Warum betrübst du dich, mein Herz, BWV 138

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Warum betrübst du dich, mein Herz
BWV 138
Church cantata by J. S. Bach
Thomaskirche in Leipzig, where Bach's cantata Warum betrübst du dich, mein Herz was possibly first performed
Occasion15th Sunday after Trinity
Bible textMatthew 6:23–34
ChoraleWarum betrübst du dich, mein Herz
Movementsseven
VocalSATB soloists and choir
Instrumental
  • 2 oboes d'amore
  • 2 violins
  • viola
  • continuo

Missa in G major
.

History and words

Bach wrote the cantata in his first year in Leipzig for the

sermon on the mount. Different from later chorale cantatas, the words are not based exclusively on the complete chorale, but only on the first three of its fourteen verses, used in three movements, expanded by additional poetry. The unknown poet contrasted the theme of the chorale, trust in God, with the anxious questioning of single voices, stressed by contrast of the metric poetry of the chorale opposed to the free meter of many interspersed recitatives. A turning point from distress to trust is reached close to the end in the only aria of the cantata.[3]

Bach first performed the cantata on 5 September 1723. Bach used the only aria as a base for the Gratias of his

Missa in G major
.

Scoring and structure

The cantata in seven movements is scored for soprano, alto, tenor and bass soloists, a four-part choir singing the chorale exclusively, and a Baroque instrumental ensemble of two oboes d'amore, two violins, viola, and basso continuo.[3]

  1. Chorale and recitative (alto): Warum betrübst du dich, mein Herz
  2. Recitative (bass): Ich bin veracht
  3. Chorale and recitative (soprano, alto): Er kann und will dich lassen nicht
  4. Recitative (tenor): Ach süßer Trost
  5. Aria (bass): Auf Gott steht meine Zuversicht
  6. Recitative (alto): Ei nun! So will ich auch recht sanfte ruhn
  7. Chorale: Weil du mein Gott und Vater bist

Note: the numbering of the movements follows Alfred Dürr. Other authorities do not consider the bass recitative as a separate movement.

Music

Bach followed the idea of the unusual text in a complex way in the two movements contrasting the chorale with recitative: in both, in lines 1 to 3 the strings open, the oboes enter, oboe I playing the chorale theme,[2] oboe II adding lamenting motifs, then the tenor enters singing the chorale line as an arioso, finally the choir sings the choral theme in a four-part setting; this is followed by the recitative of the questioning single voice, alto in the first movement, soprano in the later one, both accompanied by the strings. After the three lines and recitatives, lines 4 and 5 are sung by the choir in the first movement. In the later one lines 4 and 5 are first composed as an imitative choral movement on the chorale theme of line 4 in a five-part setting, the fifth part played by violin I. Then a final secco recitative leads to a repeat of lines 4 and 5, this time similar to the first movement.

The only aria in dancing

6
8 time is dominated by figuration of violin I. The third verse of the chorale ends the cantata in a simple choral setting embedded in orchestral music on an independent theme.[3]

The cantata's unusual structure has been criticized by his biographers

Liebfrauenkirche, Bremen (de
), objects and summarises the cantata:

There is no question that BWV 138 is a highly original, experimental work, one that is simultaneously archaic, especially in the motet-like writing … and modern in Bach's way of grappling with three successive stanzas of a sixteenth-century chorale, in anticipation of the chorale-based cantatas of his second Leipzig cycle. It is a clever device which allows him to pile on the tension between anxiety (the solo recitative interjections) and belief (the choral delivery of the hymn stanzas). The cantata's turning-point occurs midway – a dawning realisation that God will come to the believer’s rescue... with an outspoken declaration of trust in His providential care. The elaborate fantasia in 6
8 for the final chorale is a perfect – and well-planned – counterbalance to the gloom and distress of the opening movements.[4]

Recordings

References

  1. ^ Dellal, Pamela. "BWV 138 – Warum betrübst du dich, mein Herz?". Emmanuel Music. Retrieved 1 September 2022.
  2. ^ a b "Chorale Melodies used in Bach's Vocal Works / Warum betrübst du dich, mein Herz". Bach Cantatas Website. 2006. Retrieved 6 September 2010.
  3. ^
    ISBN 3-423-04080-7
    .
  4. ^ a b Gardiner, John Eliot (2006). Johann Sebastian Bach (1685-1750) / Cantatas Nos 8, 27, 51, 95, 99, 100, 138 & 161 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 7 September 2018.

Sources

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