Right and left, before and behind, the fen lay shrouded. The snow that had fallen all day gave back a glimmering greyness to a sky like lead. - D.L. Sayers

2009, December 01

Cornettos in Bach Cantatas

 

 

The cornetto is a lip-vibrated, wooden, finger-hole horn, usually curved and octagonal in cross section, which went out of use in the early 19th century.

During the later Baroque period, Johann Sebastian Bach and George Frideric Handel used the trombone on few occasions; Bach used it in combination with the cornetto to evoke the stile antico in some of his many cantatas. The instrument was apparently held to be a close imitation of the human voice.

 

 

Gabrieli: Sonate E Canzoni / Concerto Palatino

Sound samples from Gabrieli

A cornetto recital

 

 

 

 

 

Italian Music For Cornets And Trombones / Concerto Palatino

Sound samples from Italian Music

Concerto Palatino Home Page with more photos

 

 

BWV	Instrument	Voice	Cantata Title
4.2, 3, 8	1 cornetto 3 trombones	S ATB	Christ lag in Todesbanden
23.4	1 cornetto 3 trombones	S ATB	Du wahrer Gott und Davids Sohn
25.1, 6	1 cornetto 3 trombones	S ATB	Es ist nichts Gesundes an meinem Leibe
28.2, 6	1 cornetto 3 trombones	S ATB	Gottlob! nun geht das Jahr zu Ende
64.1, 2, 4, 8	1 cornetto 3 trombones	S ATB	Sehet, welch eine Liebe
68.5	1 cornetto 3 trombones	S ATB	Also hat Gott die Welt geliebt
118(1)	1 cornetto 3 trombones	S ATB	O Jesu Christ, meins Lebens Licht
133.1, 6	1 cornetto	S	Ich freue mich in dir
135.6	1 cornetto	S	Ach Herr, mich armen Sünder

Voice and Instrument abbreviations

Early Instruments Chicago

Here the cornetto is placed in the brass

Here it is placed with the woodwinds

Here is some discussion of several early instruments

Cornetto at the bottom of the page

2009, November 21

Cantata BWV 106

JS Bach Cantata BWV 106: Gottes Zeit ist die allerbeste Zeit
(God's time is the best of all) "Actus Tragicus"
Funeral cantata 1707
Mühlhausen Cantatas
Reading: Corinthians 5:6-8; Mark 16:1-8
Scoring: Two recorders, Two violas da gamba, Continuo
  Soprano, Alto, Tenor, Bass
Bärenreiter vol 14; p 279
Words: Bible verses, chorales

1	Sonatina with recorders. On some recordings the recorders are rather overwhelming.
2a	Chorus with recorders
2b	Tenor aria with recorders
2c	Bass aria with recorders
2d	Soprano aria and chorus, special
3a	Alto aria with viola da gamba obbligato, particularly affecting.
3b	Bass and alto aria with choir, continues from 3a without break; very sad alto chorale; duet causes shivers in my spine.
4	Chorus with recorders; uplifting short fugal Amen

Much has been written about Cantata 106; this post is a sort of literature review. In this cantata Bach treats the subject of death under the "Old Law", then under the Gospel. He has packed into about twenty minutes references to three chorales, two Psalms, bits from Isaiah, Luke, Revelations, the apocryphal book Ecclesiasticus (Sirach), and a verse from the Acts of the Apostles.

Alfred Dürr begins his discussion of this cantata thus: …the Actus Tragicus is a work of genius such as even great masters seldom achieve. Here, in one stroke, the twenty-two year old composer left all his contemporaries far behind him. Of course it could be argued that in later years Bach's art became a great deal more mature, but it hardly grew more profound. The Actus Tragicus belongs to the great musical literature of the world.

Dürr closes his discussion of this cantata with the following: Among the works created using the compositional means of his early period, however, this cantata far exceeds the others both in depth of expression and in spiritual penetration. Dürr p 759-765

Whittaker is equally effusive: Suddenly…at one bound, he leaps into consummate mastery.
Never again did he acheive the continuous tenderness and the elevated spiritual feeling in just the same way as it is found here; it remains unique. Whittaker continues with an essay that relates the music to the text in a very helpful way. Whittaker vol 1, p 57-63

After much reading and many listenings, score in hand, it is time to move on. I feel I am leaving an old friend. But I know I will return many times and will find more to learn and hear in the many layers of this cantata.

The first chorale

 

 

 

 

 

 

 

 

Terry (C.S. Terry vol 2, p 343, 344) discusses the derivation of the melody introduced in the unison recorder parts of 106.2d, measure 150. The illustration on the left is the complete four part song. On the right he has isolated the tenor part from this song, "Ich weiss mir ein Röslein hübsch und fein".

Both the tenor part and the soprano part became associated with the hymn "Ich hab mein Sach Gott heimgestellt". Eventually, the tenor melody fell out of popularity and only the soprano melody was used.

The melody in 106.2d, derived from the tenor part of this song, "Ich hab mein Sach Gott heimgestellt" is never used again by Bach in any of the works we have; BWV 351, 707, 708 and 1113 use the soprano part. Williams, 2nd ed., p 445.

The tenor part of the song, "Ich weiss mir ein Röslein hübsch und fein"


The recorder parts from measure 150, part 2d.

 

Ja komm, Herr Jesu, soprano solo with above recorder part.

 

Dürr, p 763, points out that the texts of verses 2, 8, 10 and 16 of the chorale "Ich hab mein Sach Gott heimgestellt" parallel the cantata text. So a rather hidden musical reference to the chorale reinforces the ideas in the cantata text.

 

The second chorale

 

 

The chorale used in the alto part of 3b is the first verse of Martin Luther's Nunc dimittis, Luke 2:29-32.

 

 

King James
Lord, now lettest thou thy servant depart in peace, according to thy word: For mine eyes have seen thy salvation, Which thou hast prepared before the face of all people; A light to lighten the Gentiles, and the glory of thy people Israel.

Luther
Herr, nun läßst du deinen Diener in Frieden fahren, wie du gesagt hast; denn meine Augen haben deinen Heiland gesehen, welchen du bereitet hast vor allen Völkern, ein Licht, zu erleuchten die Heiden, und zum Preis deines Volkes Israel.

Luther hymn Mit Fried und Freud ich fahr dahin In Gottes Willen, Getrost ist mir mein Herz und Sinn, Sanft und stille. Wie Gott mir verheißen hat: Der Tod ist mein Schlaf worden. ("Mit Fried und Freud," verse 1)

With peace and joy I depart in God's will, My heart and mind are comforted, calm, and quiet. As God had promised me: death has become my sleep

 

The final chorale

 

The final chorus of the cantata is an extended version of the chorale "In dich hab' ich gehoffet, Herr" using the words of the seventh verse. The melody occurs elsewhere: in the "St Matthew Passion," BWV 244.38, in the "Christmas Oratorio," BWV 248.46 and in the organ work BWV 712.

In Johann Hermann Schein's Cantional (Leipzig, 1627) it appears in a form very similar to that in which Bach employs it. Terry, vol 2 p 242

Bach extends the chorale with a closing Amen, a rousing fugue.

References for the text: Luther's German Bible

	Scripture	Text	Part
2a	Acts 17:28	In ihm leben, weben und sind wir.	Chorus
2b	Psalms 90:12	Lehre uns bedenken, daß wir sterben müssen, auf daß wir klug werden	Tenor
2c	Isaiah 38:1	Bestelle dein Haus; denn du wirst sterben und nicht lebendig bleiben	Bass
2d	Ecclesiasticus (Sirach) 14:18	Es ist der alte Bund: Mensch, du mußt sterben!	Alto, tenor, bass
	Revelations 22:20	Ja komm, Herr Jesu!	Soprano
	Chorale	Ich hab mein Sach Gott heimgestellt	Instruments
3a	Psalms 31:6	In deine Hände befehl ich meinen Geist; du hast mich erlöset, Herr, du getreuer Gott	Alto
3b	Luke 23:43	Heute wirst du mit mir im Paradies sein.	Bass
	Chorale	Mit Fried und Freude ich fahr dahin	Alto
4	Chorale	Glorie, Lob, Ehr und Herrlichkeit Sei dir, Gott Vater und Sohn bereit' *7th verse of: In dich hab ich gehoffet, Herr	Chorus

 

References for the text: King James Bible

	Scripture	Text	Part
2a	Acts 17:28	For in him we live, and move, and have our being.	Chorus
2b	Psalms 90:12	So teach us to number our days, that we may apply our hearts unto wisdom.	Tenor
2c	Isaiah 38:1	Set thine house in order: for thou shalt die, and not live.	Bass
2d	Ecclesiasticus (Sirach)14:18	The covenant from the beginning is, Thou shalt die the death!	Alto, tenor, bass
	Revelations 22:20	Come, Lord Jesus!	Soprano
	Chorale	I have brought my affairs home to God	Instruments
3a	Psalms 31:5	Into thine hand I commit my spirit; thou hast redeemed me, O Lord God of truth	Alto
3b	Luke 23:43	To day shalt thou be with me in paradise.	Bass
	Chorale	With peace and joy I depart	Alto
4	Chorale	Glorie, Lob, Ehr und Herrlichkeit Sei dir, Gott Vater und Sohn bereit' *7th verse of: In dich hab ich gehoffet, Herr	Chorus

 

BWV 106.1 and commentary. Amsterdam Baroque Orchestra Ton Koopman Soloists: Els Bongers, soprano Elisabeth von Magnus, alto Lothar Odinius, tenor Klaus Mertens, bass	1 2
3	4

My favorite recording is Rifkin's with one voice per part, no one part is overbearing at any time. The recorders are not intrusive, but blend with the voices, with no harsh overtones.

 

 

BWV 106
Joshua Rifkin, conductor
The Bach Ensemble
Recorded: American Academy of Arts and Letters; New York, NY; October, 1985

 

 

 

 

Other links:
Emmanuel Notes BWV 106.
Emmanuel Translation BWV 106.
BWV 106 score, old edition, not under copyright.

Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Mit Fried und Freud from Bach Cantatas Website.

John Eliot Gardiner Cantatas, PDF index.
John Eliot Gardiner Cantatas Recordings.

Classical.net discussion, Simon Crouch.
Carol Traupman-Carr of the Bach Choir of Bethlehem.

London Bach Society Database entry BWV 106
Article AllMusic.com BWV 106

2009, November 10

Cantata BWV 196

JS Bach Cantata BWV 196: Der Herr denket an uns
(The Lord hath been mindful of us)
Thought to be a wedding cantata, suitable for an occasion of praise and thanksgiving. 1708?
Mühlhausen Cantatas
Reading: Corinthians 5:6-8; Mark 16:1-8
Scoring: Violin I,II, Viola, Continuo
  Soprano, Alto, Tenor, Bass
Bärenreiter vol 14; p 23
Words: Psalm 115:12-15

This is out of order, it should be about the fourth cantata, but I needed to hear something more cheerful, and BWV 106 and BWV 131 are associated with funerals. An early cantata, BWV 196 is widely believed to have been written in Mühlhausen in 1708 for the wedding of his wife's aunt and a clergyman. The wedding took place in a small church, which was the site of Bach's own wedding. Dürr states however, (p780) that there is doubt about this connection.

This is a very short cantata, based on Psalms 115; Dürr estimates the duration at fourteen minutes, Harnoncourt's recording is twelve minutes. It is fun to listen to, making few emotional demands. "The florid choral writing indicates an increasing understanding of methods of securing full effectiveness from his choir; its bouyancy and brilliance make it an exhilarating little work to perform."  Whittaker volume 1, page 45

Psalms 115 Luther German
12. Der Herr denket an uns und segnet uns. Er segnet das Haus Israel; er segnet das Haus Aaron;
13. er segnet, die den Herrn fürchten, beide Kleine und Große.
14. Der Herr segne euch je mehr und mehr, euch und eure Kinder!
15. Ihr seid die Gesegneten des Herrn, der Himmel und Erde gemacht hat.

Psalms 115 King James
12. The Lord hath been mindful of us: he will bless us; he will bless the house of Israel; he will bless the house of Aaron.
13. He will bless them that fear the Lord, both small and great.
14. The Lord shall increase you more and more, you and your children.
15. Ye are blessed of the Lord which made heaven and earth.

I have the recordings by Leusink, Harnoncourt, and the Purcell quartet with Emma Kirkby. The Purcell quartet with one voice per part almost sounds like a different piece of music. I like it, but I enjoy the Harnoncourt sinfonia the most.

1. The lovely little sinfonia is very short, rather processional.
2. The chorus is upbeat, dancelike.
3. A very nice soprano aria with obbligato unison violins.
4. The tenor and bass duet is emphatic, short.
5. The final chorus is a four part arrangement extended with instrumental sections.

 

BWV 196, Final chorus Performed October 26, 2003 Crema in the Auditorium Manenti. Choir Pregarcantando Crema Director James Carniti

 

Other links:
Emmanuel Translation BWV 196.
Discussion from Classical.net.

Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.

Discussion from Back Bay Chorale.
London Bach Society Database entry BWV 196
Article AllMusic.com BWV 196

2009, October 31

Cantata BWV 4

JS Bach Cantata BWV 4: Christ lag in Todes Banden
(Christ Lay in the bonds of death)
First day of Easter 1707 to 1714
Mühlhausen Cantatas
Reading: Corinthians 5:6-8; Mark 16:1-8
Reading: Corinthians 5:6-8; Mark 16:1-8
Scoring: Violin I,II, viola I,II, Continuo, Cornetto, Trombone I,II,III
  Soprano, Alto, Tenor, Bass
Bärenreiter vol 4; p 27
Words: Chorale verses

 

It is already apparent that listening to the cantatas and reading about them will be a major undertaking. Listening is an ongoing fluid process—another hearing brings new perceptions. There is no end to listening and learning, there is constant change. Writing about the music tends to fix a perception, and I am reluctant to commit myself to any one impression. However, here begins an attempt, with the understanding that in music, something can be itself and its own opposite at the same time.

I am starting with a very early, well known and much studied cantata. Bach wrote this in his early twenties, then revised it slightly for use in Leipzig.

Bach wrote many large pieces of music, many that are very popular. But I find myself drawn to the small pieces like the Soprano and Alto duet in this cantata. For me this is the epitome of counterpoint, and the best Bach has given us. Though this is an Easter cantata, celebrating the resurrection, it seems to me funereal, expressing and transending pain.

On page 207 of volume one, Whittaker says of this cantata: "The diversified treatment of the canto, the plasticity given to it in the various numbers, the rich resource of treatment, and the variety obtained in spite of the facts that all eight numbers are in the same key, E minor, that the first two lines of the tune are repeated, that all eight cadential notes are either tonic or dominant, constitute one of the miracles of Bach's genius."

And add to Whittaker's observations, the fact that every vocal piece ends in an Alleluja, treated differently in all seven pieces, and you have even more of a miracle.

1. The sinfonia is short (fourteen measures), slow, mournful. I love the ending figure played by the violin which provides a strong close and at the same time prepares for what is to come. For me it is a first presage of Spring after a long cold winter with deep snow. I like Harnoncourt best, his separation of notes and phrases is very clear.
2. The chorus is quick, with a hurried beat in counterpoint with the slow chorale sung by the sopranos.
3. The soprano and alto duet is slow, and gives me a sense of a large space. The duet tends to haunt me for many hours after listening.
4. The tenor chorale sounds very Teutonic, with hammering words and the agitated 16th notes of the violins. Gives a sense we should be about our business.
5. The opening measure of the central chorus has a feel of Gregorian chant; the piece is surprisingly short for its central placement. This chorus with the chorale in the altos, and the other voices singing fragments of the chorale melody in canon, is growing on me with repeated hearings. One voice per part, as read by the Purcell Quartet with Emma Kirkby, creates quite a different feel.
6. Bass chorale with lightly ornamented bass voice singing the melody and the strings in counterpoint and with short interludes. Bass range is two octaves from the high on E above middle C down to E two octaves below. Only this part is in three/four; all other parts in common time.
7. Soprano tenor duet. Also quite Teutonic, with a marching feel. Marked 4/4 but triplets throughout. Could have been written in 12/8, four beats to the measure, three parts to each beat. Wonderful parallel thirds and sixths.
8. Chorale is a four part treatment.

 

Alfred Dürr, p 262, discusses at length the style of the cantata; it is based on an older North German style, no recitatives, all text taken directly from the chorale.

BWV 4.1, 4.2; Bach Collegium San Diego Ruben Valenzuela, conductor Pierre Joubert, leader Soloists: Anne-Marie Dicce, soprano, Martha Jane Howe, alto Vladimir Maric, tenor, John Polhamus, bass

 

Other pieces based on this chorale by Martin Luther, Christ lag in Todes Banden  - C.S. Terry, Bach's Chorals, vol 2.
BWV 4 all 8 stanzas	BWV 4.8   PDF   mp3
BWV 158.4   PDF   mp3	BWV 277   PDF   mp3
BWV 278   PDF   mp3	BWV 279   PDF   mp3
BWV 625	BWV 695
BWV 695a	BWV 718

 

 

 

Other links:
Emmanuel Notes BWV 4.
Emmanuel Translation BWV 4.

Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.

John Eliot Gardiner Cantatas Recording.
Classical.net discussion, Simon Crouch.

W.W. Norton's Cantata No. 4, Gerhard Hertz, ed.
Norton Cantata 4 at Juilliard
Norton Cantata 4 at aLibris

Article cantata 1 and 4
London Bach Society Database entry BWV 4
Article AllMusic.com BWV 4

Leusink, BWV 4
Leusink, BWV 4.3 Alto Soprano duo aria

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