Ach, lieben Christen, seid getrost, BWV 114

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Ach, lieben Christen, seid getrost
Ach, lieben Christen, seid getrost"
by Johannes Gigas
Performed1 October 1724 (1724-10-01): Leipzig
Movementsseven
VocalSATB choir and solo
Instrumental
  • corno
  • flauto traverso
  • 2 oboes
  • 2 violins
  • viola
  • continuo

Johann Sebastian Bach composed the church cantata Ach, lieben Christen, seid getrost (Ah, dear Christians, be comforted),[1] BWV 114, in Leipzig for the 17th Sunday after Trinity and first performed it on 1 October 1724.

Bach created the work as part of his

second annual cantata cycle when he was Thomaskantor (director of music) in Leipzig. That cycle was planned as a cycle of the chorale cantatas for all occasions of the liturgical year. Ach, lieben Christen, seid getrost is based on a hymn of penitence by Johannes Gigas (1561). An unknown poet kept three stanzas in their original form, which Bach set as an opening chorale fantasia, a central fourth movement with the soprano accompanied only by the continuo, and a four-part closing chorale as movement 7. The poet reworded the other stanzas as arias and recitatives, including references to the prescribed gospel about the healing of a man with dropsy. Bach scored the cantata for four vocal parts, and a Baroque instrumental
ensemble of a horn to reinforce the chorale tune, a transverse flute, 2 oboes, strings and continuo.

History and words

Bach composed the cantata in his second year as Thomaskantor (director of music) in Leipzig for the 17th Sunday after Trinity.[2] That year, Bach composed a cycle of chorale cantatas, begun on the first Sunday after Trinity of 1724.[3] The prescribed readings for the Sunday were from the Epistle to the Ephesians, the admonition to keep the unity of the Spirit (Ephesians 4:1–6), and from the Gospel of Luke, healing a man with dropsy on the Sabbath (Luke 14:1–11).[4]

Jesus heals the sick by Rembrandt, as in the prescribed gospel, 1649

The cantata is based on a song of penitence, "

Ach, lieben Christen, seid getrost", in six stanzas by Johannes Gigas (1561),[5] sung to the melody of "Wo Gott der Herr nicht bei uns hält".[6] The hymn is only distantly related to the readings, concentrating on the thought that the Christians sin and deserve punishment,[7] but may be raised to joy in a "seliger Tod" (blessed death). An unknown poet kept the first, third and sixth stanza as movements 1, 4 and 7 of the cantata.[2] He derived movements 2 and 3, aria and recitative, from stanza 2, movement 5, another aria, from stanza 4, and the last recitative from stanza 5. In movement 3, he deviated from the song text, expanding in connection to the gospel that sin in general is comparable to the dropsy, "diese Sündenwassersucht ist zum Verderben da und wird dir tödlich sein" (this sinful dropsy leads to destruction and will be fatal to you),[1] and alluding to Adam's fall, caused by self-exaltation in the forbidden quest to be like God, "Der Hochmut aß vordem von der verbotnen Frucht, Gott gleich zu werden" (Pride first ate the forbidden fruit, to be like God).[1][4]

Bach first performed the cantata on 1 October 1724,[2] only two days after the first performance of his chorale cantata Herr Gott, dich loben alle wir, BWV 130, on the feast of Michael, the archangel, 29 September 1724.[8]

Music

Structure and scoring

Bach structured the cantata in seven movements. The chorale tune is used in movements 1, 4 and 7, as a

flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.[9] The title of the autograph score reads: "Dom: 17 post Trin: / Ach lieben Xsten seyd getrost / a 4 Voc: / Corno / 2 Hautbois / 2 Violini / Viola / con / Continuo / di / Sign:JS:Bach".[10]

In the following table of the movements, the keys and time signatures are taken from the Bach scholar Alfred Dürr, using the symbol for common time (4/4).[4] The instruments are shown separately for brass, woodwinds and strings, while the continuo, playing throughout, is not shown.

Movements of Barmherziges Herze der ewigen Liebe, BWV 185
No. Title Text Type Vocal Brass Woods Strings Key Time
1 Ach, lieben Christen, seid getrost Gigas Chorus SATB Co 2Ob 2Vl Va G minor common time
2 Wo wird diesem Jammertale anon. Aria T Ft D minor 3/4
3 O Sünder, trage mit Geduld anon. Recitative B common time
4 Kein Frucht das Weizenkörnlein bringt Gigas Chorale S G minor common time
5 Du machst, o Tod, mir nun nicht ferner bange anon. Aria A Ob 2Vl Va B-flat major common time
6 Indes bedenke deine Seele anon. Recitative T common time
7 Wir wachen oder schlafen ein Gigas Chorale SATB Co 2Ob 2Vl Va G minor common time

Movements

1

In the opening

themes that appear simultaneously in the instruments: an assertive theme is derived from the melody and played by the two oboes and first violins, an "anxious" one in the second violins and the continuo. The soprano sings the melody as a cantus firmus, doubled by the horn,[7] while the lower voices are set partly in expressive imitation, partly in homophony.[2] They are treated differently to reflect the meaning of the text.[11] The Bach scholar Klaus Hofmann compares the movement to the opening of the cantata Jesu, der du meine Seele, BWV 78, written three weeks earlier: both "a sort of chaconne" in G minor, with a "French style" bass as "the expression of mourning and lamentation".[2]

2

The first aria is set for tenor with a virtuoso flute, "Wo wird in diesem Jammertale" (Where, in this valley of suffering).[1] It contrasts again the anxious question "Wo wird ... vor meinen Geist die Zuflucht sein?" (Where ... is the refuge of my spirit?)[1] and the trusting "Allein zu Jesu Vaterhänden will ich mich in der Schwachheit wenden" (However, to Jesus' fatherly hands I will turn in my weakness),[1] The anxious question returns in the da capo form.[2]

3

The first recitative, "O Sünder, trage mit Geduld" (O sinner, bear with patience),[1] begins secco, but expresses the contrasting words "erhebst" (exalt) and "erniedrigt" (humbled) from the Gospel as an arioso.[11]

4

The chorale stanza, "Kein Frucht das Weizenkörnlein bringt" (The grain of wheat bears no fruit),[1] is set for the soprano, accompanied only by the continuo.[4] In its "starkness of the unembellished chorale", it is the centerpiece of the cantata.[11]

5

The alto aria, "Du machst, o Tod, mir nun nicht ferner bange" (You make me, o death, no longer fearful now),

minor on the words "Es muß ja so einmal gestorben sein" (One day, indeed, one must die)[1] is even more striking.[11]

6

A final recitative "Indes bedenke deine Seele" (Therefore, consider your soul) invites to turn body and soul to God.[1]

7

The cantata ends with a four-part setting of the chorale melody, "Wir wachen oder schlafen ein" (Whether we wake or fall asleep),[1] expressing "confidence in God".[2]

Recordings

The listing is taken from the Bach Cantatas Website.[12] Ensembles playing period instruments in historically informed performance are marked by green background.

Recordings of Ach, lieben Christen, seid getrost, BWV 114
Title Conductor / Choir / Orchestra Soloists Label Year Orch. type
Die Bach Kantate Vol. 52 Helmuth Rilling
Bach-Collegium Stuttgart
Hänssler
 1974 (1974) / 1981 Chamber
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 29 – BWV 43–46 Gustav Leonhardt
Knabenchor Hannover
Leonhardt-Consort
Telefunken 1980 (1980) Period
Bach Edition Vol. 5 – Cantatas Vol. 2
Holland Boys Choir
Netherlands Bach Collegium
Brilliant Classics 1999 (1999) Period
J. S. Bach: Complete Cantatas Vol. 12 Ton Koopman
Amsterdam Baroque Orchestra & Choir
Antoine Marchand 2000 (2000) Period
Bach Cantatas Vol. 9: Lund / Leipzig / For the 17th Sunday after Trinity / For the 18th Sunday after Trinity John Eliot Gardiner
Monteverdi Choir
English Baroque Soloists
Soli Deo Gloria 2000 (2000) Period
J. S. Bach: Cantatas Vol. 25 – Cantatas from Leipzig 1724 – BWV 78, 99, 114 Masaaki Suzuki
Bach Collegium Japan
BIS 2003 (2003) Period


References

  1. ^ a b c d e f g h i j k l m Dellal, Pamela. "BWV 114 – Ach, lieben Christen, seid getrost". Emmanuel Music. Retrieved 29 August 2022.
  2. ^ a b c d e f g Hofmann, Klaus (2003). "Ach, lieben Christen, seid getrost, BWV 114 / Ah, dear Christians, be comforted" (PDF). Bach Cantatas Website. p. 8. Retrieved 27 September 2012.
  3. ^ Wolff, Christoph (2000). Chorale Cantatas from the cycle of the Leipzig / church cantatas, 1724–25 (III) (PDF). Bach Cantatas Website. p. 9. Retrieved 28 August 2012.
  4. ^
    ISBN 9780198167075
    .
  5. ^ "Ach, lieben Christen, seid getrost / Text and Translation of Chorale". Bach Cantatas Website. 2006. Retrieved 26 September 2012.
  6. ^ "Chorale Melodies used in Bach's Vocal Works / Wo Gott der Herr nicht bei uns hält". Bach Cantatas Website. 2006. Retrieved 26 September 2012.
  7. ^ a b Gardiner, John Eliot (2009). Johann Sebastian Bach (1685-1750) / Cantatas Nos 47, 96, 114, 116, 148 & 169 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 11 November 2018.
  8. ^ Gardiner, John Eliot (2006). Johann Sebastian Bach (1685-1750) / Cantatas Nos 17, 19, 25, 50, 78, 130 & 149 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 22 September 2018.
  9. ^ Bischof, Walter F. "BWV 114 Ach, lieben Christen, seid getrost". University of Alberta. Retrieved 22 September 2015.
  10. ^ Grob, Jochen (2014). "BWV 114 / BC A 139" (in German). s-line.de. Archived from the original on 4 March 2016. Retrieved 22 September 2015.
  11. ^ a b c d Mincham, Julian (2012). "Chapter 18 BWV 114 Ach, lieben Christen, seid getrost / Beloved Christians, take comfort". jsbachcantatas.com. Retrieved 29 August 2022.
  12. ^ Oron, Aryeh (2015). "Cantata BWV 114 Ach, lieben Christen, seid getrost". Bach Cantatas Website. Retrieved 22 September 2015.

Sources

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