O ewiges Feuer, o Ursprung der Liebe, BWV 34
O ewiges Feuer, o Ursprung der Liebe | |
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BWV 34 (34.1) | |
Church cantata by J. S. Bach | |
Related | basis for BWV 34a |
Occasion | Pentecost Sunday |
Performed | 1 June 1727 Leipzig : |
Movements | 5 |
Vocal |
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Instrumental |
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O ewiges Feuer, o Ursprung der Liebe (O eternal fire, o source of love),
The librettist of the cantata is unknown.[2] A central contemplative aria for alto, accompanied by two flutes and muted strings, is framed by recitatives, while the two outer movements are performed by the chorus and a festive Baroque instrumental ensemble of three trumpets, timpani, two oboes, strings and continuo. The last movement quotes the conclusion of Psalm 128, "Friede über Israel" (Peace upon Israel). The themes of eternal fire, love, dwelling together and peace suit both occasions, wedding and Pentecost.
History and text
Bach adapted
Bach led the first performance on 1 June 1727 in the
Structure and scoring
Bach structured the cantata in five movements, with two choral movements framing a sequence of recitative–aria–recitative. Bach 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 | O ewiges Feuer, o Ursprung der Liebe | anon. | Chorus | SATB | 3Tr Ti 2Ob | 2Vl Va | D major | 3/4 |
2 | Herr, unsre Herzen halten dir | anon. | Recitative | T | ||||
3 | Wohl euch, ihr auserwählten Seelen | anon. | Aria | A | 2Ft | 2Vl Va | A major | |
4 | Erwählt sich Gott die heilgen Hütten | anon. | Recitative | B | ||||
5 | Friede über Israel |
|
Chorus | SATB | 3Tr Ti 2Ob | 2Vl Va | D major |
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Music
1
The opening chorus, "O ewiges Feuer, o Ursprung der Liebe" (O eternal fire, o source of love),[1] illustrates two contrasting subjects, "ewig" (eternal) and "Feuer" (fire). While "ewig" appears as long notes, held for more than one measure, the flames (or tongues) of the fire are set in "lively figuration from the strings and agile coloraturas from the voices".[4] The instrumental ritornello comprises a sustained trumpet entry, active strings, and "flickering" oboes, drums, and trumpets. Unlike in most da capo movements, this ritornello appears only at the beginning and end.[11] The basses enter first, "holding a top D for most of five bars to symbolise the 'eternal', the other three parts aglitter with 'fiery' embellishments", as John Eliot Gardiner notes.[6] The middle section develops these themes in minor keys,[11] in "dance-like vocal pairings",[6] before the ritornello returns one more time to reprise the first section.[11]
2
A tenor recitative, "Herr, unsre Herzen halten dir dein Wort der Wahrheit für" (Lord, our hearts keep Your word of truth fast),
3
An alto aria, "Wohl euch, ihr auserwählten Seelen, die Gott zur Wohnung ausersehn" (It is well for you, you chosen souls, whom God has designated for his dwelling),
4
The bass recitative, "Erwählt sich Gott die heilgen Hütten, die er mit Heil bewohnt" (If God chooses the holy dwellings that He inhabits with salvation),[1] is quite similar in character to the tenor recitative. The last two measures form an introduction to the closing movement.[11]
5
The closing chorus, "Friede über Israel" (Peace upon Israel),[1] opens with a solemn rendering of the psalm text, marked Adagio.[4] The violins and oboes first play an ascending figure.[11] Gardiner notes that the section is "reminiscent of and equivalent in grandeur to the opening exordium to the B minor Mass".[6] The slow music on the psalm text is contrasted by a "spirited and very secular-sounding march,[4] setting "Dankt den höchsten Wunderhänden" (Thank the exalted wondrous hands).[1] Both sections appear first as instrumental and are then repeated by the chorus.[11] Hofmann notes that this music is reminiscent of Bach's works for the Köthen court, composed for Leopold, Prince of Anhalt-Köthen.[4] Gardiner concludes:
There is an extended stretch of thrilling orchestra writing before the choir returns to the ‘Peace upon Israel’ theme, this time within the Allegro pulse, with a final shout of joy from the sopranos on a top B bringing this irresistible Whit Sunday cantata to a glorious conclusion.[6]
Selected recordings
The selection is taken from the listing on the Bach-Cantatas website.[12]
- J. S. Bach: Cantatas BWV 34 & BWV 56 – Wiener Symphoniker. Bach Guild/Artemis Classics 1950.
- J. S. Bach: Cantatas BWV 187 & BWV 34 – Diethard Hellmann, Kantorei & Kammerorchester of Christuskirche Mainz. Cantate 1958.
- Les Grandes Cantates de J. S. Bach Vol. 8 – Heinrich-Schütz-Chor Heilbronn, Pforzheim Chamber Orchestra. Erato1961.
- Die Bach Kantate Vol. 36 – Hänssler1972.
- J. S. Bach: Das Kantatenwerk – Sacred Cantatas Vol. 2 – Wiener Sängerknaben, Chorus Viennensis (Chorus Master: Hans Gillesberger), Concentus Musicus Wien. Teldec1973.
- Bach Cantatas Vol. 3 – Ascension Day, Whitsun, Trinity – Karl Richter, Münchener Bach-Chor, Münchener Bach-Orchester. Archiv Produktion 1975.
- J. S. Bach: Cantatas BWV 11 & BWV 34 – Philip Ledger, King's College Choir Cambridge, English Chamber Orchestra. HMV 1981.
- Bach: Cantatas 34, 50, 147 – Harry Christophers, The Sixteen. Collins Classics 1990.
- J. S. Bach: Whitsun Cantatas – John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists. Archiv Produktion 1999.
- J. S. Bach: Kantaten – Alt.: Karl-Friedrich Beringer, Windsbacher Knabenchor, Deutsche Kammer-Virtuosen Berlin. Rondeau Production 1999.
- Bach Cantatas Vol. 26: Long Melford – Soli Deo Gloria2000.
- Bach Edition Vol. 21 – Cantatas Vol. 12 – Holland Boys Choir, Netherlands Bach Collegium. Brilliant Classics2000.
- J. S. Bach: Complete Cantatas Vol. 21 – Ton Koopman, Amsterdam Baroque Orchestra & Choir. Antoine Marchand 2001.
- J. S. Bach: The Ascension Oratorio and Two Festive Cantatas – Greg Funfgeld, Bach Choir of Bethlehem, The Bach Festival Orchestra. Dorian Recordings 2001.
- Eröffnungskonzert zum Bachfest Leipzig 2005 "Bach und die Zukunft” – Georg Christoph Biller, Thomanerchor, Akademie für Alte Musik Berlin, Matthias Rexroth, Martin Petzold, Matthias Weichert, MDR Figaro 2005
- Thomanerchor Leipzig – Das Kirchenjahr mit Bach, Vol. 7: Pfingsten · Pentecost – Cantatas BWV 34, 74, 172 – Gewandhausorchester Leipzig. Rondeau Production 2007
- J. S. Bach: Kantate BMV 34 "O ewiges Feuer, O Ursprung der Liebe" – Rudolf Lutz, Vokalensemble der Schola Seconda Pratica, Schola Seconda Pratica. Gallus Media 2009.
References
- ^ a b c d e f g h i Dellal, Pamela. "BWV 34 – O ewiges Feuer, o Ursprung der Liebe". Emmanuel Music. Retrieved 20 August 2022.
- ^ a b c Work 00044 at Bach Digital website.
- ^ a b Wolff, Christoph (2001). "The late church cantatas from Leipzig" (PDF). Bach-Cantatas. pp. 21–23. Archived from the original (PDF) on 3 December 2011. Retrieved 2 May 2016.
- ^ a b c d e f g h i j Hofmann, Klaus (2010). "O ewiges Feuer, o Ursprung der Liebe, BWV 34 / O Eternal Fire, O Source of Love" (PDF). Bach-Cantatas. pp. 5–6. Archived from the original (PDF) on 29 June 2012. Retrieved 2 May 2016.
- ^ "Lutheran Church Year / Readings for the Feast of Pentecost (Whitsunday)". Bach-Cantatas. Retrieved 2 May 2016.
- ^ a b c d e f g Gardiner, John Eliot (2006). Johann Sebastian Bach (1685–1750) / Cantatas Nos 34, 59, 68, 74, 172, 173 & 174 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 8 June 2019.
- ISBN 3-476-02127-0
- .
- ^ Dellal, Pamela. "BWV 34a – O ewiges Feuer, o Ursprung der Liebe". Emmanuel Music. Retrieved 20 August 2022.
- ^ a b Bischof, Walter F. "BWV 34 O ewiges Feuer, o Ursprung der Liebe". University of Alberta. Retrieved 2 May 2016.
- ^ a b c d e f g h Mincham, Julian (2010). "Chapter 51 Bwv 34 – The Cantatas of Johann Sebastian Bach". jsbachcantatas. Retrieved 18 August 2022.
- ^ Oron, Aryeh. "Cantata BWV 34 O ewiges Feuer, o Ursprung der Liebe". Bach-Cantatas. Retrieved 2 May 2016.
External links
- O ewiges Feuer, o Ursprung der Liebe, BWV 34: performance by the Netherlands Bach Society (video and background information)
- O ewiges Feuer, o Ursprung der Liebe, BWV 34: Scores at the International Music Score Library Project
- O ewiges Feuer, o Ursprung der Liebe BWV 34; BC A 84 / Sacred cantata (1st Day of Pentecost) Bach Digital