rssSelf-respect is a question of recognizing that anything worth having has a price. - Joan Dideon
Cantata
2010, February 06
Cantata BWV 150
JS Bach Cantata BWV 150 Nach dir, Herr, verlanget mich
(To Thee, Lord, I lift up my soul)
Occasion unknown.
Mühlhausen Cantatas
Scoring: Violin I,II, bassoon, continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 17; p 275
Words: Free verse, biblical verses
Dürr (p 773) states that this cantata has been criticised and there have been doubts as to its authenticity. However, he concludes that the piece is probably by Bach, and might be considered an authentic though very early cantata—perhaps the earliest of all.
BWV 150 |
|
4. Chorus: Leite mich und lehre mich |
Instruments and voices for each part
| Section | Text | Instruments, voices |
|---|---|---|
| 1 | Sinfonia, all instruments and continuo. | |
| 2 | Psalms 25:1-2 | Chorus, SATB, all instruments and continuo. |
| 3 | Aria, soprano, violin I II, continuo | |
| 4 | Psalms 25:5 | Tutti, SATB, all instruments and continuo |
| 5 | Trio aria, ATB bassoon, continuo | |
| 6 | Psalms 25:15 | Chorus, SATB, all instruments and continuo |
| 7 | Tutti ciacona, SATB, all instruments and continuo |
References for the text: Luther's German Bible
| Scripture | Text | Part | |
|---|---|---|---|
| 2 | Psalms 25:1-2 | Ein Psalm Davids. Nach dir, Herr, verlanget mich. Mein Gott, ich hoffe auf dich. Laß mich nicht zuschanden werden, daß sich meine Feinde nicht freuen über mich! |
Chorus |
| 4 | Psalms 25:5 | Leite mich in deiner Wahrheit und lehre mich; denn du bist der Gott, der mir hilft; täglich harre ich dein. | Chorus |
| 6 | Psalms 25:15 | Meine Augen sehen stets zu dem Herrn denn er wird meinen Fuß aus dem Netze ziehen. | Alto tenor bass aria |
References for the text: King James Bible
| Scripture | Text | Part | |
|---|---|---|---|
| 2 | Psalms 25:1-2 | Unto thee, O Lord, do I lift up my soul. O my God, I trust in thee: let me not be ashamed, let not mine enemies triumph over me. |
Chorus |
| 4 | Psalms 25:5 | Lead me in thy truth, and teach me: for thou art the God of my salvation; on thee do I wait all the day. | Chorus |
| 6 | Psalms 25:15 | Mine eyes are ever toward the Lord; for he shall pluck my feet out of the net. | Alto tenor bass aria |
Whittaker (p 55) gives us a description of section 5, the alto tenor bass trio aria, in which cedars are described as tossed by the wind, Cedern müssen von den Winden oft viel Ungemach emfinden, oftmalsvwerden sie verkehrt. Rath und That auf' Gott gestellet' (Cedars from the wind often much calamity experience, oft-times are they overturned. Thought and action on God place).
Other links:
Emmanuel Notes BWV 150
Emmanuel Translation BWV 150
Discussion from Bach Cantatas Website
Recordingsfrom Bach Cantatas Website
John Eliot Gardiner Cantatas, PDF index
John Eliot Gardiner Cantatas Recording
London Bach Society Database entry BWV 150
Article AllMusic.com BWV 150
Classical.net discussion, Simon Crouch
2010, February 02
Cantata BWV 71
JS Bach Cantata BWV 71: Gott ist mein König
(God is my king)
Mühlhausen Installation of the town council, from 1708; Bach was 23 years old.
Mühlhausen Cantatas
Scoring: Orchestra devided into four 'choirs', voices form a fifth choir
1. Trumpet I,II,III, timpani
2. Flauto dolce (recorders) I,II, violoncello
3. Oboe I,II, bassoon
4. Violin I,II, viola, violone
5. Soprano, Alto, Tenor, Bass
Organ obbligato
Bärenreiter vol 13; p 23
Words: Bible verses, chorale verse
Modern Mühlhausen town hall
Photo from Wikipedia
In Mühlhausen, Bach worked at the "Divi Blasii" church, but had much better conections to the nearby St. Mary's Church, where the preacher Georg Christian Eilmar was a great admirer of Bach's music. St. Mary's, Thuringia's second biggest church (a fünfschiffige Hallenkirche), was built at the turn of the 14th and 15th centuries and was made famous through the activities of Thomas Müntzer in 1525.
Bach's working life in the Reichs city of Mühlhausen in 1707-08 - brief though it was - yielded important church music compositions. To mark the Council Election he composed this cantata, which was performed in St. Mary's Church on 4th February 1708. This is the only cantata printed in Bach's lifetime.
C.S. Terry vol 2 p 278: Terry discusses the chorale used in the second part of the cantata, O Gott, du frommer Gott. The version below is sung by the soprano, while the tenor sings an independent melody. This chorale melody also appears in Cantatas BWV 24 and BWV 164 and chorale BWV 399.
From the Bach Cantatas Website, the chorale as it appears in BWV 71-2.
Short and attractive to the ear, complex in analysis. I see the difficulty in balancing the voices and instruments to which Whittaker refers (vol one, p 38), especially in parts six and seven, where it would be very easy for the instruments to become overpowering. Trumpets and timpani, used with restraint, open and close the cantata with emphasis and ceremony and add their weight to the short alto solo in section five.
Alfred Dürr (p 12) gives a lengthy analysis of the permutation fugue:
Alfred Dürr (p 12) Definition of permutation fugue |
Alfred Dürr (p 64) Example of permutation fugue p1 |
Alfred Dürr (p 65) Example of permutation fugue p2 |
Alfred Dürr (p 66) Example of permutation fugue p3 |
*permutation: any of the total number of changes in position or order possible within a group, hence, a change in grouping
Instruments, voices for each part
| Section | Text | Instruments, voices |
|---|---|---|
| 1 | Psalm 74:12 | SATB, all instruments and organ continuo. |
| 2 | 2 Samuel 19:35, 37 | Soprano chorale, tenor air, organ obbligato |
| 3 | Deuteronomy 33:25 Genesis 21:22 | Soprano, alto, tenor, bass with organ continuo, permutation fugue |
| 4 | Psalm 74:16, 17 | Bass arioso, oboes and basson, recorders and cello, organ continuo |
| 5 | Alto solo, trumpets and timpani, organ continuo | |
| 6 | Psalm 74:19 | SATB, strings, oboes and bassoon, recorders and cello, organ continuo |
| 7 | SATB, all instruments and organ continuo, permutation fugue in one section |
References for the text: Luther's German Bible
| Part | Scripture | Text |
|---|---|---|
| 1 | Psalms 74:12 | Aber Gott ist mein König von alters her, der alle Hilfe tut, so auf Erden geschieht |
| 2 | 2 Samuel 19:35-37
Chorale: Soll ich auf dieser Welt |
Ich bin heute achtzig Jahre alt. Wie sollte ich kennen, was gut oder böse ist, oder schmecken, was ich esse oder trinke, oder hären, was die Sänger oder Sängerinnen singen? Warum sollte dein Knecht meinen Herrn König fürder beschweren? Dein Knecht soll ein wenig gehen mit dem Könige über den Jordan. Warum will mir der König eine solche Vergeltung tun? Laß deinen Knecht umkehren, daß ich sterbe in meiner Stadt bei meines Vaters und meiner Mutter Grab. Siehe, da ist dein Knecht Chimeham, den laß mit meinem Herrn Könige hinüberziehen und tue ihm, was dir wohlgefällt. |
| 3 | Deuteronomy 33:25 Genesis 21:22 | Eisen und Erz sei an seinen Schuhen; dein Alter sei wie deine Jugend Zu derselbigen Zeit redete Abimelech und Phichol, sein Feldhauptmann, mit Abraham und sprach: Gott ist mit dir in allem, das du tust. |
| 4 | Psalms 74:16, 17 | Tag und Nacht ist dein; du machest, daß beide Sonn und Gestirn ihren gewissen Lauf haben. Du setzest einem jeglichen Lande seine Grenze; Sommer und Winter machest du. |
| 6 | Psalms 74:19 | Du wollest nicht dem Tier geben die Seele deiner Turteltaube und deiner elenden Tiere nicht so gar vergessen. |
References for the text: King James Bible
| Part | Scripture | Text |
|---|---|---|
| 1 | Psalms 74:12 | For God is my King of old, working salvation in the midst of the earth. |
| 2 | 2 Samuel 19:35-37 Chorale: Should I upon this earth |
I am this day fourscore years old: and can I discern between good and evil? can thy servant taste what I eat or what I drink? can I hear any more the voice of singing men and singing women? wherefore then should thy servant be yet a burden unto my lord the king? Thy servant will go a little way over Jordan with the king: and why should the king recompense it me with such a reward? Let thy servant, I pray thee, turn back again, that I may die in mine own city, and be buried by the grave of my father and of my mother. But behold thy servant Chimham; let him go over with my lord the king; and do to him what shall seem good unto thee. |
| 3 | Deuteronomy 33:25 Genesis 21:22 | Thy shoes shall be iron and brass; and as thy days, so shall thy strength be. And it came to pass at that time, that Abimelech and Phichol the chief captain of his host spake unto Abraham, saying, God is with thee in all that thou doest: |
| 4 | Psalms 74:16, 17 | The day is thine, the night also is thine: thou hast prepared the light and the sun. Thou hast set all the borders of the earth: thou hast made summer and winter. |
| 6 | Psalms 74:19 | O deliver not the soul of thy turtledove unto the multitude of the wicked: forget not the congregation of thy poor for ever |
BWV 71.1, 2, 3 and 4 and BWV 71.5, 6 and 7
DVD from Organ Historical Society
Other links:
Emmanuel Translation BWV 71
Discussion by Dr. Carol Traupman-Carr, for the Bach Choir of Bethlehem
Article AllMusic.com BWV 71
London Bach Society Database entry BWV 71
Discussion from Bach Cantatas Website
Recordingsfrom Bach Cantatas Website
John Eliot Gardiner Cantatas Recording
Classical.net discussion, Simon Crouch
2010, January 27
Cantata BWV 131
JS Bach Cantata BWV 131: Aus der Tiefe rufe ich, Herr, zu dir
(From the deep, Lord, I Cried to Thee)
Mühlhausen Penitential service? 1707?
Mühlhausen Cantatas
Scoring: Oboe, Violin, Viola I,II, Bassoon, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 14; p 345
Words: Psalms 130
After the holidays, back to the cantatas roughly in the order written. Cantata 131 is a through-composed piece, based on Psalms 130, with no recitatives or arias; the solos are sung in counterpoint to a chorale in another voice. There are no catchy tunes that keep running through my head. I especially love the bassoon in the final chorus. And I love the polyphony which sets a quick part against the slow notes of the chorale in parts two and four.
Leusink has doubled the organ bass line with a cello in the Tenor / Alto 131.4. This is very effective and the cello part adds substance. He also plays at a slower tempo, which is nice.
Whittaker, vol 1, p 35, offers a description of the second part: The second chorus consists of a short adagio, … chord passages separated by florid runs for alto and tenor, and a long Largo fugue, in which the waiting of the soul is contrasted with a repeated expression of hope, in subject and countersubject. Oboe and violin incessantly dovetail each other while the violas answer each other in groups of two notes, resulting in long stretches of eight part writing which show an early command over intricate polyphony.
Dürr, p 777-779, states that BWV 131 consists not of independent, self-contained movements but of various kinds of sections that run stright into each other. …the design of the choruses is largely analagous to the instrumental form of prelude and fugue. …Forms here still put together in a fresh and nonchalant fashion would later be more purposefully and consistently united. Nevertheless, we already sense the power of genius here, particularly in the fugal movements.
C.S. Terry (vol 2 p 389) states that the chorale melody "Herr Jesu Christ du hochstes Gut", below right, used in part two and part four is "the tenor (slightly altered) of a four-part setting of 'Wenn mein Stundlein vorhanden ist,'" below left. Unfortunately, he does not show us the four-part setting, only the top voice melody, from which he says the derivation is patent. Maybe to him.
Discussion of the chorale Herr Jesu Christ du hochstes Gut
Discussion of the chorale Wenn mein Stundlein vorhanden ist
References for the text: Luther's German Bible
| Scripture | Text | Part | |
|---|---|---|---|
| 1 | Psalms 130:1,2 | Aus der Tiefe rufe ich, Herr, zu dir. Herr, höre meine Stimme; laß deine Ohren merken auf die Stimme meines Flehens! |
Chorus |
| 2 |
Psalms 130:3,4 Chorale |
So du willst, Herr, Sünde zurechnen, Herr, wer wird bestehen? Denn bei dir ist die Vergebung, daß man dich fürchte. Erbarm dich mein in solcher Last, "Herr Jesu Christ, du höchstes Gut", vs 2 |
Bass solo soprano chorale |
| 3 | Psalms 130:5 | Ich harre des Herrn; meine Seele harret, und ich hoffe auf sein Wort | Chorus |
| 4 |
Psalms 130:6 Chorale |
Meine Seele wartet auf den Herrn von einer Morgenwache bis zur andern Und weil ich denn in meinem Sinn, vs 5 "Herr Jesu Christ, du höchstes Gut" vs 5 |
Tenor solo alto chorale |
| 5 | Psalms 130:7,8 | Israel hoffe auf den Herrn; denn bei dem Herrn ist die Gnade und viel Erlösung bei ihm; und er wird Israel erlösen aus allen seinen Sünden. | Chorus |
References for the text: King James Bible
| Scripture | Text | Part | |
|---|---|---|---|
| 1 | Psalms 130:1,2 | Out of the depths have I cried unto thee, O Lord. Lord, hear my voice: let thine ears be attentive to the voice of my supplications |
Chorus |
| 2 |
Psalms 130:3,4 Chorale |
If thou, Lord, shouldest mark iniquities, O Lord, who shall stand? But there is forgiveness with thee, that thou mayest be feared. Have mercy on me burdened so, "Herr Jesu Christ, du höchstes Gut", vs 2 |
Bass solo soprano chorale |
| 3 | Psalms 130:5 | I wait for the Lord, my soul doth wait, and in his word do I hope | Chorus |
| 4 |
Psalms 130:6 Chorale |
My soul waiteth for the Lord more than they that watch for the morning And since in my mind, as I lamented before, vs 5 "Herr Jesu Christ, du höchstes Gut" vs 5 |
Tenor aria alto chorale |
| 5 | Psalms 130:7,8 | Let Israel hope in the Lord: for with the Lord there is mercy, and with him is redemption. And he shall redeem Israel from all iniquities. | Chorus |
Instruments, voices each section
| Section | Text | Instruments, voices |
|---|---|---|
| 1 | Psalms 130:1,2 | Oboe, Violin, Viola I,II, Bassoon, Continuo, SATB. |
| 2 | Psalms 130:3, 4 | Oboe obbligato, Continuo, Soprano chorale, Bass solo |
| 3 | Psalms 130:5 | Oboe, Violin, Viola I,II, Bassoon, Continuo, SATB with choral fugue |
| 4 | Psalms 130:6 | Continuo, Tenor solo, Alto chorale |
| 5 | Psalms 130:7, 8 | Oboe obbligato, Violin, Viola I,II, Bassoon, Continuo, SATB with choral fugue at close |
Once again, my favorite recording is Rifkin's with one voice per part, organ continuo, no one part overbearing at any time.
Links to BWV 131 by Ton Koopman on YouTube:
BWV 131.1 with commentary
BWV 131.2, 3
BWV 131.4, 5
Other links:
Emmanuel Notes BWV 131
Emmanuel Translation BWV 131
Discussion from Bach Cantatas Website
Recordingsfrom Bach Cantatas Website
Through-composed
John Eliot Gardiner Cantatas Recording
Classical.net discussion, Simon Crouch
London Bach Society Database entry BWV 131
Article AllMusic.com BWV 131
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.
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. |
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.
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
