Herr Christ, der einge Gottessohn, BWV 96
Herr Christ, der einge Gottessohn | |
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Thomaskirche, Leipzig | |
Occasion | 18th Sunday after Trinity |
Chorale | "Herr Christ, der einig Gotts Sohn" by Elisabeth Cruciger |
Performed | 8 October 1724 Leipzig : |
Movements | 6 |
Vocal | SATB choir and solo |
Instrumental |
|
The hymn, related to mysticism and comparing Jesus to the
History and text
Bach wrote the cantata in 1724 for the
The cantata text of an unknown author is based exclusively on the hymn "
The hymn's first and last stanza in their original wording became the outer
Bach performed the cantata at least three times, first on 8 October 1724, a second time probably on 24 October 1734 when the sopranino was replaced by a violino piccolo,[3] and a third time probably on 1 October 1740. The Bach scholar Christoph Wolff suggested performances in 1744/47,[7] Klaus Hofmann in 1747, when the corno part was given to a trombone.[3]
Music
Structure and scoring
Bach structured the cantata in six movements, framing alternating
In the following table of the movements, the scoring follows the
No. | Title | Text | Type | Vocal | Winds | Strings | Key | Time |
---|---|---|---|---|---|---|---|---|
1 | Herr Christ, der einge Gottessohn | Cruciger | Chorale fantasia | SATB | Co Fp 2Ob | 2Vl Va | F major | 9/8 |
2 | O Wunderkraft der Liebe | anon. | Recitative | A | ||||
3 | Ach, ziehe die Seele mit Seilen der Liebe | anon | Aria | T | Ft | C major | ||
4 | Ach, führe mich, o Gott, zum rechten Wege | anon. | Recitative | S | ||||
5 | Bald zur Rechten, bald zur Linken | anon. | Aria | B | 2Ob | 2Vl Va | D minor | 3/4 |
6 | Ertöt uns durch dein Güte | Cruciger | Chorale | SATB | Co 2Ob | 2Vl Va | F major |
Movements
1
As in most cantatas of the second cycle, Bach set the opening chorus on the first stanza of the hymn in its original wording, "Herr Christ, der einge Gottessohn" (Lord Christ, only Son of God),[1] as chorale fantasia. He assigned the cantus firmus to the alto, enforced by a horn (in later performance replaced by trombone). Bach had used a cantus firmus in the alto already in his chorale cantata Ach Gott, vom Himmel sieh darein, BWV 2, for the second Sunday after Trinity.[3] In Herr Christ, der einge Gottessohn, this leaves the sopranos free, as the musicologist Julian Mincham notes, "to dance their own hymn of joy in the upper register above the chorale tune, thus lightening the texture and mood of the entire chorus". An unusual flauto piccolo or sopranino recorder is used to illustrate the sparkling of the morning star.[10] Hofmann notes that it was Bach's first use of a sopranino in a cantata, and the first introduction of his Leipzig audience to the instrument which had not been used as a concert instrument. In a later performance (probably 1734) it was replaced by a violino piccolo.[3] The choral setting is polyphonic in the three other voices and embedded in instrumental music based on similar motifs.[11]
2
The first recitative for alto, "O Wunderkraft der Liebe" (O wondrous power of love),
3
The tenor aria, "Ach, ziehe die Seele mit Seilen der Liebe" (Ah, draw my soul with skeins of love),[1] is accompanied by the transverse flute, probably played by the flauto piccolo player of the first movement.[2] As for Was frag ich nach der Welt, BWV 94, written some weeks before, Bach seems to have had an excellent flute player at hand,[6] whom he used in twelve cantatas in the fall of 1724. Some musicologists think that he was Friedrich Gottlieb Wild, a law student.[2]
4
The recitative for soprano, "Ach, führe mich, o Gott, zum rechten Wege" (Ah, lead me, o God, to the right path),[1] is a prayer for God's guidance.[2]
5
The bass aria illustrates the words "Bald zur Rechten, bald zur Linken lenkte sich mein verirrter Schritt" (Soon to the right, soon to the left my erring steps leaned)[1] in jagged motifs and a frequent switch between winds and strings. In the middle section steady steps picture "Gehe doch, mein Heiland, mit" (Yet go with me, my Savior).[1][11] The final part combines both elements.[6] Gardiner notes that Bach uses the winds and strings in concerting choirs (cori spezzati), enforced by positioning them on galleries, one of them right, the other left of the singers.[2][7] The technique had been practised in Venice in the late sixteenth century and introduced in Germany by composers such as Heinrich Schütz who studied in Venice. Gardiner observes also a hint at the style of French opera which Bach may have heard, traveling as a boy in northern Germany, at the Hamburg opera, in Celle or Lüneburg.[2]
6
The closing chorale,"Ertöt uns durch dein Güte" (Kill us through your goodness),
Recordings
The entries are taken from the listing on Bach Cantatas Website.[12] Instrumental groups playing period instruments in historically informed performances are marked green under the header Instr..
Title | Conductor / Choir / Orchestra | Soloists | Label | Year | Instr. |
---|---|---|---|---|---|
Die Bach Kantate Vol. 52 | Helmuth RillingGächinger KantoreiBach-Collegium Stuttgart | Hänssler
|
1973 | ||
Bach Cantatas Vol. 5 – Sundays after Trinity II | Karl RichterMünchener Bach-ChorMünchener Bach-Orchester | Archiv Produktion | 1978 | Period | |
J. S. Bach: Das Kantatenwerk – Sacred Cantatas Vol. 5 | Gustav LeonhardtTölzer KnabenchorLeonhardt-Consort |
|
Teldec | 1979 | Period |
Bach Cantatas Vol. 9: Lund / Leipzig / For the 17th Sunday after Trinity / For the 18th Sunday after Trinity | John Eliot GardinerMonteverdi ChoirEnglish Baroque Soloists | Soli Deo Gloria | 2000 | Period | |
J.S. Bach: Solokantaten Kreuzstabkantate BWV 56; "Der Friede sei mit dir" BWV 158; "Ich habe genug" BWV 82 | Karl-Friedrich BeringerWindsbacher KnabenchorConsortium Musicum | Siegmund Nimsgern | Baier Records | 1991 | |
J. S. Bach: Complete Cantatas Vol. 13 | Ton KoopmanAmsterdam Baroque Orchestra & Choir | Antoine Marchand | 2000 | Period | |
J. S. Bach: Cantatas Vol. 26 | Masaaki SuzukiBach Collegium Japan | BIS | 2003 | Period | |
J.S. Bach: Cantatas for the Complete Liturgical Year Vol. 12: "Warum betrübst du dich, mein Herz" (Cantatas BWV 138, 27, 47, 96) | Sigiswald Kuijken La Petite Bande |
|
Accent Label (Germany) | 2009 | Period |
Bachkantaten N°20 (BWV 96, 67, 121) | Rudolf Lutz Schola Seconda Pratica |
|
J.S. Bach-Stiftung | 2011 | Period |
Bach: Cantatas BWV 78, 96, 100, 122, 127, 130, 180 (Cantatas from liturgical year from the annual cycle of cantatas 1724/25) | Das Neue Orchester
|
Deutsche Harmonia Mundi | 2021 | Period |
References
- ^ a b c d e f g h Dellal, Pamela. "BWV 96 – Herr Christ, der einge Gottessohn". Emmanuel Music. Retrieved 24 August 2022.
- ^ a b c d e f g h i 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.
- ^ a b c d e f Hofmann, Klaus (2004). "Herr Christ, der einge Gottessohn BWV 96 / LordChrist,the only Son of God" (PDF). Bach Cantatas Website. pp. 7–8. Retrieved 4 October 2015.
- ^ Schulze, Hans-Joachim (2006). "Foreword for "Herr Christ, dein einge Gottessohn", BWV 96" (PDF). Translated by David Kosviner. Carus Verlag.
- ^ a b c "Chorale Melodies used in Bach's Vocal Works / Herr Christ, der einge Gottessohn". Bach Cantatas Website. 2008. Retrieved 5 October 2012.
- ^ ISBN 0-19-929776-2
- ^ a b c Wolff, Christoph (2000). "Chorale Cantatas from the cycle of the Leipzig church cantatas, 1724-25 (III)" (PDF). Bach Cantatas Website. pp. 8–9. Retrieved 4 October 2015.
- ^ Bischof, Walter F. "BWV 96 Herr Christ, der einge Gottessohn". University of Alberta. Retrieved 4 October 2015.
- ^ Grob, Jochen (2014). "BWV 96 / BC 142" (in German). s-line.de. Retrieved 4 October 2015.
- ^ "Herr Christ, der ein'ge Gottessohn (Lord Christ, the only Son of God)". arkivmusic.com. 2010. Retrieved 27 September 2010.
- ^ a b c d Mincham, Julian (2010). "Chapter 19 BWV 96 Herr Christ, der einge Gottessohn / Lord Christ, the one Son of God". jsbachcantatas.com. Retrieved 24 August 2022.
- ^ Oron, Aryeh. "Cantata BWV 96 Herr Christ, der einge Gottessohn". Bach Cantatas Website. Retrieved 3 October 2015.
Sources
- Herr Christ, der einge Gottessohn, BWV 96: Scores at the International Music Score Library Project
- Herr Christ, der einge Gottessohn BWV 96; BC A 142 / Chorale cantata (18th Sunday after Trinity) Bach Digital
- BWV 96 Herr Christ, der einge Gottessohn English translation, University of Vermont
- Luke Dahn: BWV 96.6 bach-chorales.com