefs.
Opening Chorus
Recitativ alto
Duet soprano, bass
Recitativ tenor
Duet tenor, alto
Recitativ bass
Final chorus
References
Emmanuel Notes BWV 63.
Emmanuel Translation BWV 63.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
London Bach Society Database entry BWV 63
