Meine Seel erhebt den Herren, BWV 10

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Meine Seel erhebt den Herren
BWV 10
Chorale cantata by J. S. Bach
The scene of Mary visiting Elizabeth in an early 16th-century painting
The Heimsuchung, topic of the cantata, c. 1505
J. or H. Strüb, Thyssen-Bornemisza Museum
OccasionVisitation
Bible textLuke 1:46–55 (partly paraphrased)
Based on"Meine Seele erhebt den Herren" (German Magnificat) by Martin Luther
Performed2 July 1724 (1724-07-02): Leipzig
Movements7
VocalSATB choir and soloists
Instrumental
  • Trumpet
  • 2 oboes
  • 2 violins
  • viola
  • continuo

In 1724

his second cantata cycle. Taken from Martin Luther's German translation of the Magnificat canticle ("Meine Seele erhebt den Herren"), the title translates as "My soul magnifies the Lord". Also known as Bach's German Magnificat, the work follows his chorale cantata
format.

Bach composed Meine Seel erhebt den Herren for the Feast of the

psalm tone, concluding with a doxology, translated from the Gloria Patri, on the same tune. Bach based his BWV 10 cantata on Luther's German Magnificat and its traditional setting, working text and melody into the composition as he had done with Lutheran hymns in other chorale cantatas
.

By early July 1724 Bach was more than a month into his second year as

mixed choir and an orchestra consisting of trumpet, two oboes, strings and continuo. Luther's translation of Luke 1:46–48 is the text of the first movement. The canticle's doxology is the text of the last movement. The five middle movements are a succession of arias and recitatives, with, between the fourth and sixth movement, a duet for alto and tenor. Soprano and bass
each have one aria, and the two recitatives are sung by the tenor. The text of the arias and recitatives is paraphrased and expanded from Luke 1:49–53 and 55. The text of the duet is Luther's translation of Luke 1:54. The melody associated with Luther's German Magnificat appears in movements 1, 5 and 7.

The music of two of the cantata's movements was published in the 18th century: an

19th-century first complete edition of Bach's works
. In 20th- and 21st-century concert and recording practice the cantata is often combined with other German-language cantatas, but also several times with settings of the Latin Magnificat, by Bach and other composers.

Background

Late May 1723 Bach took office as

his second cantata cycle with forty chorale cantatas composed to new librettos. Each of these librettos was based on the text of a known chorale, usually a Lutheran hymn, the tune of which was adopted by Bach in his setting.[1][2]

The first weeks of the

Purification, falling in the period of the Sundays after Epiphany, and Annunciation, falling around Easter. Several traditions regarding these Marian feasts, such as the selection of readings for the church services, were continued from the period before Leipzig had adopted Lutheranism. Cantatas with a text in the native language had, since the early 18th century, become the dominant genre of figural music in Reformed German regions. Practices rooted in older traditions included the occasional performance of a Latin Magnificat on occasions such as Marian Feasts or Christmas.[3]

Meine Seel erhebt den Herren, BWV 10, for Visitation, is the fifth chorale cantata Bach presented in 1724.[1] Its text is based on Luther's German translation of the Magnificat. The singing tune associated with that version of the Magnificat, a German variant of the tonus peregrinus, appears in Bach's composition.[4]

Readings, text and tune

The prescribed readings for the feast day were from the

psalm tone (tonus peregrinus) by Johann Hermann Schein.[5] Different from the other chorale cantatas of the cycle, the base for text and music is not a chorale, but the German Magnificat. It is a canticle, a biblical song in prose concluded by the traditional doxology.[5] The text is based on Luther's translation of the biblical song to German in the Luther Bible, and on the doxology.[6][7]

In the format of the chorale cantata cycle, an unknown librettist retained some parts of Luther's wording, while he paraphrased other passages for recitatives and arias. He used the original verses 46–48 for the first movement, verse 54 for the fifth movement, and the doxology for the seventh movement. He paraphrased verse 49 for the second movement, verses 50–51 for the third, verses 52–53 for the fourth, and verse 55 for the sixth movement, the latter expanded by a reference to the birth of Jesus.[5][8]

music and text of the beginning of the Magnificat
The text of the first two verses with the music of the Ninth psalm tone

Bach's music is based on the traditional

ninth psalm tone which was familiar to the Leipzig congregation.[5]

Magnificats and Visitation cantatas in Bach's Leipzig

One of Bach's predecessors as director musices of the

BWV 189, a Visitation cantata on a libretto that paraphrases the text of the Magnificat canticle, also seems rather to have been composed by Hoffmann than by Bach, to whom this work used to be attributed.[17][18]

A repeat performance of BWV 243a may have accompanied the first performance of BWV 10 on 2 July 1724.

Bach's fourth cantata cycle: the libretto, surviving without music, starts with a dictum quoted from Luther's German translation of Luke 1:46–47.[17][27]

Around 1733 Bach transposed his Latin Magnificat to D major (

BWV Anh. 30).[30][31][32][33] Probably around the same time Bach performed BWV 10 again.[34]

Several characteristics of the Magnificats and Visitation cantatas of the first half of the 18th century are combined in Bach's German Magnificat: it uses text of Luther's translation of the Magnificat, like BWV Anh. 21 and Picander's 1728 libretto, and it uses text paraphrased from the Magnificat like BWV 189 and the 1725 Visitation cantata. Like the Meiningen libretto used for JLB 13 the cantata not only starts with a dictum but also has a second dictum, directly quoted from Luther's translation of the New Testament, near the middle of the cantata (movement 4, "Meine Seele erhebt den Herrn", in Johann Ludwig's cantata, and movement 5, "Er denket der Barmherzigkeit" in BWV 10).[35][36] This characteristic sets BWV 10 apart from Bach's other chorale cantatas, which as a rule contained quotes from Lutheran hymns, not from biblical prose.[1]

Some musical similarities between BWV 10 and Bach's Latin Magnificat have been described.[37] Philipp Spitta sees a similar musical treatment at the end of the respective movements based on the Luke 1:51 text, which are the central "Fecit potentiam" movement of the Latin Magnificat and the third "Des Höchsten Güt und Treu" movement of BWV 10.[38] The movements with respectively the German and Latin text of Luke 1:54 present the tonus peregrinus melody associated with Luther's German Magnificat as a cantus firmus played by wind instruments. The "Suscepit Israel" movement of the BWV 243a version of the Latin Magnificat has that cantus firmus performed by a trumpet. In the later BWV 243 version of the same movement the trumpet has been replaced by two oboes. In the corresponding movement of BWV 10 ("Er denket der Barmherzigkeit") the cantus firmus is performed by the trumpet and the two oboes. Masaaki Suzuki assumes that this should be interpreted as trumpet for the original 1724 version, replaced by two oboes in the 1740s revival version, the same modification that occurred to the related movement of the Latin Magnificat.[39]

Place of BWV 10 in Bach's chorale cantata cycle

Bach followed a specific structure for most of the cantatas of his chorale cantata cycle, especially the 40 he presented consecutively from the first Sunday after Trinity of 1724 to Palm Sunday of 1725. In this chorale cantata format he retained the original text and melody of the chorale on which the cantata was based in the outer stanzas, typically treating the first as a chorale fantasia and the last as a four-part chorale setting, while the inner stanzas were reworded by a librettist as the basis for recitatives and arias, usually with music independent of the chorale tune.[40]

19th-century Bach scholars were largely unaware of the composition history of the chorale cantatas, and how Bach conceived the cycle of these cantatas:

Details about the history, organisation and coherence of the cycle were only elucidated in the second half of the 20th century, by scholars such as Alfred Dürr.[43] According to this research the chronology of the first six chorale cantatas Bach presented in 1724 is updated as follows (K numbers of the first edition of the chronological Zwang catalogue are given between brackets):[44][45][46]

  1. 11 June,
    K 74
    )
  2. 18 June,
    K 75
    )
  3. 24 June,
    K 76
    )
  4. 25 June,
    K 77
    )
  5. 2 July, Visitation (in 1724 coinciding with
    K 78
    )
  6. 9 July,
    K 79
    )

The strong coherence between the first four cantatas of this series, as belonging to the same set, has been described for instance by

St. John's Day, Bach wrote a cantata with an opening movement in the style of an Italian violin concerto, in which the cantus firmus was given to the tenor. The next day followed a cantata opening with a movement in vocal and instrumental counterpoint with the cantus firmus sung by the bass. Conductor John Eliot Gardiner writes about these first four cantatas of the chorale cantata cycle: "Together they make a fascinating and contrasted portfolio of choral[e] fantasia openings."[47][1][48]

Libretto publications in Bach's Leipzig more than once grouped the first four cantatas after Trinity, or started a new publication with the cantata for the fifth occasion after Trinity.

Canticle of Simeon (Luke 2:29–32), does not have these exceptions to the second cycle format: it is based on Luther's versified paraphrase of the canticle and its metrical hymn melody. Nonetheless, Dürr writes about BWV 10 (here rendered in Richard D. P. Jones' translation): "if ever a work deserved the description 'chorale cantata' it is this, for it is based on a genuine (Gregorian) chorale melody".[5]

In 1724 the feast of the Visitation fell on the fourth Sunday after Trinity, thus the next cantata Bach composed was a chorale cantata for the fifth Sunday after Trinity. Bach did apparently not compose a cantata for the sixt Sunday after Trinity in 1724 while absent from Leipzig.[44] Bach's second year in Leipzig passed without composing a chorale cantata specifically for the fourth Sunday after Trinity. He composed one for this occasion in 1732, Ich ruf zu dir, Herr Jesu Christ, BWV 177, one of the later additions to the chorale cantata cycle.[52] Also for Trinity VI Bach composed a chorale cantata at a later date (BWV 9).[53]

Music

Structure and scoring

Bach structured the cantata in seven movements. The first and last are set for

tromba da tirarsi, a slide trumpet. Alfred Dürr gives the duration of the piece as 23 minutes.[55]

In the following table of the movements, the column "text" links to the World English Bible, adding "Luther" for the movements kept in his translation, and "anon." for paraphrased and expanded versions of the unknown librettist.

Movements of Meine Seel erhebt den Herren, BWV 10
No. Title Text Type Voices Instruments [56] Key[4] Time[4]
1 Meine Seel erhebt den Herren Luke 1:46–48, Luther Chorale fantasia SATB 'Tromba', 2 Oboes, strings, bc. G minor common time
2 Herr, der du stark und mächtig bist Luke 1:49, anon. Aria S 2 Oboes (unis.), strings, bc. B-flat major common time
3 Des Höchsten Güt und Treu Luke 1:50–51, anon. Recitative T bc. common time
4 Gewaltige stößt Gott vom Stuhl Luke 1:52–53, anon. Aria B bc. F major common time
5 Er denket der Barmherzigkeit Luke 1:54, Luther duet, chorale A T Tromba & both oboes unis., bc. D minor 6/8
6 Was Gott den Vätern alter Zeiten Luke 1:55, anon. Accompagnato T strings, bc common time
7 Lob und Preis sei Gott dem Vater translation of Gloria Patri Chorale SATB Tromba. 2 oboes, strings, bc G minor common time

Movements

1

The opening chorale fantasia is marked vivace (lively). Bach begins the movement with an instrumental introduction that is unrelated to the psalm tone. It is a trio of the violins and the continuo, with the oboes doubling the violin, and the viola filling the harmony. The main motif stands for joy and is set in "rhythmical propulsion".[34]

The chorus enters after 12

melismas.[59] The movement is concluded by a vocal setting without cantus firmus embedded in the music of the introduction, framing the movement.[58]

2

The soprano aria "Herr, der du stark und mächtig bist" (Lord, you who are strong and mighty)[57] is a concerto of the voice and the oboes, accompanied by the strings.[34] It is a da capo aria, expressing praise for God's works in the first section, while the more reticent middle section covers thankfulness for his help in times of distress.[non sequitur] It is the first soprano aria in the chorale cantata cycle.[59]

3

The recitative "Des Höchsten Güt und Treu" (The goodness and love of the Highest)[57] ends on an arioso.[58] The thought that God "also uses force with His arm" is expressed with emphasis, and the final "will be scattered like straw by His hand" is an extended coloratura.[non sequitur][59] Spitta compares the end of this movement with the end of the 7th movement of Bach's Latin Magnificat: textually both movements treat the same part of the Magnificat (the end of Luke 1:51), and, although the other movement is set for five-part chorus and tutti orchestra, he considers the closure of this recitative of the German Magnificat cantata "equally picturesque".[38]

4

The following aria "Gewaltige stößt Gott vom Stuhl" (The mighty God casts from their thrones)[57] is set for bass and continuo.[58] A descending bass line in the continuo over two octaves illustrates the fall, which the voice also suggests in descending phrases. The second aspect of the text, the exaltation of the humble, is shown by rising figures, and the final emptiness ("bloß und leer", bare and empty) by pauses.[59]

5

In the fifth movement, "Er denket der Barmherzigkeit" (He remembers his mercy),[57] the text returns to the original German Magnificat, and the music to the psalm tone. It is played by oboes and trumpet as the cantus firmus, while alto and tenor sing in imitation. Klaus Hofmann interprets the bass line of "emphatic downward semitone intervals" as "sighs of divine mercy".[59] The voices often sing in parallel thirds and sixths, as they do also in the corresponding movement from Bach's Latin Magnificat, the duet Et misericordia (And your compassion), in both cases expressing mildness and compassion.[non sequitur][59]

6

The recitative for tenor, "Was Gott den Vätern alter Zeiten" (What God, in times past, to our forefathers),

secco. Starting with the added words "Sein Same mußte sich so sehr wie Sand am Meer und Stern am Firmament ausbreiten, der Heiland ward geboren" (His seed must be scattered as plentifully as sand on the shore and as stars in the firmament, the Savior was born),[57] the lively chords of the added strings emphasize the importance of the promise kept.[non sequitur][58][60]

7

In the final movement, the two verses of the doxology are set on the psalm tone for four parts, with all instruments playing

colla parte.[58] Wind instruments and violin I join the soprano part.[61] The setting is mostly in homophony, but turns to polyphony for the final "von Ewigkeit zu Ewigkeit" (for ever and ever).[6]

Manuscripts and editions

Both Bach's autograph score and the parts used for the cantata's first performance survive.[62][54] The score, previously owned by Wilhelm Friedemann Bach, Philipp Spitta and Paul Wittgenstein, among others, came in the possession of the Library of Congress in 1948.[63][64][65] The original parts remained in Leipzig, where they were entrusted to the Bach Archive in the 20th century.[66]

C. P. E. Bach published the same music of BWV 10 as No. 357 in Part IV of his 1780s collected edition of four-part chorales by his father.[71][72]

The entire cantata was published in 1851 in the first volume of the

Bach-Gesellschaft Ausgabe (BGA), edited by Moritz Hauptmann.[73][74] The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1995, edited by Uwe Wolf, with the critical commentary published the same year.[75][8]

The cantata was also published with a singable English version of the text:

Concert performances and recordings

Hänssler's, Koopman's, Brilliant Classics' and Suzuki's complete Bach cantata recordings include a recording of BWV 10.[85][86][87][88][89]

Bach Cantata Pilgrimage featured BWV 10 in a concert recorded in 2000.[91] Ton Koopman's concert at the 2003 Leipzig Bach Festival combined BWV 10 with the Christmas versions of Bach's and Kuhnau's Magnificat, thus allowing to compare similar works of two consecutive Thomaskantors.[92] Sigiswald Kuijken recorded BWV 10 for his Cantatas for the Complete Liturgical Year series in 2007.[93] The same year, a concert at the Indiana University combined Bach's Meine Seel erhebt den Herren cantata with a 2005 Magnificat by Sven-David Sandström.[94]

period instruments for their complete Bach cantata recordings.[95] Also Musica Florea, the orchestra on Büchner's recording, performs on historic instruments.[90]

Instrumental groups playing period instruments in historically informed performances are highlighted green under the header "Instr.".[96]
Recordings of Meine Seel erhebt den Herren, BWV 10, issued on LP, CD, SACD and/or DVD
Title Conductor / Choir / Orchestra Soloists Label Year Instr.
Johann Sebastian Bach: Cantatas 10,
BWV 241: Sanctus in D major (LP)
Johann Sebastian Bach: Cantata 10 – Cantata 47 (CD)[79]
Paul Steinitz
London Bach Society
English Chamber Orchestra
Oryx
(LP)
Lyrichord
(CD)
1965 (1965)
(LP)
2008
(CD)
J-S Bach: Les grandes cantates. Vol. 1 (LP)
J.S. Bach – Fritz Werner: Cantatas. Vol. 2 (CD)[80]
Heinrich-Schütz-Chor Heilbronn
Pforzheim Chamber Orchestra
Erato
(LP)
Warner Classics
(CD)
1966 (1966)
(LP)
2004
(CD)
Bach: Magnificat in D major – Cantata No. 10 (LP)
The Decca Sound, CD 36[82]
Karl Münchinger
Wiener Akademiechor
Stuttgarter Kammerorchester
Decca 1969 (1969)
(LP)
2011
(CD)
Joh:Sebas:Bach: Das Kantatenwerk (Complete Cantatas), Vol. 3[85][95] Gustav Leonhardt
Choir of King's College
Leonhardt-Consort
Das Alte Werk (Teldec
)
1972 (1972)
(LP)
1985
(CD)
Period
Kantaten: Meine Seel' erhebt den Herren, BWV 10 – Ach Herr, mich armen Sünder, BWV 135Ein ungefärbt Gemüte, BWV 24 (LP)
Bach Cantatas Vol. 3: Ascension Day – Whitsun – Trinity (CD)[81]
Karl Richter
Münchener Bach-Chor
Münchener Bach-Orchester
Archiv Produktion 1976 (1976)
(LP)
1993
(CD)
Johann Sebastian Bach: Magnificat D-dur – Meine Seel erhebt den Herren (LP)
Bach Kantaten: Magnificat D-dur – Meine Seel erhebt den Herren (CD)[83]
Hans-Joachim Rotzsch
Thomanerchor
Neues Bachisches Collegium Musicum
Berlin Classics

(CD)
1979 (1979)
(LP)
1996
(CD)
Die Bach Kantate: BWV 10 Meine Seel erhebt den Herren –
BWV 93 Wer nur den lieben Gott lässt walten (LP)
Die Bach Kantate, Vol. 17 (CD)[86][95]
Helmuth Rilling
Gächinger Kantorei
Bach-Collegium Stuttgart
Hänssler

(CD)
1979 (1979)
(LP)
1985
(CD)
Gielen-Edition: Johann Sebastian Bach Magnificat D-dur BWV 243 Kantate BWV 10 "Meine Seel' Erhebt den Herren"[84] Michael Gielen
Anton-Webern-Chor
SWF-Sinfonieorchester Baden-Baden
Intercord [de] 1991 (1991)
(rec.)
1995
(CD)
Bach: Complete Cantatas, Vol. 11[87][95] Ton Koopman
Amsterdam Baroque Orchestra & Choir
Erato
(later:
Antoine Marchand)
1999 (1999)
(rec.)
2001
(CD)
Period
J. S. Bach: Magnificat in E flat major BWV 243a – Cantata BWV 10[90] Roland Büchner
Regensburger Domspatzen
Musica Florea
Pure
Classics
2000 (2000) Period
Bach Edition Vol. 20: Cantatas Vol. XI[88][95]
Holland Boys Choir
Netherlands Bach Collegium
Brilliant Classics 2000 (2000) Period
Bach Cantatas Vol. 2: Paris/Zürich / For the 2nd Sunday after Trinity / For the 3rd Sunday after Trinity[91] John Eliot Gardiner
Monteverdi Choir
English Baroque Soloists
Soli Deo Gloria
2000 (2000) Period
J. S. Bach: Cantatas Vol. 23 (Cantatas from Leipzig 1725)[89] Masaaki Suzuki
Bach Collegium Japan
BIS 2002 (2002) Period
Bach - Kuhnau: Magnificat[92] Ton Koopman
Amsterdam Baroque Orchestra & Choir
Naxos
  • 2003 (2003) (rec.)
  • 2004 (DVD)
Period
Johann Sebastian Bach: Cantatas BWV 20 - 2 - 10 (Cantatas for the Complete Liturgical Year Vol. 7)[93] Sigiswald Kuijken
La Petite Bande
Accent 2007 (2007)
(rec.)
2008
(SACD)
Period

Notes

  1. ^ "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.

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Sources

By author or editor

By title as issued

External links