Halt im Gedächtnis Jesum Christ, BWV 67
Halt im Gedächtnis Jesum Christ | |
---|---|
Thomaskirche, Leipzig | |
Occasion | Sunday after Easter |
Bible text | 2 Timothy 2:8 |
Chorale |
|
Performed | 16 April 1724 Leipzig : |
Movements | 7 |
Vocal | |
Instrumental |
|
Halt im Gedächtnis Jesum Christ (Keep Jesus Christ in mind),
Based on the prescribed gospel of the
History and words
Bach composed the cantata in his first year as
Bach led the first performance on 16 April 1724.[3]
Music
Structure and scoring
Bach structured the cantata in seven movements, arranged symmetrically around a central chorale. He scored the work for three vocal soloists (
In the following table of the movements, the scoring follows the
No. | Title | Text | Type | Vocal | Winds | Strings | Key | Time |
---|---|---|---|---|---|---|---|---|
1 | Halt im Gedächtnis Jesum Christ | Timotheus 2:8 | Chorus | SATB | Ft 2Oa | 2Vl Va | A major | |
2 | Mein Jesus ist erstanden | anon. | Aria | T | Oa | 2Vl Va | E major | |
3 | Mein Jesu, heißest du des Todes Gift | anon. | Recitative | A | ||||
4 | Erschienen ist der herrlich Tag | Herman | Chorale | SATB | Ct Ft 2Oa | 2Vl Va | ||
5 | Doch scheinet fast | anon | Recitative | A | ||||
6 | Friede sei mit euch | anon. | Aria e Coro | B SAT | Ft 2Oa | 2Vl Va | A major | 3/4 |
7 | Du Friedefürst, Herr Jesu Christ | Ebert | Chorale | SATB | Ct Fl 2Oa | 2Vl Va |
Movements
The opening chorus reflects the contrast of hope and resurrection versus simultaneous remembrance and doubt, which is present throughout the cantata. The chorus is structured in symmetry in seven sections,
The tenor aria Mein Jesus ist erstanden (My Jesus is arisen)[1] is accompanied by an obbligato oboe d'amore. The theme is presented in the opening by the strings and later picked up by the voice, illustrating the word "auferstanden" by an upward run.[4]
The Easter hymn "Erschienen ist der herrlich Tago"[10] marks the center of the composition. In symmetry, it is framed by two alto recitatives, the second a reprise of the first.[9]
The idea of a solo singer alternating with a chorus is extended in the following movement, the bass aria with chorus Friede sei mit euch (Peace be with you). A string introduction depicts in agitated forte passages in 4/4 time the attack of the enemies. John Eliot Gardiner describes it as "a dramatic scena in which the strings work up a storm to illustrate the raging of the soul's enemies".[2] In sharp contrast the bass as the vox Christi (voice of Christ) sings the greeting of Jesus from verse 19 of the Gospel, "Peace be with you", three times, accompanied by woodwinds in dotted rhythm in 3/4 time, marked piano. Musicologist Julian Mincham describes the music as serene, a "gentle, rocking, almost cradle-like rhythm creating a perfect atmosphere of peaceful contemplation". The upper voices of the choir (without basses) answer to the music of the introduction, seeing Jesus as help in the battle ("hilft uns kämpfen und die Wut der Feinde dämpfen"). The greeting and answering is repeated two more times in two stanzas of the poem, reflecting the strengthening of the weary in spirit and body ("erquicket in uns Müden Geist und Leib zugleich"), and finally overcoming death ("durch den Tod hindurch zu dringen"). The following fourth appearance of "Peace be with you" is accompanied by both woodwinds and strings, and peace is finally achieved.[3][9] Klaus Hofmann describes the movement as an "operatic scene" and continues "Bach resorts to unconventional means; he shows himself as a musical dramatist and, in the process, stresses the element of contrast: he comments upon the words of the faithful with agitated, tumultuous string figures, whilst Jesus' peace greeting sounds calmly and majestically, embedded in pastoral wind sonorities."[4] Bach adapted this movement as the Gloria of his Missa in A major, BWV 234.[8]
The closing chorale "Du Friedefürst, Herr Jesu Christ" is a four-part setting.[3][11]
Recordings
The table below is taken from the selection on the Bach Cantatas Website.[12] Performing groups singing one voice per part (OVPP) and instrumental groups playing period instruments in historically informed performances are marked by green background.
Title | Conductor / Choir / Orchestra | Soloists | Label | Year | Choir type | Instr. |
---|---|---|---|---|---|---|
Historic Bach cantatas | Gewandhausorchester
|
|
Bach Archiv Leipzig | 1931 | ||
Bach: Cantatas No. 67 & 11, from cantata No. 147 | Reginald JacquesThe Cantata SingersThe Jacques Orchestra |
|
Decca Ace of Clubs | 1949 | ||
Bach Made in Germany Vol. 1 – Cantatas IV | Gewandhausorchester
|
Eterna | 1954 | |||
J. S. Bach: Cantatas BWV 67, 108 & 127 | Karl RichterMünchener Bach-ChorMünchener Bach-Orchester | Teldec | 1958 | |||
Les Grandes Cantates de J. S. Bach Vol. 7 | Heinrich-Schütz-Chor HeilbronnPforzheim Chamber Orchestra
|
Erato | 1960 | |||
Ansermet conducts Bach Cantatas No. 130, No. 67, excerpts from No. 101 | L'Orchestre de la Suisse Romande
|
Decca | 1968 | |||
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 4 | Gustav LeonhardtLeonhardt-Consort | Teldec | 1976 | Period | ||
J. S. Bach: Complete Cantatas Vol. 7 | Ton KoopmanAmsterdam Baroque Orchestra & Choir | Antoine Marchand | 1997 | Period | ||
Lecture Concerts – New Recordings Cantatas | Helmuth RillingGächinger KantoreiBach-Collegium Stuttgart | Hänssler
|
1998 | |||
Bach Edition Vol. 19 – Cantatas Vol. 10 | Holland Boys ChoirNetherlands Bach Collegium
|
Brilliant Classics | 2000 | Period | ||
Bach Cantatas Vol. 23: Arnstadt/Echternach / For the 1st Sunday after Easter (Quasimodogeniti) | John Eliot GardinerMonteverdi ChoirEnglish Baroque Soloists | Soli Deo Gloria | 2000 | Period | ||
J. S. Bach: Cantatas Vol. 18 – Cantatas from Leipzig 1724 – BWV 66, 67, 134 | Masaaki SuzukiBach Collegium Japan | BIS | 2001 | Period | ||
J. S. Bach: Cantatas for the Complete Liturgical Year Vol. 11 | Sigiswald KuijkenLa Petite Bande | Accent | 2008 | OVPP | Period |
References
- ^ a b c d Dellal, Pamela. "BWV 67 - "Halt im Gedächtnis Jesum Christ"". Emmanuel Music. Retrieved 22 August 2022.
- ^ a b Gardiner, John Eliot (2007). Johann Sebastian Bach (1685-1750) / Cantatas Nos 42, 67, 85, 104, 112, 150 & 158 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 27 April 2019.
- ^ ISBN 3-423-04080-7.
- ^ a b c Hofmann, Klaus Hofmann (2001). "Halt im Gedächtnis Jesum Christ (Remember that Jesus Christ), BWV 67" (PDF). Bach Cantatas Website. p. 7. Retrieved 11 April 2012.
- ^ "Erschienen ist der herrlich Tag / Text and Translation of Chorale". Bach Cantatas Website. 2007. Retrieved 15 April 2012.
- ^ "Du Friedefürst, Herr Jesu Christ / Text and Translation of Chorale". Bach Cantatas Website. 2003. Retrieved 15 April 2012.
- ^ a b Bischof, Walter F. "BWV 67 Halt im Gedächtnis Jesum Christ". University of Alberta. Retrieved 2 April 2016.
- ^ Allmusic. Retrieved 11 April 2012.
- ^ a b c Mincham, Julian (2010). "Chapter 50 Bwv 67 – The Cantatas of Johann Sebastian Bach". jsbachcantatas.com. Retrieved 22 August 2022.
- ^ "Chorale Melodies used in Bach's Vocal Works / Erschienen ist der herrlich Tag". Bach Cantatas Website. 2006. Retrieved 15 April 2012.
- ^ "Chorale Melodies used in Bach's Vocal Works / Du Friedefürst, Herr Jesu Christ". Bach Cantatas Website. 2006. Retrieved 15 April 2012.
- ^ Oron, Aryeh. "Cantata BWV 67 Halt im Gedächtnis Jesum Christ". Bach Cantatas Website. Retrieved 2 April 2016.
Sources
- Halt im Gedächtnis Jesum Christ, BWV 67: Scores at the International Music Score Library Project
- Halt im Gedächtnis Jesum Christ BWV 67; BC A 62 / Sacred cantata Bach Digital
- BWV 67 Halt im Gedächtnis Jesum Christ English translation, University of Vermont
- Luke Dahn: BWV 67.4, BWV 67.7 bach-chorales.com
External links
- Halt im Gedächtnis Jesum Christ, BWV 67: performance by the Netherlands Bach Society (video and background information)