rssWe live and learn in the book of our fellow-men. - Ellis Peters
2011, April 03
Cantata BWV 136
JS Bach Cantata BWV 136: Erforsche mich, Gott, und erfahre mein Herz
(Search me, God, and learn my heart)
Eighth Sunday after Trinity July 18, 1723
Scoring: Horn, Oboe d'amore I,II, Violin I,II, Viola, Organ, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 7; p 289
Reading: Epistle Romans 8:12-17
Reading: Gospel Matthew 7:15-23
Words: Unknown librettist
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 453-456
Whittaker vol 1 p 349-354
Green p 301-303
Terry vol 2 p 398
Stephen A. Crist in Boyd p 156
1 Chorus: Erforsche mich, Gott, und erfahre mein Herz; prüfe mich und erfahre, wie ichs meine!
Green says the horn part is critical and very difficult, requiring an expert player. Twenty years later this piece was reworked into the Cum Sancto Spiritu from the Mass in A Major BWV 234.
Compare with the first movement, here in an mp3 file.
You can find more information here.
Dürr says of this piece that it is of indifferent quality and exhibits a certain lack of purposefulness in its development. Whittaker says in spite of the splendid and animated counterpoint, it fails to grip.
Some musicians are dissatisfied with this work, but most find it pleasant listening. Stephen Crist finds the music at odds with the text. In the process of making the videos for YouTube, I have listened to it many times and have grown very fond of the entire cantata.
2 Tenor recitative: Ach, daß der Fluch, so dort die Erde schlägt
Straight secco statement.
3 Alto aria: Es kömmt ein Tag
Green says this part contains a prominent and fairly difficult oboe d'amore solo. Crist (in Boyd) says that there is some evidence that this piece was composed earlier.
4 Bass recitative: Die Himmel selber sind nicht rein
Again a straight declaration.
5 Tenor bass aria: Uns treffern zwar der Sünden Flecken,
Bach calls for violin I,II in unison; Green recommends treating as a solo part, calls it very difficult. Dürr part imitative and part homophonic writing for the voices, this movement closely resembles the secular duets of the Cöthen years. Whittaker p352 says of this section: The tenor bass duet is not devoid of charm, but it is not a success as a whole and is evidently patched up from some previous work.
6 Chorale: Wo soll ich fliehen hin verse 9
Discussion of chorale on Bach Cantatas.com
C.S. Terry comments on the chorale in a PDF excerpt
Horn doubles soprano; it goes above the standard range for modern instrument here and in part one. Green says the horn part may require editing.
The music
BWV 136.1 and 136.2 Koopman
BWV 136.3 and 136.4 Koopman
BWV 136.5 and 136.6 Koopman
Music on Bach Cantatas.com
Cum Sancto Spiritu from BWV 234
Here is a PDF file of the Sanctus in old clefs.
BWV 136.1 mp3
Here is a PDF file of BWV 136.1 in old clefs
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, oboe, oboe d'amore, violin I,II, viola, continuo (NBA: organ) |
| 2 | Tenor recitative, continuo (NBA: organ) |
| 3 | Alto aria, oboe d'amore, continuo (NBA: organ) |
| 4 | Bass recitative, continuo (NBA: organ) |
| 5 | Tenor bass duet aria, violin I,II, continuo (NBA: organ) |
| 6 | Chorale SATB, violin I obbligato with descant melody, horn, oboe I,II with soprano, violin II with alto, viola with tenor, continuo (NBA: organ) |
Biblical references for each part
References for the text: King James Bible
| Scripture | Text | |
|---|---|---|
| 1 | Psalm 139:23 | Search me, O God, and know my heart: try me, and know my thoughts |
| 1 | Psalm 139:23 | Erforsche mich, Gott, und erfahre mein Herz; prüfe mich und erfahre, wie ich's meine |
References
Emmanuel Notes BWV 136.
Emmanuel Translation BWV 136.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
WikiPedia article
From Julian Mincham
2011, March 31
First YouTube Videos
I have spent the last week making my first YouTube videos. There was no upload for Cantata BWV 136 which is my next post, so I made a set. Here are the links and now I can get busy and finish the post.
BWV 136.1 and 136.2 Koopman
BWV 136.3 and 136.4 Koopman
BWV 136.5 and 136.6 Koopman
2011, March 16
Cantata BWV 186
JS Bach Cantata BWV 186: Ärgre dich, o Seele, nicht
(Trouble thyself not, O Soul)
Seventh Sunday after Trinity July 11, 1723
Scoring: Oboe I,II, Oboe da caccia, Bassoon, Violin I,II, Viola, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 7; p 175
Reading: Epistle Romans 6:19-23
Reading: Gospel: Mark 8:1-9
Words: Unknown librettist
Bach Bibliography
Recordings
Next on the calendar, the Visitation of Mary, is BWV 147, created from a shorter cantata, 147a, written in Weimar.
Comments re BWV 147 from Julian Mincham.
Discussion
Literature
Dürr p 440-444
Whittaker vol 1 p 200-207
Green p 393-396
Terry vol 2 p 464
Boyd p 14
For the seventh Sunday after Trinity, the eighth cantata in the first Leipzig year is BWV 186, another "double" cantata. This cantata is a revised version of the unrecorded BWV 186a, written in Weimar for the third Sunday of Advent. Originally this was a short cantata, adapted by adding recitatives and altering the text. This is the last large scale cantata until six months later when BWV 70 closed the church year; one more, BWV 20, was written two years later. Cantata 30, also a 12 part piece, was an adaptation of a secular cantata, adapted for St. Johns nativity in 1738.
Part 1
1 Chorus: Ärgre dich, o Seele, nicht
A rondo form - A B A B A -
Instruments only measures 1-8
A: measures 9-22 (see comments below)
B: measures 22-27
Instruments only measures 27-28
A: measures 29-38
B: measures 39-43
A: measures 44-49
Fugue entrances sound: first 4 notes entrance in measure 9; second 4 notes, entrance measure 29.
Whittaker says of the voices entering at measure 9: The chorus enters with a remarkable passage indicative of doubt, the voices beginning with sustained tones, entering from top to bottom with a striking series of notes...Below, the bassi move in the rising arpeggi. A more arresting choral passage cannot be conceived; even after repeated hearings the chain of dissonances, each entry almost seeming wrong, holds one in breathless suspense.
2 Bass recitative: Die Knechtsgestalt, die Not, der Mangel
A straight declamatory recitative. All the recitatives in this cantata end with an arioso section, this one starting in measure 16
3 Bass aria: Bist du, der mir helfen soll
A rhythmic and tuneful aria.
4 Tenor recitative: Ach, daß ein Christ so sehr
Koopman's piece is plaintive, Harnoncourt more forceful. Arioso starts in measure 16
5 Tenor aria: Mein Heiland läßt sich merken
The tenor seems to be enjoying this tuneful aria, a happy change of pace from the previous statement.
6 Chorale: Ob sich's anließ, als wollt er nicht
A lovely extended chorale with the oboes and violins in a dialogue in the instrumental intervals.
The chorale on Bach Cantatas.com
C.S. Terry comments on the chorale in a PDF excerpt
Part 2: After the sermon
7 Bass recitative: Es ist die Welt die große Wüstenei
The arioso starts in measure 16.
I would point out the translation of the line:
Damit sie nur der Welt sich desto mehr entziehen
Emmanuel Music: with which the world attracts them only more (doesn't make sense)
Dürr: Which causes them all the more to withdraw from the world
Z.P. Ambrose: So that they but the world may all the more forsake now;
8 Soprano aria: Die Armen will der Herr umarmen
Dürr characterizes this aria and part 5, the tenor aria, as examples of a concertante style, unlike the bass aria, part 3. The bass aria is written in a style more common to the earlier Bach, with a solo part over a continuo ground bass. Part 5 and part 8 alternate instrumental measures with the vocal soloist's part.
9 Alto recitative: Nun mag die Welt mit ihrer Lust vergehen;
This is a rather straightforward statement. The arioso starts in measure 16.
10 Soprano alto duet: Laß, Seele, kein Leiden
Dürr remarks that this piece is dance like, a gigue. I like Koopman's quicker tempo, but I like the alto and soprano best in Leusink's recording. Harnoncourt's slow tempo changes the character of the piece, it is nearly funereal, which I don't think pairs well with the lyrics.
11 Chorale: Die Hoffnung wart' der rechten Zeit
Identical with the conclusion of Part 1, the extended chorale.
The chorale on Bach Cantatas.com
C.S. Terry comments on the chorale in a PDF excerpt
The music
Harnoncourt
1 chorus, 2 recitative bass, 3 aria bass, 4 recitative tenor
5 aria tenor, 6 chorale, 7 recitative bass, 8 aria
9 recitative alto, 10 aria soprano alto, 11 chorale
Instruments and voices for each part
| Section | Instruments, voices |
|---|---|
| 1 | Chorus, Oboe I,II, Oboe da caccia, bassoon, violin I,II, viola, continuo |
| 2 | Bass recitative, continuo |
| 3 | Bass aria, continuo |
| 4 | Tenor recitative, continuo |
| 5 | Tenor aria, oboe I, violin I,II, continuo |
| 6 | Extended chorale SATB, oboe I,II, violin I,II, viola, continuo |
| 7 | Bass recitative, violin I,II, viola, continuo |
| 8 | Soprano aria, violin I,II in unison, continuo |
| 9 | Alto recitative, continuo |
| 10 | Soprano alto aria, oboe I,II, violin I,II, viola, continuo |
| 11 | Extended chorale SATB, oboe I,II, violin I,II, viola, continuo |
References
Emmanuel Notes BWV 186.
Emmanuel Translation BWV 186.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Discussion on WikiPedia
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
From Julian Mincham
2011, March 03
Cantata BWV 167
JS Bach Cantata BWV 167: Ihr Menschen, rühmet Gottes Liebe
(You people, glorify God's love)
Feast of the nativity of St. John the Baptist June 24 1723
Scoring: Trumpet (clarino), Oboe, Oboe da caccia, Violin I,II, Viola, Continuo
Soprano, Alto, Tenor, Bass
Bärenreiter vol 12; p 25-46
Reading: Epistle: Isaiah 40:1-5
Reading: Gospel: Luke 1:57-80
Words: Unknown librettist
Bach Bibliography
Recordings
Discussion
Literature
Dürr p 681-684
Whittaker vol 1 p 418-421
Green p 356-358
Terry vol 2 p 443
Boyd p 237
The feast for the nativity of St. John the Baptist is assigned to June 24, this year it will be on a Friday. This cantata was performed first on a Sunday. Boyd finds the music consistently interesting and often inspired. Whittaker complains that the librettist presents us with a string of insipid reflections...yet there is not a dull number.
1 Tenor aria: Ihr Menschen, rühmet Gottes Liebe
Boyd states that this movement is a very clear example of modified da capo structure (A-B-A') that Bach was largely responsible for developing. Dürr says that this opening aria is of exceptional charm. It is a pastorale that reflects a mood of relaxed joyfulness. He finds the texture is essentially homophonic. For Whittaker, the music suggests the flowing Jordan with its gracious undulating phrases
2 Alto recitative: Gelobet sei der Herr Gott Israel
Dry recitative that closes with an arioso starting in measure 13.
3 Soprano alto aria duet: Gottes Wort, das trüget nicht
Green states: there is a prominent and difficult oboe da caccia solo. The alto and soprano move mostly at the same time, and there is an impression of parallel motion; however, examination of the score shows that this is not the case. Dürr finds that this part is, like the opening aria, not conceived in genuinely polyphonic terms. The close proximity in pitch of the obbligato instrument and the voice parts again creates a dense, full sound.
4 Bass recitative: Des Weibes Samen kam,
Measures 14 and 15, the end of the recitative, state the beginning of the melody of the coming chorale.
5 Chorale: Sei Lob und Preis mit Ehren
Discussion of chorale by C.S. Terry in PDF excerpt
Sample of chorale played by Yo-Yo Ma from Simply Baroque
From C.S. Terry, the melody ascribed to Johann Kugelmann 1540 Augsburg
Another use of the melody by Bach in BWV 29.8
Old hundredth tune from wikipedia
Personally, I think these melodies are very similar, though no one acknowledges a common ancestor.
Dürr states that this concluding song of praise is the true high point of the work...The instruments surround and accompany the choral texture with their own thematic material, which in the chorale passages is skilfully combined with the prescribed melody, with the result that the work is crowned with an unexpected radiance.
The music
by Nikolaus Harnoncourt
Aria and recitative
Aria duet soprano alto
Recitative and chorale
Instruments and voices for each part
| Instruments, voices | |
|---|---|
| 1 | Tenor aria, violin I,II, viola, continuo (NBA: organ) |
| 2 | Alto recitative, continuo (NBA: organ) |
| 3 | Soprano alto aria, oboe da caccia, continuo (NBA: organ) |
| 4 | Bass recitativ, continuo (NBA: organ) |
| 5 | Chorale SATB, clarino, violin I,II, viola, continuo (NBA: organ) |
Biblical references for each part
References for the text: King James Bible
| Scripture | Text | |
|---|---|---|
| 2 | Luke 1:68 | Blessed be the Lord God of Israel; for he hath visited and redeemed his people |
| 1 | Luke 1:69 | And hath raised up an horn of salvation for us in the house of his servant David |
References for the text: Luther's German Bible
| Scripture | Text | |
|---|---|---|
| 2 | Luke 1:68 | Gelobet sei der HERR, der Gott Israels; denn er hat besucht und erlöset sein Volk |
| 1 | Luke 1:69 | und hat uns aufgerichtet ein Horn des Heils in dem Hause seines Dieners David |
References
Emmanuel Notes BWV 167.
Emmanuel Translation BWV 167.
Discussion from Bach Cantatas Website.
Recordingsfrom Bach Cantatas Website.
Classical.net discussion, Simon Crouch.
John Eliot Gardiner Cantatas Recording.
From Julian Mincham
