rssI had to work hard. Anyone who works as hard will get just as far. - J.S. Bach
2011, January 18
Cantata BWV 22 and BWV 23
JS Bach Cantata BWV 22: Jesus nahm zu sich die Zwolfe
(Jesus called to him the twelve)
Quinquagesima Sunday [Estomihi] Feb 27 1723
BWV 23: Du Wahrer Gott und Davids sohn
(Thou very God and David's Son)
Scoring: Oboe I (II in BWV 23), violin I,II, viola, Violoncello, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 3; p 393 and p 425
Reading
Epistle: 1 Corinthians 13: 1-13
Gospel: Luke 18: 31- 43 21:1-9
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 240-248
Whittaker vol 1 p 173-181
Green p 53-57
Terry vol 2 p 186, 188
Boyd p 249 and p 145
Christoph Wolff (1991) p 128
In 1723, Bach made a trip to Leipzig where he presented these two cantatas on February 7, before and after the sermon, in the St. Thomas Church. Written near the end of his stay in Köthen, these pieces constituted his audition for position of the cantorate.
Green gives the impression that BWV 23 was written originally as the test piece, but submitted BWV 22 instead because it adhered to the style to which the Leipzig congregation was accustomed. However, Robin Leaver in Boyd states that both pieces were played, Cantata 23 during communion, BWV 22 before the sermon. Whittaker states that it is practically certain that BWV 23 was set aside in favor of BWV 22, which was not played until the following year.
They will be very enjoyable to any fan of the oboe, which Green says requires a strong player.
BWV 22
1 Jesus nahm zu sich die Zwölfe und sprach: Tenor and bass arioso with chorus
The tenor sings a short intro, then the bass sings the rest. The oboe plays throughout in counterpoint. After this solo section, the chorus comes in for a short section, first soprano, then alto, then tenor, then bass.
2 Mein Jesu, ziehe mich nach dir: Alto aria
The oboe has an independent obbligato throughout, with the alto and cello.
3 Mein Jesu, ziehe mich, so werd ich laufen: Bass recitative
Violins play in counterpoint to the bass.
4 Mein alles in allem, mein ewiges Gut: Tenor aria
Dürr states this aria brings to mind the Köthen rather than the Leipzig Bach. The piece is dancelike with tenor and strings.
5 Ertöt uns durch dein Güte: Chorale
Discussion of the chorale Herr Christ, der einge Gottessohn on Bach Cantatas.com
Terry on chorales from BWV 22 and 23 in PDF excerpt
Running sixteenth notes in the oboe and violin I, running eighth notes in violin II.
BWV 23
1 Du wahrer Gott und Davids Sohn: Soprano and alto aria duet
A prayer for mercy, quiet and rather repetitive. This is a complex interweaving of five voices: two oboes with triplet rhythms, the soprano, alto and cello.
2 Ach! gehe nicht vorüber: Tenor recitative with instrumental chorale
Oboes and violins play the first line of the Agnus Dei in counterpoint to the meditative tenor.
3 Aller Augen warten, Herr: Chorus
A quick chorus, in three quarter time, which sounds to me beat in one, with running eighth notes exchanging parts.
4 Christe, du Lamm Gottes: Chorale
Terry on chorales from BWV 22 and 23 in PDF excerpt
Text of the Agnus Dei from San Francisco Bach Choir.
The organ piece from James Pressler
The chorale theme Christe, du Lamm Gottes, the German Agnus Dei, first appeared in printing in Johannes Bugenhagen's Braunschweig Church Order, published in Braunschweig in 1528. The theme is an adaptation of Luther's setting of the Kyrie eleison in his Deutsche Messe
The chorale starts with an adagio section, changing to a section in andante at measure 19. Dürr says this section is of sublime intensity. Oboes and strings form an independent structure which incorporates a prelude and interludes. In order to counterbalance them, the vocal parts were in 1724 reinforced with cornett and trombones.
The music
Leonhardt BWV 22 part 1 and 2
Leonhardt BWV 22 part 3 4 5
Leonhardt BWV 23 part 1 and two
Leonhardt BWV 23 part 3 4
BWV 22.3 Koopman/Mertens Bass recitative mp3
PDF of BWV 22 score in old clefs
PDF of BWV 23 score in old clefs
Instruments and voices for each part BWV 22
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, SATB, Oboe I, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
| 2 | Alto aria, oboe, continuo (NBA: violoncello and keyboard) |
| 3 | Bass recitative, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
| 4 | Tenor aria, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
| 5 | SATB chorale with instrumental interludes, oboe, violin I,II, viola, continuo (NBA: violoncello and keyboard) |
Instruments and voices for each part BWV 23
| Section | Instruments, voices |
|---|---|
| 1 | Aria duet soprano, alto, Oboe I,II, continuo (NBA: violoncello and organ) |
| 2 | Tenor recitative, oboe I,II, violin I,II, viola, continuo (NBA: violoncello and organ) |
| 3 | SATB chorus, oboe I,II, violin I,II, viola, continuo (NBA: violoncello and organ) |
| 4 | SATB chorale with instrumental interludes, oboe I,II, violin I,II, viola, continuo (NBA: violoncello and organ) |
Biblical references for each part BWV 22
References for the text: King James Bible, Luther's German Bible
| Scripture | EnglishText | German | |
|---|---|---|---|
| 1 | Luke 18:31, 34 | 31. Then he took unto him the twelve, and said unto them, Behold, we go up to Jerusalem, and all things that are written by the prophets concerning the Son of man shall be accomplished. 34. And they understood none of these things: and this saying was hid from them, neither knew they the things which were spoken. |
31. Er nahm aber zu sich die Zwölfe und sprach zu ihnen: Sehet, wir gehen hinauf gen Jerusalem, und es wird alles vollendet werden, was geschrieben ist durch die Propheten von des Menschen Sohn. 34. Sie aber vernahmen der keines, und die Rede war ihnen verborgen, und wußten nicht, was das gesagt war. |
Biblical references for each part BWV 23
References for the text: King James Bible, Luther's German Bible
| Scripture | EnglishText | German | |
|---|---|---|---|
| 3 | Psalm 145:15 | The eyes of all wait upon thee. | Aller Augen warten auf dich. |
References
Emmanuel Notes BWV 22.
Emmanuel Translation BWV 22.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
Emmanuel Notes BWV 23.
Emmanuel Translation BWV 23.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
WikiPedia article
2010, December 29
Two moves
From Weimar to Köthen to Leipzig
Bach in Muhlhausen
Bach in Weimar
Bach in Köthen
After leaving Weimar in 1717, Bach moved 110 miles to Köthen where he worked as the composer for the court of Kapellmeister for Prince Leopold von Anhalt-Köthen. Here he composed a large body of instrumental chamber music, as well as a few vocal pieces.
New Years cantata BWV 134a
Birthday cantata BWV 173a
Brandenburg concertos
Well-Tempered Clavier Book I
6 Sonatas & Partitas for violin
6 Cello suites
Concertos for one and two violins
Two and three part inventions
Partitas for keyboard, French suites, English suites
Possibly the four orchestral suites
The organ currently in St. Thomaskirche, Leipzig
Bach in Leipzig
Leaving Köthen in 1723, Bach moved 45 miles to Leipzig to take the post of musical director and choirmaster of St Thomas's Church. Here, in uncongenial circumstances, he composed the majority of his cantatas, one for each Sunday and festival for five years. About three cycles have survived.
Database of Bach manuscripts
List of all Bach's vocal music by date of performance.
Scroll down to 6. Leipzig 1723-1750: At last – a well-regulated church music.
Bach's Leipzig in illustrations.
Bach in Leipzig on WikiPedia
Notes and pictures from American exchange students in modern Leipzig
2010, December 25
Renaissance and Baroque Christmas
Maggie Sansone and the Ensemble Galilei
Barry and Beth Hall: Hail Mary, Full of Grace
Three songs for Christmas from the Renaissance and the Baroque.
2010, December 21
My cats at Christmas
Baby Jane, the small gray tabby, and Alice, the tortoiseshell.
