Cantata BWV 153 - Discussions

Cantata BWV 153
Schau, lieber Gott, wie meine Feind
Discussions

Discussions in the Week of June 29, 2003

Aryeh Oron wrote (July 2, 2003):
Introduction

The chosen work for this week’s discussion (June 29, 2003) is the Solo Cantata for the Sunday after New Year [2^nd Sunday after Christmas Day] ‘Schau, lieber Gott, wie meine Feind’ (Behold, dear God, how my enemies). It might seem strange to define this work as a Solo Cantata, whereas it includes three chorales. These chorales were probably intended for congregational participation when they occur. Nevertheless, the major assets of this cantata are the two splendid arias: for tenor (Mvt. 6) and alto (Mvt. 8). The theme for this Sunday refers to the flight into Egypt described in Matthew 2: 13-15, but this is only briefly mentioned in the recitative for bass (Mvt. 7), while all the other movements deal with the attack on Christians by their enemies, their appeals to God for help and their trust and confidence in Him, which are mentioned in the Epistle for this Sunday in 1 Peter 4: 12. It is thought that Bach wrote the libretto.

Recordings
The details of the recordings of the cantata can be found at the following pages of the Bach Cantatas Website: Cantata BWV 153 - Recordings

As a relatively early work (composed in 1724), Cantata BWV 153 is included in all five recorded cantata cycles: Helmuth Rilling (1978) [2], Nikolaus Harnoncourt (1985) [3], Ton Koopman (1998) [4], Pieter Jan Leusink (1999) [6], and Masaaki Suzuki (2001) [8]. A sixth recording, actually the earliest, is by Hans Grischkat (1950’s, LP only) [1].

Through the page of the Music Examples from this cantata: Cantata BWV 153 - Music Examples you can listen to two complete recording: Harnoncourt [3] (at David Zale Website) and Leusink [6] (at Leo Ditvoorst Website in its new location).

Additional Information
In the page of recordings mentioned above you can also find links to useful complementary information:
The original German text and various translations, three of which were contributed by members of the BCML: English (Francis Browne), French (Jean-Pierre Grivois), and Hebrew (Aryeh Oron).
There are also links to the Score:
Vocal & Piano version: Score Vocal & Piano
BGA Edition (newly added): Score BGA [N/A]
Links to commentaries: in English by Simon Crouch (Listener’s Guide), and in Spanish by Julio Sánchez Reyes (CantatasDeBach).

I hope to see many of you participating in the discussion.

Neil Halliday wrote (July 3, 2003):
The wonderful movement of this cantata, for me, is the tenor aria "Storm now, storm, you trouble-tempest" (Mvt. 6).

In the key of A minor, it is built around an ostinato bass, which, while this is separated by other material, occurs five times throughout the movement. The chordal sequence of the music above this 'ground' figure is magnificent, and, combined with its dotted rhythm strucure, endows the movement with a mood of determination, defiance, and triumph.

Of the two examples available at the Bach-Cantatas web-site - Harnoncourt [3] and Leusink [6] - the latter is preferable; he maintains the power more constantly throughout the movement, and Equiluz, with Harnoncourt, seems to employ the 'barking' syndrome more than is necessary; Schoch (with Leusink), gives a fine performance.

Thomas Braatz wrote (July 7, 2003):
BWV 153 - Provenance

See: Cantata BWV 153 - Provenance

BWV 153 - Commentary (Dürr, Chafe, Little & Jenne)

See: Cantata BWV 153 - Commentary

Thomas Braatz wrote (July 8, 2003):
BWV 153 - The Recordings:

This week I listened to the following recordings of this cantata:

Rilling (1978) [2]; Harnoncourt (1985) [3]; Koopman (1998) [4]; Leusink (1999) [6]; Suzuki (2001) [8]

The Total Timings (from slowest to fastest):

Rilling (15:11) [2]; Harnoncourt (15:06) [3]; Leusink (14:10) [6]; Koopman (13:03) [4]; Suzuki (12:45) [8]

[Anyone who has been following these reports week after week should have become aware of the fact that the general tendency toward faster performances in the HIP recordings of recent years is quite well established and not simply an imagined characteristic noted by ‘uninformed’ listeners. Since I have already shared some theories as to why this phenomenon is taking place, I would welcome other thoughts and opinions that might help to explain this obvious change in performance practice. What will these tempi be like in 10 or 20 years from now? Will these performances/interpretations eventually run into threshold separating barely perceptible music from almost complete chaos?]

The Chorales (Mvt. 1, Mvt. 5, and Mvt. 9):

For the overall best choir sound, I would choose Suzuki [8] over Koopman [4]. Both choirs achieve an excellent blending and balance of voices that surpass the choir sound heard in the Harnoncourt [3] and Rilling [2] recordings. Leusink [6], as usual, suffers greatly from the bad quality of certain voices that stand out over the group and disturb the unified sound that should be present in such choral mvts. Rilling’s choir, due to the overuse of vibratos, is unable to match the more perfect, harmonious sound of either Suzuki or Koopman, however Rilling’s choir sings with stronger conviction than any of the other choirs. Koopman opts for a much more reticent [than Suzuki] choir sound which borders on sotto voce singing: it is pleasant to listen to, but lacks the firm stature that a chorale representing congregational singing ought to have.

From the standpoint of interpretation, most of the HIP renditions (Suzuki [8] excepted, for the most part) tend not to take the texts very seriously, but rather treat the chorales as ‘something to play around with’ as they hope to draw attention to unimportant details through over-accentuation, and fast, dance-like tempi, while simultaneously de-emphasizing the unaccented endings/syllables of each phrase as if these did not really matter much at all. There is some deliberate ‘poking’ at each quarter-note syllable which destroys completely the overall arch of the phrase and the flowing cantabile of the chorale melody. Wonderful passing-notes are sometimes imperceptible to the human ear. Even Suzuki [8] gets carried away by interpretations that lead away from the actual chorale text, as in the final chorale where he (and Leusink [6], and even Koopman [4]) choose to treat this as a fast dance leading to heaven. Here, as in other instances of a similar type in other Bach cantatas, the aspect of ‘Joy’ is nonetheless rather serious as the congregation prays and exhorts God and Christ to help the individualto carry his/her cross cheerfully (without complaining) and to provide assistance in overcoming potential sin and shame by controlling human flesh and blood on the path of life here on earth as well as in the moment of death. Listeners will need to ask themselves whether a light-footed dance mvt. is appropriate in this situation. For me it is not. A conductor can choose from a great number of ways available to him in his interpretation. He may have all the freedom in the world to interpret as he pleases this music. The question nevertheless remains: “Is he really doing justice to the text and the musical setting of the chorale in a Bach cantata, if his interpretation is more intent on being different for the sake of being different, or if it is based on only a partial, incomplete understanding of the text, or if the text is being treated as being only secondary to the music itself, or if the setting within the church service for which this composition was intended is considered to be really quite irrelevant?”

The tenor aria, Mvt. 6:

The usually very excellent singer, Kurt Equiluz [Harnoncourt] [3], is ill-suited for singing Bach arias of this type, arias which call for many interval leaps that need to be delivered forcefully. His voice, which here resorts primarily to barking out the notes, finds only momentary relief in the section after the fermata on “Ruh” (ms. 24 ff.) [It is only Equiluz’ interpretation to take this section as ‘piano’ which is not marked this way in the original part. This is an intelligent move on Equiluz’ part since otherwise his singing of this aria would have suffered even more.] It is quite evident, that Equiluz is, for the most part, forcing his voice to perform beyond its limits (evidence of some demi-voix weakness.) You would never hear Peter Schreier running into this type of difficulty because his voice is much stronger. Adalbert Kraus [Rilling] [2] finds these interval leaps difficult as well, but listen to how precisely he executes the coloraturas consisting of many 32nd-notes. There are few singers, using a full voice, who can do this as well. Another excellent rendition is given by Prégardien [Koopman] [4], which, although less forceful (generally Koopman’s performance lacks the sharp edges that this aria demands), is quite successful vocally and is a definite improvement musically over Equiluz. Although quite good, Gerd Türk’s [Suzuki] performance [8] is vocally not quite as good as Prègardien’s. Türk sings the coloraturas with a vibrato that smears the accuracy of the individual notes. Knut Schoch’s [Leusink] [6] singing is somewhat more clear and accurate, but the overall expression is rather flat. In general, the HIP versions lack the bite and intensity of Rilling’s version with Kraus [2]. The HIP versions feature mainly demi voix that are unable to provide the necessary stamina that would translate into convincing versions of this aria.

The alto aria (Mvt. 8):

Although Ann Murray [Rilling] [2] has a full voice that is able to sing audibly with the necessary strength the low notes in this aria (all the other altos in this group have quite obvious deficiencies in this regard,) her wide, very operatic vibrato detracts considerably from what might have been a very good performance of this aria. Stefan Rampf [Harnoncourt] [3], a true boy alto and not a counter tenor, gives the best performance of this aria, assisted by Harnoncourt who has discovered the appropriately slow tempo of the minuet. This allows this mvt. to be presented in such as fashion that the listener does not ask, as in the case of the remaining HIP renditions: “What was that? Is the mvt. over already?” For various other reasons, the counter tenors, Landauer, Buwalda, and Chance, fail to fulfill what might reasonably expected in an aria of this type.

Mvts. for bass, Mvt. 3 & Mvt. 7:

My preferences from the top down: Heldwein [Rilling] [2]; Mertens [Koopman] [4]; Kooy [Suzuki] [8]; Hampson [Harnoncourt] [3]; and Ramselaar [Leusink] [6]

Aryeh Oron wrote (July 8, 2003)
BWV 153 - The Recitative (Mvt. 4) & Aria for Tenor (Mvt. 6) - Background

After hearing this cantata many times, I see the recitative & aria for tenor as the centrepieces of this cantata. Although a chorale is sandwiched quite artificiality between them, I find that there is sense of continuity both in the text and the music of these two movements. The singer has to use all this dramatic powers to convey convincingly the message of these movements. He has to show despair, hope, distress, consolation, awe, courage, and determination. With the modest accompaniment Bach supplies him, almost all the burden of bringing these movements out successfully lies on the singer’s shoulders.

Here are what commentaries wrote about the recitative & aria for tenor in some of my favourite accompanying books:

Alec Robertson (1972)
Recitative: The soul is, however, not long consoled, but breaks out in anguish its enemies who shot at it with bows and arrows. An arioso follows ‘ I shall die at their hands’. ‘Die’ is set to tortured vocal intervals and dissonant harmonies in the continuo. The movement ends with another and even more despairing arioso ‘Help, Helper, help, save my soul’, in which the voice rises an octave to a high-pitched phrase at ‘soul’.
Aria: The mood changes again to defiance. The score of the aria is black with semi- and demi-semiquavers in both voice and instrumental parts.

W. Murray Young (1989)
Recitative: In secco, as for the alto recitative, he listens to God’s consolation, but immediately thereafter relapses into despair, saying that his enemies have bent their bows to loose their arrows at him. His life is in danger; the whole world is for him a torture-pit. His only help can come from God, as he pleads in arioso: ‘Hilf, Helfer, hilf! Errette meine Seele!’ (Help, Helper, help! Rescue my soul!)?
Aria: With all the defiance he can muster, he invites the evil elements to descend on him, if only he knows that God is his protector and his Saviour. In amazing florid fashion, Bach combines the tumult and the wave motifs to paint a storm scene, in which the tenor invites the waves of misfortune to break over him. The flooding waters and inundating fires present, in allegory, the evils which beset him.

Stephen A. Crist (1999)
Recitative: In the tenor recitative it becomes clear that God's words of comfort have not yet fully penetrated the believer's heart. After a perfunctory acknowledgement of God's comfort, the desperate and plaintive tone of the earlier movements returns. The present recitative is far more substantial than the first: it is over twice as long; it contains several notable instances of word-painting (e.g. chromaticism in bar 3 for 'Leiden' ('suffering') and in bar 13 for 'sterben' ('die'), and a melismatic flourish on 'Bogen' ('bows') in bar 9 to illustrate the trajectory of the arrows aimed at him); and it concludes with a brief arioso passage. "
Aria: After a chorale that reiterates God's promise to accompany his people through their trials, the point of greatest dramatic intensity is reached: a tenor aria that employs the imagery of a raging storm to portray affliction, misfortune, and spiritual warfare. The tempest is represented by rapid scale figures in demi-semiquavers, dotted rhythms, and disjunct motion (including octave leaps in the continuo). The surging of the flood is brilliantly depicted by a whirling sequential figure on 'wallt' ('rush'), sung and played in unison in all five parts (bars9 and 13). A more sedate feeling temporarily intervenes, beginning on the word 'Ruh' ('peace', bar 23), which, characteristically, is sustained through a full bar and beyond. The texture thins to a duet (bars 24-5), then a trio (bars 26-9), before returning to the full-blooded intensity of the beginning.

Recordings

Last week I have been listening to 6 complete recordings of Cantata BWV 153. Here they are:

[1] Karl Markus w/ Hans Grischkat (1950’s?)
[2] Adalbert Kraus w/ Helmuth Rilling (1978)
[3] Kurt Equiluz w/ Nikolaus Harnoncourt (1985)
[4] Christoph Prégardien w/ Ton Koopman (1998)
[6] Knut Schoch w/ Pieter Jan Leusink (1999)
[8] Gerd Türk w/ Masaaki Suzuki (2001)

Here are my personal preferences:
Kraus, Equiluz = Prégardien, Markus, [gap], Türk, [big gap], Schoch

Although Equiluz and Prégardien are both capable singers, who have shown their sense for drama many times in previously discussed cantatas, my final choice goes with Kraus. His approach could be described as extrovert and liberated, where theirs is more introvert and restrained. Helped by energetic accompaniment, he manages to bring out the many facets (sometimes even contradictory) embedded in these two movements with exemplary control and admirable balance. Türk sounds relatively weak in relation to the above three masters. Markus is not bad, with interesting interpretation, but somewhat obscure voice. Schoch has nothing to offer. Just listen to the recitative and see how he is getting lost along the way, giving you nothing but the plain notes.

Footnote: In a similar aria for tenor ‘Die schäumenden Wellen von Belials Bächen’ (Mvt. 3) from Cantata BWV 81 ‘Jesus schläft, was soll ich hoffen?’, discussed in the BCML about 40 months ago (!), my favourite rendition was Peter Schreier with Karl Richter. This kind of aria was tailored for this couple. Alas, both have not recorded Cantata BWV 153.

Conclusion

Movements to take away: the recitative & aria for tenor with Adalbert Kraus.

Peter Bloemendaal wrote (July 16, 2003):
BWV 153, an inspiring discovery

The theme of this cantata is not a pleasant one to start the new year with. We would expect an atmosphere of good wishes and upbeat expectations in order to make a new beginning on a high note. Instead we are confronted with an epistle reading about the sufferings of a Christian and the glad tidings of the Gospel are about King Herod’s intention to kill baby Jesus, the Holy Family’s hasty flight to Egypt and the tragic massacre of the Innocents, the first martyrs “avant la lettre”. Today, in our “free” Western welfare state, most of us have not experienced war and hardships in our lifetimes. Many of us do not immediately relate to this message anymore. And even those who have, in former Yugoslavia, Eastern Europe, Israel and the USA, do not consider war as the work of Satan, as our ancestors once did. Nor do they realize and recognize the concept of sin as transgressing the laws of God. Even many Christians today are having difficulty in believing what every Christian in Bach’s time knew: we are sinful people and our trespasses will lead to perdition but for Christ’s redeeming sacrifice. So this is heavy stuff at the beginning of a new year.

The Church named the day “Sunday after the Circumcision of Christ”. In our era New Year’s Day is exactly the eighth day after the birth of Jesus, so it would be the actual day of his circumcision. Yet, this festive ceremony is not even mentioned in the cantata. Does any one know why the circumcision was hushed over in this cantata as well as in BWV 58 - “Ach Gott, wie manches Herzeleid”, also composed for this particular Sunday? One could argue that circumcision is a typically Jewish, non-Christian feast, but then why was the first Sunday in the new year given that name?

Anyhow, in January 1724, it was only the second day of the year. The day before the choir had sung BWV 190 – “Singet dem Herrn ein neues Lied”, and in the preceding week three more cantatas, a Sanctus and a Magnificat. Therefore Bach wanted to give his choristers some physical compensation at the end of an exhausting Christmas season. So he did not compose an extensive chorus to begin the cantata with but, in Dürr’s words, a “simple chorale for four parts”. To support their tired voices, he had the first and second violins and the viola play colla parte with respectively the sopranos, the altos and the tenors.

However, the contents were not relaxing at all. Bach was quite relentless towards himself, shifting tonalities and creating wrenching chords in contrapuntal polyphony. The shifting modes and the harmonies of this anything but simple chorale on top of the frightening text made it quite audible to every one in the church that they were all in dire straits. The final words “leicht in Unglück stürtzen” are so cleverly composed that you almost physically feel that you are loosing balance and poise on the brink of the abyss, only to find your equilibrium again when turning to God for help. This is the alto’s recitative, begging God for support lions and dragons, symbolic for Satan, are on the verge of doing us all in completely.

This outcry to Heaven is answered by the arioso of the bass soloist with the words of the prophet Isaiah. Beautiful, reassuring words, “Fear not, for I am with you!” They are supported by an expressive basso continuo and strengthened by repeating “Ich helfe dich” in the bass line. Who would not love to hear those comforting words in days of personal crisis, especially when they are said by the person whom you love and trust more than anyone on earth or in heaven.

Here ends the first part of the cantata.

Then doubt strikes again. It is the voice of Satan, sowing the seeds of despair. Tranquillity and comfort make place for mortal fear and distress. You hear the arrows leaving the bow, the fear for perdition on “verderben” and the even deeper death agony on “sterben”. A renewed cry to the divine helper concludes the tenor recitative.

The following chorale assures us again that in spite of the opposition of all the devils God will redeem his promise. The melody in the sopranos Bach would use again several times in SMP (BWV 244). Again the sopranos, altos and tenors are being supported by the violins and the violas.

The tenor aria (Mvt. 6), which concludes part two, is a very remarkable movement. The violent violins symbolize the charging enemy. As usual at the time, the tempests of life are accompanied by and reflected in calamities in nature: disastrous weather, floods and wretched fires. The tenor ends with God’s comforting pledge : “I am your shelter and saviour.” But then Bach does something very strange. Instead of changing the mood at this point, the atmosphere remains very agitated. The words of comfort are in shrill contrast with the musical message. There is no sublimation in the accompaniment, no relief, no return to calm confidence. In spite of God’s pledge, there is no inner peace. “La lutte continue.” It is as if Bach is saying that Satan will never give up. There will always be moments of doubt in spite of God’s promises. An extraordinary conclusion of part two of this interesting cantata.

The beginning of the last part, a recitative for bass, is a straightforward incitement to remain patient in times of suffering. For God will lift you up when the time is ripe for it. Look at Jesus, his life was already in peril as a baby. Hear what Bach does on “Flüchtling”. I really would hope that every one who feels pity for Jesus because of Herod’s persecution, will draw parallels to our present-day refugee problem. I know that Bach did not have any 21^st century problems in mind, but still …And once more the bass confirms “andante” that Christ will welcome in Heaven all those who suffer with him here on earth. But in contrawith the conclusion of the tenor aria (Mvt. 6), here there is comfort and faith.

The soothing voice of the bass prepares us for the hermeneutic alto aria, an elegant, melodious minuet. The opening ritornello of the strings is taken over by the singer and after the first sentence there follows a da capo. In this way Bach makes sure that the comforting promise of heavenly bliss after worldly misery will stick to the minds of the congregation.

Then a new musical theme is introduced on more or less the same thought, be it in different words. Dürr calls it a swinging end to the alto’s contribution. Finally the strings pick up the interrupted repetition of the first theme again and lead us to the finish of this lovely aria.

The final chorale in three stanzas is beautiful in its simplicity. Like in the previous chorales, the voices are doubled by the strings. The first stanza is a very personal resolution to bear any cross in my lifespan, praying God for strength, knowing it will be for my own good. The second verse elaborates on this idea and asks God to keep me from sin and shame. The final verse is a plea to God to keep my heart pure and it closes with my last wish to be with my Saviour. What more can I ask?

It is fascinating that after recording the choral parts of all these cantatas, most of the complete cantatas are new to me, when listening to the CD’s. This one I remembered for the chorale movements. I was not very attracted at first hearing, but –as so often with Bach - the more and deeper I got into it, the more I was impressed. The most interesting aspect I found in the end of the tenor aria (Mvt. 6), where Bach confesses that real faith is always on trial. We believe God on his word, that He is our lifesaver. But it is not always easy to get a grip, when things get really tough in your life.

Francine Renee Hall wrote (July 16, 2003):
[To Peter Bloemendaal] What can I say but that your cantata write-up is an absolute joy to read! You combine scholarship with humanity, a personal touch that really moves everyone, even atheists like me! (lol)

thanks,

Discussions in the Week of January 22, 2006

John Pike wrote (January 22, 2006):
BWV 153 "Schau, lieber Gott, wie meine Feind" : Introduction

As we proceed with our chronological survey of Bach's cantatas, in order of composition, the cantata for discussion this week (beginning 22nd January 2006) is Cantata BWV 153 "Schau, lieber Gott, wie meine Feind"
("Behold, dear God, how my enemies" (by Richard Stokes))

Basic Information

Event in the Lutheran church calendar: Solo Cantata for the Sunday after New Year [2nd Sunday after Christmas Day]

Readings: Readings: Epistle: 1 Peter 4: 12-19; Gospel: Matthew 2: 13-23
See: http://www.bach-cantatas.com/Read/Sunday-After-New-Year.htm

Composed: Leipzig, 1724

First Performed: January 2, 1724 - Leipzig

Text: David Denicke (Mvt. 1); Isaiah 41: 10 (Mvt. 3); Paul Gerhardt (Mvt. 5); Martin Moller (Mvt. 9): Anon (Mvts. 2, 4, 6, 8)

See: http://www.bach-cantatas.com/Lib/Denicke.htm
http://www.bach-cantatas.com/Lib/Gerhardt.htm
http://www.bach-cantatas.com/Lib/Moller.htm

Short Commentary

The notes below are taken from sleeve notes from Suzuki's recording (by Klaus Hofmann, 2001) [8]:

This is one of Bach's more modest Sunday productions: he did without a soprano, the chorus is given only simple chorale settings, and the orchestra contains no wind instruments, consisting of just strings and organ. The reasons for this lie in the great demands placed upon singers and instrumentalists in the preceding and following days: at Christmas 1723, Bach had performed the Magnificat (BWV 243a), and the Sanctus in D major (BWV 238) as well as three demanding cantatas - "Christen, aetzet diesen Tag" (BWV 63), "Dazu ist erschienen der Sohn Gottes" (BWV 40), and "Sehet, welch eine Liebe hat uns der Vater erzeiget" (BWV 64); on New Year's Day there was "Singet dem Herrn ein Neues Lied" (BWV 190); and then the first Sunday of the year fell on the day after New Year's Day. This obviously tested the capabilities of his singers and orchestral musicians to the limit! Bach, however, had anticipated the situation in plenty of time, and planned a less strenuous work.

The order of the cantata is: 1. Chorale; 2. Recitative (Alto); 3. Aria (Bass); 4. Recitative (tenor); 5. Chorale; 6. Aria (Tenor); 7. Recitative (Bass); 8. Aria (Alto); 9. Chorale

Useful information

Link to texts, translations, details of scoring, references, provenance, commentary, vocal score, music examples, and list of known recordings: http://www.bach-cantatas.com/BWV153.htm

Link to previous discussions: http://www.bach-cantatas.com/BWV153-D.htm

Chorales used in this cantata

Bach used three chorale melodies in this cantata:

1. Ach Gott, vom Himmel sieh darein, with the alternative text "Schau, lieber Gott, wie meine Feind". See:
CT: http://www.bach-cantatas.com/Texts/Chorale027-Eng3.htm
CM: http://www.bach-cantatas.com/CM/Ach-Gott-vom-Himmel.htm

2. Herr Jesu Christ, meins Lebens Licht II with the alternative text, Ach Gott, wie manches Herzeleid. See:
CT: http://www.bach-cantatas.com/Texts/Chorale065-Eng3.htm
CM: http://www.bach-cantatas.com/CM/Herr-Jesu-Christ-meins-Lebens-Licht.htm

3. Befiehl du deine Wege (I), with the text of Paul Gerhardt (1653). See:
CT: http://www.bach-cantatas.com/Texts/Chorale066-Eng3.htm
CM: http://www.bach-cantatas.com/CM/Befiehl-du-deine-Wege.htm

Music

Streamed over the internet, it is possible to hear Leusink's recording of this cantata [6]: http://www.bach-cantatas.com/Mus/BWV153-Mus.htm

You can listen to short examples from other recordings through the links to Amazon provided at the Recordings page.

I look forward to reading your comments about this cantata and about the available recordings.

Eric Bergerud wrote (January 22, 2006):
ABS and chorales

Just came back from a concert by the American Bach Soloists in Berkeley. Featured cantatas BWV 97, BWV 51, BWV 9 and BWV 70. This is a fine group and it's always nice to hear cantatas live, no easy task in the Bay Area. Anyway, conductor and music directory Jeffrey Thomas had the audiance (500 maybe) sing along with the concluding chorale in each cantata. I realize that the weight of music scholarship argues that Bach did not employ this practice (although I did read some forgotten liner notes suggesting that it was possible). Regardless the audiance seemed to enjoy it and it actually sounded very good.

Peter Smaill wrote (January 22, 2006):
ABS and chorales, BWV 153 "Schau,lGott,wie mein Feind"

The vexed question just raised , "Did the congregation ever sing along with the Chorales in the concerted music at St Thomas , Leipzig?" coincided neatly with the much-overshadowed BWV 153, produced for the Sunday after the Circumcision, ie the first Sunday of the New Year, 2^nd January 1724.

Robertson, says "the plainly harmonised chorales were evidently planned for congregational participation." And indeed, Aryeh Oron took the same line in his Introduction to the prior series of discussions on BCW. By contrast, though
not necessarily denying this interpretation, the emphasis in Dürr is on the need to rest the choir after the rigours of BWV 63, BWV 40, BWV 64 and BWV 190.

En passant the latter BWV 190 is even more ignored than BWV 153- Harnoncourt [3] and Leusink [6] do not as far as I know bother with it due to the reconstruction of the first two movements even though it contains in the wholly authentic sections a duet of superlative quality, BWV 190/5, "Jesus soll mein alles sein", which in the hands of John Eliot Gardiner's soloists Gilchrist/Harvey achieves an intensely mystical quality despite the simplicity of the echoing vocal lines.

BWV 153's vocal activity is wholly different- the arias (except BWV 153/8) and recitatives are angular and dramatic, especially the tenor piece, BWV 153/6 ((Mvt. 6)), "Stuermt Nur". in this nach uses vigorous writing in octaves , a technique also to be found in the following cantata, BWV 65, "Sie Werden aus saba alle kommen".

The shifting direction of the theses, moving from angst to consolation and back again, leads Whittaker to point out (a) that he thinks the librettist might be Bach himself , and (b) it is "indifferently designed; there is no clear progression from one mood to another; it sways back and forth wothout definite aim" Rarely does Whittaker come so close to indentifying weakness of construction!

Back to the Chorales , "Plainly harmonised "- well, are they all? The setting of the "Passion Chorale" BWV 153/5, v5 of "Befiehl du deine Wege" to the associated Hassler tune is to my ears not at all straightforward and with unusual key-shifts ( can anyone find it in Reimenschneider?).

The opening chorale BWV 153/1, otherwise "Ach Gott, vom Himmel sieh' darein" raises the problem discussed a propos BWV 50 - how does the choir, let alone the congregation , commence a work with no orchestral introduction to give the opening pitch and harmony? The answer may be that an organ prelude preceded.

Not only does this chorale set in (? E minor- key signatue one sharp) actually start and end in E major, resolving into A minor and B major en route, but ,as Reimenschneider points out , the tenor and alto voices audaciously cross over in the sixth and seventh full measures i.e. on the words "nicht halt,....So kann" . Would Bach really have wanted to entrust the subleties of his harmonisations to the New Year congregation?

Douglas Cowling wrote (January 22, 2006):
Congregational Singalongs

Peter Smaill wrote:
< The vexed question just raised , "Did the congregation ever sing along with the Chorales in the concerted music at St Thomas , Leipzig?" coincided neatly with the much-overshadowed BWV 153, produced for the Sunday after the Circumcision, ie the first Sunday of the New Year, 2^nd January 1724.
Not only does this chorale set in (? E minor- key signatue one sharp) actually start and end in E major, resolving into A minor and B major en route, but, as Reimenschneider points out , the tenor and alto voices audaciously cross over in the sixth and seventh full measures i.e. on the words "nicht halt,....So kann" . Would Bach really have wanted to entrust the subleties of his harmonisations to the New Year congregation? >
The Romantic myth that the chorales were sung by the congregation continues to be propagated even when the complexity of the harmonization and the high keys should convince all that this is music for choir alone. I've heard many Bach chorales sung by congregations and full organ and frankly they become churning masses of sound which obliterate Bach's inner voicings.

Particularly awful are performances of the St. Matthew Passion (BWV 244) which invite the audience to sing along on the "Passion Chorales" ('O Haupt Voll Blut"). The result destroys all of Bach's subtle harmonic symbolism. I've complained bitterly for years that congregational hymnbooks invariably choose Bach harmonizations. The transposition of the final chorus of "Wachet Auf" down from E flat to C major, or the final chorus of "Ein feste Burg" from D major to B flat are acts of desecration.

Even the relatively simple chorales in BWV 153 are, as Peter so rightly points out, full of subtle voice-crossings and harmonic effects which would be destroyed by a congregation singing at three octaves. And how could worshippers who couldn't afford to buy a libretto know the words of the cantata?

Bach's congregations had plenty of opportunity to sing chorales in their familiar place and familiar manner. I always suggest that people listen to Paul McCreesh's reconstruction of the Epiphany Mass to hear the three different styles of chorale-singing:

1) unaccompanied in unison at any octave
2) in hamony with organ playing simple harmonization (i.e. Schein's Cantoral)
3) unison with the organ improvising interludes between the lines)

Amazon link: Amazon.co.uk
Review: http://www.bsherman.org/mccreesh.html

Why must we propagate this singalong myth? Does Bach become more populist because "everyone could sing along"?

Peter Smaill wrote (January 22, 2006):
Congregational Singalongs - BWV 153

Do simple harmonisations imply congregational singing? It is possible to contend that those of the apocryphal St Luke Passion BWV 246 Anh II, 30 are evidence of just such a connection and were intended to have block harmonies accordingly.

At the risk of arguing against myself and Doug Cowling, the final Chorale, BWV 153/9, is indeed simply harmonised, that old favourite,"Ach Gott, wie manches Herzeleid". Boyd points out that it is the only example in all of the Cantatas of three verses of the Chorale being set! Maybe that implies that all joined in?

But here, the complexity is in the syncopated, dance like rhythms; the congregation would have struggled with that aspect of the setting, so the inference that this Cantata ended with a congregational singalong must still be, on balance, resisted, even in this case which has been especially identified in the past as a prime candidate.

Peter Smaill wrote (January 22, 2006):
This third posting would be an imposition save that it is almost entirely the words of Eric Chafe ( and just a small extract) on the subject of the "plainly harmonised" Chorales of BWV 153!

BWV 153/1

"Bach's one-sharp key signature, indicates his awareness of a problem. He might have perceived the disparity between the B Hypophrygian mode of the melody and the fact that its sevenfold alternation of phrases ending on b' and a' invited interpretation in terms of A minor. His setting, which is considerably more complex and subtle than Kirnberger's, reflects the alternating phrase endings by alternating the pitches F sharp and F phrase by phrase......"

BWV 153/5

"Bach's setting, sung to the Phyrgian melody "Herzlich tut mich verlangen", appears in the "natural" instead of the one-sharp key signature (the first key signature shift of the work)......the chorale begins in the flat regof the recitative ending but moves sharpward....The flat-sharp motion of both the Stollen and Abgesang mirrors the overall sense of the chorale verse, which begins with the devil's opposition to the faithful and ends with an affirmation of God's help in leading things to His "Zweck und Zweil"....at the last moment Bach leads the leads the lower parts upward to a plagal a -E cadence instead [of Cmajor]....

BWV 153/9

"The four phrases of the final chorale strengthen the C by means of cadences on D (half close, G,G and C. Its text....summarize the progression from acceptance of worldly persecution (v.16) to readiness for death (v.17) and the anticipation of eternity (v.18), ending with the believer's cry for longing to be with God ..."

In his extended exposition Chafe ("Analyzing Bach's Cantatas" pp118-125) establishes that these settings are in fact part of a premeditated complex tonal progression from modal settings with quirky harmonies, to the dance-like concluding aria and Chorale. Neither plain nor congregational!

Thomas Braatz wrote (January 22, 2006):
Douglas Cowling wrote:
>>The Romantic myth that the chorales were sung by the congregation continues to be propagated even when the complexity of the harmonization and the high keys should convince all that this is music for choir alone.<<
I must concur whole-heartedly with Doug Cowling's assessment of this issue. Anyone truly interested in this subject as it pertains to the practices that Bach employed in Leipzig, where most of his cantatas, Passions, etc. were performed, would be well advised to read the article on Congregational Singing from the MGG1 found translated into English at: http://www.bach-cantatas.com/Articles/Congregational-Singing.htm

In the introduction to this article, in which I summarize the main issues, I pointed out:

"Blankenburg has also raised the question, as Doug Cowling recently observed, regarding the high range of numerous chorale melodies (cantus firmus) in Bach's settings which would make it very difficult, if not impossible, for the congregation to sing along. Also to be considered is the growing lack of enthusiasm for congregational singing which took place during Bach's tenure in Leipzig and the subsequent decades as a result of the attitudes that grew out of the Age of Enlightenment."

Subsequently, in working with the Bach chorales more intensively, I have determined that almost all of the members of Bach's main congregations (St. Thomad & St. Nicholas church, where the cantatas, Passions, etc. were generally performed), would have had considerable difficulty singing these Bach-chorale harmonizations, even simply the melody line. If they had anything at all in hand (there were no bouncing dots on a screen to direct the congregation to sing with the music), it would be either the printed libretti, if they were lucky enough to have or afford one, or a hymnal which they would have to bring with them to church. Most of these hymnals in use at the time when Bach performed his sacred music were devoid of even the basic melody line despite the fact that new hymnals were being printed for the Leipzig congregations every few years or so. The only Leipzig hymnal with most, but not all, of the melodies and even some 4-pt. settings was printed under the editorship of Vopelius in 1682 and it was huge and costly. Bach would have been lucky to have a copy of it and probably did because he had a rather large library where such a hymnal would have been important to him as a director of music of the main Leipzig churches.

Bach, as indicated in the article above, often used what might be considered 'antiquated' versions of chorale melodies with the older, much more interesting rhythms and changes in time signatures/meters that would occur somewhere in the middle of the chorale melody. How would a congregation be warned in advance that they would need to 'rock the boat' by changing suddenly from a 4/4 to a 3/2 meter and then back to 4/4 again? Did they have rehearsals with the congregation before the service? Did Bach have the choir sing the chorale a few times during the service and then signal to the congregation to join in? From what I have been learning about the Bach chorale melodies which he used, Bach could even change the notes of the melody (not just passing notes, but different intervals being employed) from one year to the next, not because he had shifted from Weimar (a different hymnal and chorale-melody singing tradition being used there) to Leipzig, but even within the Leipzig period itself. This seems to indicate that the choir and/or soloists were expected to perform the chorales with these melody and meter changes, changes which cannot be expected to be sung correctly by congregations who had become accustomed to other variants of the chorale melodies which they tended not to sing very enthusiastically.

With information such as this in mind, it will prove difficult any individual reasonably to claim that such a tradition of congregations singing along with the chorales in Bach's sacred music actually did exist at any point during Bach's tenure in Leipzig.

Douglas Cowling wrote (January 23, 2006):
Peter Smaill wrote:
< But here, the complexity is in the syncopated, dance like rhythms; the congregation would have struggled with that aspect of the setting, so the inference that this Cantata ended with a congregational singalong must still be, on balance, resisted, even in this case which has been especially identified in the past as a prime candidate. >
On the other hand, the pre-17th century versions of many congregational chorales (that is, pre-Praetorius, Schein and Bach) show a great deal of complex isorhythm which corresponds to the rhythmic flexibility in secular and folk music of the 16th century. The famous example of course is the "Passion Chorale". Hassler's setting of the secular song is full of duplets and triplets. When Bach harmonizes it, the rhythm is regularized.

In the 1980's, several congregational hymnbooks made an attempt to bypass the 18^th century settings, of which Bach's are the crown, and return to the "original" rhythms of the chorales. The "Lutheran Book of Worship" (1987) offered some wonderful settings including Philipp Nicholai's bouncy "Wie Schön Leuchtet" (Hymn #138). The Episcopalian "Hymnbook" (1982) presented two versions of "Ein Feste Burg" (#687 & 688), one in 18^th century regularized style and Luther's original melody in Hassler's jazzy setting.

Although some Lutheran traditions have retained the older isorhythmic versions, church musicians, labouring under a "Bach is Best" mindset, have been vociferously critical of the original forms of the chorales. Anglicans in particular continue to be very sniffy about any early settings. They would rather muck up a Bach harmonization than use a more "primitive" version.

Alas, the Romantic myth of Bach thundering out cantata chorales on the organ with thousands of people belting out his harmonies dies hard.

Scott Sperling wrote (January 23, 2006):
Text in Cantata 153

The readings for the Sunday for which Cantata BWV 153 was composed are Matthew 2: 13-23 and 1 Peter 4: 12-19. The passage in Matthew deals with the trials that the human family of Jesus experienced soon after His birth. Herod, seeking to kill the Messiah, put out a decree to murder all children in Bethlehem under two years of age.
Joseph was warned of this in a dream, and fled with his family to Egypt.

The passage in I Peter deals more generally with the trials and suffering that Christians experience. It begins: "Beloved, think it not strange concerning the fiery trial which is to try you, as though some strange thing happened to you."

The text for CantatBWV 153 relates directly to the Readings. Cantata BWV 153 is about the suffering Christian, and his struggles in faith during his time of trouble.

Though some may depict the Christian life as a life of ease, a trouble-less existence, this is not the Biblical view of the Christian life. As we see in the reading from I Peter, "fiery trials" for the Christian are not to be viewed as some "strange thing", rather, "fiery trials" are to be expected. Jesus Himself said directly (speaking to His disciples): "In the world you shall have tribulation" (John 17:33). Indeed, the testimony of the Bible is not that the Christian life will be free from trouble; rather, it is that God will be with us through our troubles.

This is the textual theme of Cantata 153. It begins with a Chorale depicting a Christian praying to God in the midst of his trouble: "Behold, dear God, how my enemies... easily overpower me." Striking to me, is that Bach ends this Chorale with an unresolved chord. It is as if Bach was saying that this prayer did not bring the requested peace to the supplicant.

The prayer continues in the Alto Recitative (Mvt 2), but this time in a more desperate tone: "My dearest God, ah, be merciful! Ah, help, help poor me!"

The prayer is answered, in the Bass Aria (Mvt 3), by the words of God Himself: "Fear thou not, for I am with thee. Be not dismayed, for I am thy God..." The text for this Aria is taken directly from the words of God in the Bible, specifically Isaiah 41:10.

Significantly, in the music to the Bass Aria, Bach emphasizes the word "I" throughout: "Fear thou not, I, I am with you..." and "Be not dismayed, I, I am your God." In doing so, Bach encourages the listener to meditate on the character of God, on who God is. "Fear thou not, it is I who am with you": it is I, the God of love; it is I, the God of justice; it is I, the all-powerful Lord of the universe.

In the Cantata, these words of God do affect the supplicant. His response, in the Tenor Recitative (Mvt. 4), begins, "You truly speak, dear God, peace to my soul." But, alas, the peace is not complete, for he continues: "Ah! but my torment increases from day to day." And indeed, isn't this the struggle all embattled Christians face? We have the sure word of God, that He is with us, and yet, our focus remains, all too long, on the size of our troubles. It is this battle of faith that is waged in the hearts and minds of all Christians in trouble: the voice of faith, versus our worldly estimation of our situation. Can our faith in God's promises, that He will be with us through our troubles, overcome our perception that our troubles will do us in?

The Chorale in Mvt 5 is the voice of faith speaking to the supplicant, attempting to assure him that the trials are part of God's will and purpose: "What He desires will come about in the end, to carry out His purpose and goal."

This Chorale does not seem to comfort the supplicant. His response is the Tenor Aria (Mvt. 6), which to me, is full of anger: "Rage, rage you storms of trouble... yet God speaks to me in consolation: I am your stronghold and deliverer." To me, the supplicant is speaking to God in despair, even anger, as if to say: "God, how can you console me, when the storms rage about me?" Indeed, I dare say, many of us have been brought to a place where we speak the same words of despair to God.

The Bass Recitative in the seventh movement is the turning point. In it, the voice of faith triumphs. And how does it triumph? By referring to the text of the Readings for that Sunday. The Bass Recitative, as the voice of faith, begins: "Take comfort, my heart... God will soon, in His timing, restore you." Then, reference is made to the episode recounted in the Matthew Reading: "His own dear Son, your Jesus, even in His tender years, had to endure great trouble from Herod..." The Bass Recitative concludes with a reference to the other text, in I Peter. Peter says: "Beloved, think it not strange concerning the fiery trial which is to try you, as though some strange thing happened unto you: But rejoice, inasmuch as ye are partakers of Christ's sufferings; that, when His glory shall be revealed, ye may be glad also with exceeding joy" (1 Peter 4: 12, 13). The Bass Recitative concludes by echoing this sentiment: "Whoever suffers here with Christ will be given by Him a share in the kingdom of heaven." Bach underscores the significance of these words by making them "Aria-like", giving them an Andante melody, with more than just chordal accompaniment. This device serves to arrest the hearer, making him pay special attention to these words.

The victory of the voice of faith is reflected in the Alto Aria (Mvt 8): "If I have to lead my life in suffering and trouble, yet it will cease in heaven." The voice of faith looks forward toward heaven, enduring present circumstances. "Jesus Himself transforms my suffering to blessed delight, to everlasting joy." The victory of the voice of faith is not only reflected in the text, but also in the music. In this Alto Aria, there is no trace of anxiety in the music.

The Cantata concludes with a Chorale (Mvt 9), that is a prayer that God would strengthen our faith to overcome our anxiety about the troubles that face us: "Therefore, will I, while I live, bear my cross joyfully after You. My God, help me to do this."

Neil Halliday wrote (January 25, 2006):
BWV 153

This cantata has three chorales, three arias and three recitatives, with modest instrumentation for strings (and continuo). The recitatives and the bass aria are continuo only movements.

Suzuki [8] has a nicely flowing alto recitative (Mvt. 2); while he does not have the wholly legato continuo line of Rilling [2], his instrumental support is expressive, both supporting and complementing the voice (Robin Blaze).

Koopman [4] has a lute as well as an organ (plus cello) in the continuo only bass aria (Mvt. 3), which helps to avoid the effect of an austere, bare cello/violone line accompanying the voice. Heldwein, with Rilling [2], has an authoritative "voice of God", but the continuo strings are too dense (possibly because they are doubled by the bass notes of this particular organ?).

The tenor aria (Mvt. 6) places virtuosic demands on the voice, and the strings have to be nimble as well. Turn up Rilling's recording [2] and be swept away by Kraus' accuracy on the coloraturas! Also listen to the vivid writing for the inner strings (2^nd violins and violas) as well as the 1st violins and continuo. The harmonic structure of the ritornellos, based on a cycle of fifths, and the powerful dotted rhythms, imbue this defiant music with an aura of magnificence. ("Storms, floods, and fire sweep over me; fiends disturb my rest; yet God speaks to me: I am your protector and rescuer").

The alto aria (Mvt. 8), also with full strings, is the first and only expression of complete happiness, in the cantata. Ann Murray with Rilling [2], is a tad too operatic (strong vibrato); and Suzuki [8] is verging on rushing the piece, otherwise these are enjoyable performances.

John Pike wrote (January 26, 2006):
Bach may have had in mind giving his musicians a rest when he wrote this week's short and simply scored cantata, but he certainly did not compromise on quality. Particularly fine, I thought, were the two of the arias (#6 and #8) and the closing chorale. I have listened to 4 recordings, as background music as always, since that is all I have time for. I enjoyed them all.....Suzuki [8], Rilling [2], Harnoncourt [3] and Leusink [6].

John Pike wrote (January 26, 2006):
[To Doug Cowling] My comment was based on this extract from the sleeve notes from Suzuki's recording [8] (by Klaus Hofmann, 2001), and which I included in my introduction:
"This is one of Bach's more modest Sunday productions: he did without a soprano, the chorus is given only simple chorale settings, and the orchestra contains no wind instruments, consisting of just strings and organ. The reasons for this lie in the great demands placed upon singers and instrumentalists in the preceding and following days: at Christmas 1723, Bach had performed the Magnificat (BWV 243a), and the Sanctus in D major (BWV 238) as well as three demanding cantatas - "Christen, aetzet diesen Tag" (BWV 63), "Dazu ist erschienen der Sohn Gottes" (BWV 40), and "Sehet, welch eine Liebe hat uns der Vater erzeiget" (BWV 64); on New Year's Day there was "Singet dem Herrn ein Neues Lied" (BWV 190); and then the first Sunday of the year fell on the day after New Year's Day. This obviously tested the capabilities of his singers and orchestral musicians to the limit! Bach, however, had anticipated the situation in plenty of time, and planned a less strenuous work."

Performance of BWV 3 and BWV 153 today

Thérèse Hanquet wrote (January 25, 2009):
I am just coming back from a concert where our ensemble, the Chapelle des Minimes (Brussels, Belgium), performed two beautiful cantatas: BWV 3 ("Ach Gott, wie manches Herzeleid") and BWV 153 ("Schau lieber Gott, wie meine Feind").

Our artistic director had also added a five-parts motet written by Johann Michael Bach (father in law of Johann-Sebastian) based on the same choral as the two cantatas: "Herr, wenn ich nur dich habe".

The conductor was Philippe Gérard, pianist and conductor, who regularly leads the Chapelle des Minimes. The vocal soloists were Jasmine Daoud (soprano), Albane Carrère (alto), Ludwig Van Gijseghem (tenor) and Bertrand Delvaux (bass). While the tenor had already sung with us, the three others are young singers, which we had never heard before. Too bad the bass was a little ill and could not give its best, but all three have beautiful voices, and I bet they will become better known in the years to come.

The two oboes d'amore (Elisabeth Schollaert and Stefaan Verdegem), who have an important role especially in BWV 3, were also excellent.

In the course of my introductions to the cantatas, I asked a question about examples of Bach dealing with war. Even if it is mostly war against the devil, BWV 153 is quite illustrative in this regard, particularly in the tenor aria (Mvt. 6).

I must say that the three "simple" chorals, one of which is the opening piece of the cantata, are actually not so simple to sing. They have very special harmonies, and for the inner voices, some parts sound especially strange! (test this with for example measures 9 to 12 of the last choral for the alti...).

The motet made a nice contrast, with rather simple harmonisations. We performed it with minimal accompaniment (organ and cello), and with a dance-like style (relatively fast tempo).

BWV 3 is remarkable for its opening movement, and is very enjoyable for the choir to sing (except maybe for the basses which have for once the cantus firmus...). The verse about the "narrow way" ("schmalle Weg") is particularly intersting as it depicts musically the idea of "trübsalvoll" ("troublesome" ), notably with chromatic patterns. The conductor asked us to emphasise the contrast between the part with dotted notes and the ones with simple quavers (more sustained).

We performed #2 (recitativo) with the four soloists, who came near us for this part. This provided a contrast between the choral bits (sung by the choir) and the recitative parts (sung by the soloists).

The da capo of the bass aria was skipped to spare the poor soloist 's voice. It must be very frustrating to be forced to sing that sort of piece with a health problem...

The two feminine soloists were wonderful in the beautiful elaborated duet (#5).

I just notice now that the recording of cantata BWV 153 by Sigiswald Kuijken and the Petite Bande [9] took precisely place in the Minimes church where we performed it today! I also read a (mitigate) account of their live performance in the same church two years ago (I do not know whether it was that one which was recorded). While we usually perform our concerts in the rear part, near the door, they apparently had to play in the chancel, where it is very difficult for the musicians to hear one another. The acoustics of the church is already a bit tricky, I cannot imagine what it must have been like!

Once again the link to our website for those interested: http://www.minimes.be/home.php?new_l=en
and the poster of the concert: http://www.minimes.be/images/concerts/2009-01-25_affiche_concert.pdf

Jean Laaninen wrote (January 25, 2009):
Thérèse Hanquet wrote:
< I am just coming back from a concert where our ensemble, the Chapelle des Minimes (Brussels, Belgium), performed two beautiful cantatas: BWV 3 ("Ach Gott, wie manches Herzeleid") and BWV 153 ("Schau lieber Gott, wie meine Feind"). >
Thanks so much for sharing your most recent experience with Bach live. You have an enviable opportunity.

Jane Newble wrote (January 25, 2009):
[To Thérèse Hanquet] Thank you Thérèse, for sharing this. It must have een a wonderful experience to sing these beautiful cantatas. I have only ever sung in the Mass and the Magnificat, but I shall never forget it. Hopefully when we move to a more 'cultural' area of the country I might take part again.

Discussions in the Week of September 13, 2009

William Hoffman wrote (September 13, 2009):
BWV 153: Intro., Sources & Fugitive Notes

Midway through his first church year cantata cycle in Leipzig, during the rich festive Christmas season, Bach turned to intimate solo cantatas on only one occasion, the First Sunday of the New Year, Jan. 2, 1724. While some Bach commentators have suggested that Bach decided to give his choir a break after exacting celebratory music, Bach's practice for the Sunday observed between the feasts of New Year's Day and Epiphany was to present music of reflection with an element of the suffering side of the newborn Son of God and of his Christian followers.

Depending on when Christmas fell during the week, the Sunday observed in the church year was either the one following Christmas Day or New Year's Day. Both Sundays had different appointed readings but the same psalmic Introit and Gradual (Psalm 45, "My heart is stirring with a noble song," and Psalm 93, "The Lord is King") and the instructional Collect: "Almighty and everlasting God, direct our actions, according to Thy good pleasure, that in the Name of the beloved Son, we may be made to abound in good works . . . ."

The Sunday After New Year's was first observed by the Church of the Reformation in the early part of the 17th Century. The day's position in the church year and its proximity to Epiphany led to the selection of the only remaining Gospel of the Infancy not otherwise appointed. This Gospel, Matthew 2:13-23, is the account of the Flight into Egypt and the so-called Martyrdom of the Innocents, slain by Herod. While the Roman Catholic Holy Innocents Day was excluded from the Lutheran church year, Luther says this Gospel reading is important because of its teaching and its comfort. The teaching involves the battle between the forces of evil against the new Kingdom of God. The comfort is that Christ, his Word, and his Church shall defeat evil and possess the battlefield.The symbolic struggle, which occupied Bach in other teachings, most nothe angelic victory at the Feast of St. Michael, here on this Sunday is portrayed not as a celebratory victory but as a reflection on passion as suffering in both lessons: the suffering of the children of Bethlehem and the ultimate passion of the Child who was initially saved, and the ensuing suffering legacy of Christians. (My source for these two paragraphs is Paul Zeller Strodach's: <The Church Year: Studies in the Introits, Collects, Epistles and Gospels> (United Lutheran Church, 1924).

The other dominant characteristic in Bach's three extant church pieces for this Sunday After New Year's is the central role of the chorale: three in four-parts for Cantata BWV 153, two in the fifth part of the Christmas Oratorio, and the duet Jesus-Soul chorale fantasias opening and closing Cantata BWV 58. In keeping with the emphasis on suffering, the chosen chorales are vested with the theme of Christian suffering and Christ's Passion. It is quite possible that the libretto for all three extant works involved not a single poet but the collaboration of the composer Bach, the preacher of the day's sermon, Christian Weiss, and possibly the poet Picander, who also may have been involved in the New Year's Day cantata performed the previous day, BWV 190. It is also quite possible that all three collaborated in the text of the St. Matthew and St. Mark Passions, as well, to achieve a more perfect well-regulated church music.

The specific chorales in Bach's three works were well-suited for the Sunday After New Year, says Günter Stiller in <JSB and Liturgical Life in Leipzig> (p. 237) as well as the ensuing transitional Epiphany season leading to Lent. He points out that the hymn "Ach Gott, wie manches Herzeleid" is used in both Cantatas BWV 153 and 58, and is often listed in contemporary hymn books under the heading of "Cross, Persecution, Tribulation." "Also well suited, for the settings of the Sunday After New Year's," he says, is the Gerhardt hymn "Befiel du deine Wege."

SUNDAY AFTER NEW YEAR (NBA KB I/4, Neumann 1964)Gospel, Matthew 2:13-15 (Flight Into Egypt), or Matthew 2:1-7 (Magi)*, Epistle, I Peter 4:12 (Christian Suffering)
Date(Cy.)BWV Title Type
1/2/24(1) BWV 153 Schau, lieber Gott, wie meine Feind ATB Solo
1725 (no church year date, instead Sunday after Christmas, 12/31/24)
1726 (no church year date, instead Sunday after Christmas, 12/30/25)
1/5/27(2) BWV 58 Ach Gott, wie manches Herzeleid II SB Solo1/2/29(4) deest (P10) Steh auf, mein Herz text only 1/2/35 BWV 248V Ehre sei dir Gott, gesungen* Chorus, parody

Here is the template and previous discussions of Cantata BWV 153:
http://www.bach-cantatas.com/BWV153.htm

SUNDAY AFTER NEW YEAR: 153, Schau, lieber Gott, wie meine Feind [ATB Solo]1/2/24 (Cycle 1); composite text, opens with chorale, has 3 (with separate melodies).
Sources: (1) score (lost, ?WFB); (2) parts set (SPK St.79, ?WFB); (3) score copy (SPK AmB 44,9), provenance:
http://www.bach-cantatas.com/Ref/BWV153-Ref.htm
Literature: Breit. 1761; BG XXXII (Naumann 1886); NBA KB I/4 (Neumann 1964); Whittaker I:401-7; Robertson 41-3; Young 47 f, Dürr 148-51
Text: #1, Denicke cle. (S. 1), mel. "Ach Gott, vom Himmel sieh darein" ("Ah God, From Heaven see therein"); #2-4, 6-8,?C. Weiss, Bach; #5, Gerhardt cle."Befiehl du deine Wege" ("Commend Thy Ways") (S. 5), mel. "Herzlich tut mich verlangen" ("Heartily Do I Long"); #9, Moller cle. "Ach Gott, wie manches Herzeleid" ("O God, How Much Sorrow") (S. 11), mel. "O Jesu Christ, meins Lebens Licht" ("O Jesus Christ, My Life's Light");
Gospel, Matthew 2:13-15 (Flight into Egypt, ref. #7).
Forces: ATB, 4 vv, str, bc.
Movements: 3 chorales, 3 recits. (A, T, B), 3 arias (B, T, A).
Mvt. 1. Cle. (tutti), Behold, dear God, how mine enemies...are.
Mvt. 2. Rec. (A): My dearest God, ah let Thee of it take pity.
Mvt. 3. Aria (B): Near thou not, I am with thee (Is. 41:1).
Mvt. 4. Rec. (T): Thou speakest...God, for my Soul's rest.
Mvt. 5. Cle. (tutti): Commit thy way unto the Lord.
Mvt. 6. Aria (T, str): Storm...rush ye floods on me freely.
Mvt. 7. Rec. (B): Be comforted, my heart, bear thy pain.
Mvt. 8. Aria(A): Shall I my life's path under cross...lead(minuet)
Mvt. 9. Cle. (tutti): Therefore will I...the cross...bear.

Commentary of Dürr, Chafe and Little & Jenne is found in:
http://www.bach-cantatas.com/Guide/BWV153-Guide.htm

Dürr raises the issue of Bach giving his performers a Christmas season rest by writing BWV 153 with only an opening chorale. Chafe (from Analyzing Bach Cantatas, pp. 111-126) looks much deeper at Bach's use of three chorales and the cantata's overtly symmetrical structure.

I take the liberty of quoting Chafe's thesis at the beginning of his chapter focusing on BWV 153, "Five, Bach's Reflection on the Past: Modal Chorales in Cantata Designs"(p.101): Bach not only derives "highly individual harmonic qualities from the traditional chorale melodies but also of extending the tonal qualities of the melodies to the movement sequences of entire cantatas. The latter quality almost always involves his perceiving a link between the tonal characteristics of a given melody and the theological intent of its text and then elaborating that link in terms of the musico-allegorical design on the work as a whole."

A rudimentary examination of the movement layout or template shows symmetrical ordering and systematic repetition within a double three-fold or trinitarian frame work:
(1) A. Chorale, (2) B. Recitative, (3) C. Arioso;
(4) D. Recitative (5) E. Chorale, (6) F. Aria;
(7) G. Recitative, (8) H. Aria, (9) I. Chorale.

Schematically, the three plain chorales form the beginning, exact middle and end of the cantata. Each chorale is part of the three clusters of three movements. The three recitatives form the middle of the first cluster and introduce the middle and final clusters. The arioso and two arias constitute the recitative mirror of ending the first and middle clusters and being the middle of the last (third) cluster.

So, the chorales perform their traditional cantata function of diving the work in two and closing it, as well as substituting for the traditional opening chorus or tutti aria. The arias and recitatives invest the work by existing internally within it, in sequence (providing contrast of recitative-aria(oso) in the outer clusters and flanking to the central chorale.

Thus, we have a near palindrome or mirror (chiastic or cross-like) structure, displaying profound, perhaps unconscious rhetoric infusing Bach's musical design. From Rhetoric 101 Class I find the two basic elements of the rhetorical device: symmetry and repetition, to which I would respectfully and humbly add contrast and variation. This cantata establishes the pattern, the structural model, which Bach would most effectively utilize and realize in the two great Passions and Great Mass.

Those who wish to play the numerology-theology game are most welcome to designate each movement type: Perhaps chorale represents the Trinitarian Creator or theme, recitative could be redeemer or proclamation, aria as sanctifier or blessing. Possibly, instead, there is a biblical representation, based on Chafe: chorale as prayer, recitative as plea, and aria as affirmation.

I leave you to Chafe's extensive observations and scrutiny and Bach' revelatory music with one observation: Each movement speaks profoundly for itself while securing and enhancing the totality.

While my opening summary of the liturgical basis for the Sunday After New Year is based on traditional Lutheran hermeneutical teaching, Chafe presa more extensive interpretation of the overall biblical context and meaning of Cantata BWV 153, with its unique form to fit its unique in-between time, in his initial remarks (p. 111) and BCW listing above.

I also encourage specific musical contributions based upon the various extant recordings and their interpretive approaches.

Douglas Cowling wrote (September 13, 2009):
BWV 153: Bach's Calendar

William Hoffman wrote:
< Depending on when Christmas fell during the week, the Sunday observed in the church year was either the one following Christmas Day or New Year's Day. >
I know people's eyes glaze over on this calendar stuff, but to be precise:

* If Christmas falls on a Sunday, then New Year's falls on a Sunday as well, and there is neither a Sunday after Christmas nor a Sunday after New Year's.

* If Christmas falls on a Monday or Tuesday, there is a Sunday after Christmas but not a Sunday after New Year's.

* If Christmas falls on Wednesday or Thursday, there is both a Sunday after Christmas and a Sunday after New Year's.

* If Christmas falls on a Friday or Saturday, the Sunday after Christmas is displaced by the Second or Third Day of Christmas, but there is a Sunday after New Year's.

The larger point here is that Back was acutely aware of the labyrinthean workings of the church year, and the calendar dictated his working and often compositional method. It was the calendar that determined the structure of the Christmas Oratorio: in 1734, Christmas fell on a Saturday and so Bach had to adopt this sequence:

Sat, Dec 25 - First Day of Christmas - Part One
Sun, Dec 26 - Second Day of Christmas (Sunday after Christmas displaced) - Part Two
Mon, Dec 27 - Third Day of Christmas - Part Three
Sat, Jan 1 - New Year's Day - Part Four
Sun, Jan 2- Sunday after New Year's - Part Five
Thu, Jan 6 - Epiphany - Part Six

It's worth pointing out that there would be numerous years when a repeat performance of the Christmas Oratorio would be impossible because the calendar was different.

These chronological restrictions don't seem to have bothered Bach. The Sunday for which he wrote "Wachet Auf" only occurred once during his tenure in Leipzig. He probably wrote this work knowing that he would only hear it once, but that his sons could use it in later years. Another example is "Himmlskönig Sei Willkommen" which was performed on Palm Sunday only because it fell on March 25 with the concurrent feast of the Annunciation.

Eyes may be deglazed now.

Neil Halliday wrote (September 13, 2009):
William Hoffman wrote:
>I also encourage specific musical contributions based upon the various extant recordings and their interpretive approaches.<
http://www.bach-cantatas.com/BWV153.htm

Judging by the samples, the latest recording of BWV 153, that of Kuijken (2006) [9], is arguably the finest, taken over all nine movements (though the OVPP choir is not necessarily the most satisfying approach in the chorales).

The tempi are nicely judged; once again the recitative accompaniment is superior to the others (though the bass string sound is too prominent in comparison with the treble tones on the organ, a common problem); the bass and alto arias are delightfully melodious, and the tenor aria (Mvt. 6) is among the finest for its ability to capture the physical excitement of this remarkable movement.

BTW, Crist's description (from BCW) of this tenor aria (Mvt. 6) deserves repeating:

"After a chorale that reiterates God's promise to accompany his people through their trials, the point of greatest dramatic intensity is reached: a tenor aria (Mvt. 6) that employs the imagery of a raging storm to portray affliction, misfortune, and spiritual warfare. The tempest is represented by rapid scale figures in demi-semiquavers, dotted rhythms, and disjunct motion (including octave leaps in the continuo). The surging of the flood is brilliantly depicted by a whirling sequential figure on 'wallt' ('rush'), sung and played in unison in all five parts (bars 9 and 13). A more sedate feeling temporarily intervenes, beginning on the word 'Ruh' ('peace', bar 23), which, characteristically, is sustained through a full bar and beyond. The texture thins to a duet (bars 24-5), then a trio (bars 26-9), before returning to the full-blooded intensity of the beginning".

The clash between the E in the continuo and the F in the violas at the beginning of the third bar (F major in the upper strings sitting on E in the continuo, forte) is typical of the magnificent harmonies in the piece.

[Apart from the tenor aria (Mvt. 6): playing the piano reduction score reveals some remarkable harmonies and modulations in the 2nd and 3rd recitatives, as well as some unexpected harmonisation in the chorales].

Cantata BWV 153: Complete Recordings | Recordings of Individual Movements | Discussions

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Last update: ýSeptember 17, 2009 ý08:06:46