Cantatas BWV 197 & BWV 197a

Cantata BWV 197
Gott ist unsre Zuversicht
Cantata BWV 197a
Ehre sei Gott in der Höhe
Discussions

Discussions in the Week of February 24, 2002

Nick Kaufman wrote (February 25, 2002):
Bach's Contrast : "Schlafen - Wachen"

This week's wedding Cantata has a clear message. The key to a successful problem-free marriage is trust in the Almighty - a theme carried throughout the whole of the first part of BWV 197. Divine guidance in matrimonial affairs is symbolised by the hands mentioned in the text : "Wir vertrauen seinen Handen" and these hands reinforce the bonds of love. It should be noted that a similar idea was also apparent in last week's wedding cantata BWV 195: "So ruhmt des Hochsten Vaterhand / Er knupfte selbst euer Liebesband".

After the preliminary pomp and fugal festivity of the wedding ceremony itself, the Bass recitative ushers us into the matrimonial residence: "Er halt am besten Haus". We are then invited into the intimacy of the conjugal bed-chamber with the alto aria "Schlafert allen Sorgenkummer" (Mvt. 3). It is in this sublime aria, that the theme of divine trust and the consequent dismissal of worry is compared to the states of slumber and waking. Bach illustrates the comfort of divine security with the soporific warmth of a flattened major key. We are lulled into a state of tranquillity, enhanced by a long chromatic yawn on the word "Schlafert" and the syncopated nodding of the melodic line as we descend into slumber. We are then rudely awakened and reminded that "Gottes Auge, welche wachen". The tonality is abruptly changed to a harsh minor key and the tempo is quickened emphasizing the sense of alertness and divine vigilance.

I believe that a similar contrast is to be found, both conceptually and musically, in the nocturnal Gethsemane of the St. Matthew Passion (BWV 244).This time, however, the metaphors are inverted. Vigilance is now equated with trust and fidelity: "Ich will bei meinem Jesu wachen" and its reward is the remission of sin - here equated with sleep. Bach, once again, resorts to the same musical devices in order to give heighten the "schlafen - wachen" contrast. The tenor provides a similar melismatic decoration of the word "wachen" in a cold minor key whilst the juxtaposed chorus intercedes in chorale format, carressing and reassuring, in the warmth of E flat major: "So schlafen unsre Sunden ein".

Dick Wursten wrote (February 25, 2002):
< Nick Kaufman wrote about the: soporific warmth of a flattened major key >
I wondered: What kind of warmth is that ?

Aryeh Oron wrote (February 28, 2002):
Introduction

For this week's discussion (February 24, 2002), we have another Wedding Cantata, BWV 197 'Gott ist unsre Zuversicht'. This is the last one in Vicente Vida's proposed list of cantatas for discussion. .

In order to allow the members of the BCML preparing themselves for the discussion, I compiled a list of the recordings of this cantata. I put the details of the recordings in the following page of the Bach Cantatas Website: Cantata BWV 197 - Recordings
In the same page there is also a link to an English translation of the German text of this cantata (English-3), made by Francis Browne, a member of the BCML.

As last week BWV 195, BWV 197 is also a rarely recorded cantata, and besides the recordings from the three complete Bach Cantata cycles (Rilling [2], Leonhardt [3], and Leusink [4]), there is one additional recording. This one is by Nikolaus Harnoncourt, made in 1969 [1], a year before he started his joint project with Gustav Leonhardt of recording the complete Bach Sacred Cantatas. It means that we have here the rare opportunity of hearing Harnoncourt and Leonhardt head to head in the same cantata. Together with this cantata Harnoncourt recorded also Cantatas BWV 50 & BWV 83. Both renditions found their way into the complete cantata cycle, although they had been recorded before the cycle began. Why did Teldec (Telefunken) chose to re-record BWV 197, this time with Leonhardt, instead of using Harnoncourt's recording, I do not have a clue. I found out that this recording is available in CD form, and ordered it couple of weeks ago. If I am lucky it will arrive next week. If not, and if a member of the BCML has both Leonhardt and Harnoncourt's recordings, I would like to hear a comparison of them.

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

The Recordings

[1] Nikolaus Harnoncourt (1969)
I did not have this recording at my disposal when I was writing this review.

[2] Helmuth Rilling (1984)
[3] Gustav Leonhardt (1989)
[4] Pieter Jan Leusink (2000)

Background

The background below is taken from W. Murray Young's book 'The Cantatas of J.S. Bach - An Analytical Guide'. The English translation of the text is also taken from the same source. Since this is a long cantata, I chose to review only the opening chorus and the three arias.

For Christmas Day 1728, Bach had composed cantata 'Ehre sei Gott in der Höhe' (Glory to God in the highest), BWV 197a, of which the music has been lost except for two of the arias in this present cantata which borrow from those original arias. Picander wrote that original libretto, which is still available.

This is a wedding cantata on a grand scale, celebrating the marriage of two unknown but very important people. Bach himself was probably the librettist of this long but brilliant work, which is divided into two parts: before the wedding service and after it ('Vor der Trauung' and 'Nach der Trauung').

1^st Part - Before the Wedding
Mvt. 1 Chorus
Gott ist unsre Zuversicht
(God is our confidence)
Tromba I-III, Timpani, Oboe I/II, Violino I/II, Viola, Continuo

The fugal theme, played tutti by the orchestra, is an imposing prelude to this solemn ceremony and continues to accompany the choir in the first two lines. There is the suggestion of a step-motif in the repeated beats of the melody throughout the movement. The rest of the stanza is sung in canon by the sopranos and the altos. This is the most impressive number in the cantata. The listener feels drawn into this magnificent hymn of praise, as though he too was present in the church on the occasion.

Confidence in God's way and exuberant joy characterise Rilling's rendition [2]. The canon for sopranos and altos is getting full blossom here. Leonhardt [3] was better and more spirited in the first cantatas in his joint cantata cycle with Leonhardt. As the cycle progressed, his performances became more routine and less interesting. The good factor in his recording of the opening chorus is the clear separation between the voices of the choir, which makes it easier to follow. All the other factors – the over-accentuation of the beat, and especially the dry playing and singing and lack of ant real expression, make the impression of total mis-interpretation of the chorus. Leusink [4] follows Leonhardt's example by accentuating the beat in similar way. But he succeeds in putting more enthusiasm and liveliness into the opening chorus.

Priorities: Rilling [2], Leusink [4], Leonhardt [3]

Mvt. 3 Aria for Alto
Schläfert allen Sorgenkummer
(Put to sleep all worrisome cares)
Oboe d'amore I, Violino I/II, Viola, Continuo

Bach borrowed the melody for this aria from the identical tune in the alto aria of BWV 217 (BWV 249a), the secular canwhich he had composed in 1725. It is accompanied by oboes and strings and has three themes: the first is in the tempo of a lullaby, the second more animated, and the third reveals a tone of confidence which the words of the text indicated to Bach for his word-painting. This aria is a good example of the attention paid to the words in his text.

The calm yet lively singing of the Alto Mechthild Georg (with Rilling) [2] and the rich and, warm and clean playing of the oboist bring out all the colours and moods of this picture. The child can safely sleep. For my ears a woman alto is more appropriate here than a counter-tenor. René Jacobs sings pleasantly with Leonhardt [3], but with no sense of real involvement. Maybe it is the conductor's fault, because I know that Jacobs can do better, much better. Buwald [4] is a wrong casting for the alto aria. Not only because he is a man, but mainly because you always afraid that something might be broken when he walks on thin layer of ice. Certainly you (the listener) do not gain confidence from such playing and singing.

Priorities: Georg/Rilling [2], Jacobs/Leonhardt [3], Buwalda/Leusink [4]

2^nd Part - After the Wedding
Mvt. 6 Aria for Bass
O du angenehmes Paar!
(O thou pleasing couple!)
Oboe I, Violino I/II, Viola, Fagotto obbligato, Continuo

Oboes, strings and the bassoon play a rocking tune that Bach rearranged from the alto aria in BWV 197a. In this original version, it was a cradle-song for the infant Jesus, yet Bach's adaptation fits beautifully the text addressed to the newly wedding couple.

Philippe Huttenlocher (with Rilling) [2] has the right voice for this aria (authoritative, but not too heavy) to reflect both the happy he feels looking at the young couple and the blessing he gives them. The low level of expression in Leonhard's recording [3] continues into thr aria for bass. IMO, Harry van der Kamp's singing has never been very strong in expressive terms. I like this aria, but if that was the only recording I knew, I doubt if I would have enjoyed this aria so much. Since the emotional demands are not heavy, Ramselaar (with Leusink) [4] is doing fine.

Priorities: Huenlocher/Rilling [2], Ramselaar/Leusink [4], Kamp/Leonhardt [3]

Mvt. 8 Aria for Soprano
Vergnügen und Lust
(Delight and pleasure)
Violino solo, Oboe d'amore I/II, Continuo

This melody for oboes and strings is again borrowed from BWV 197a, wherein it is used as in a bass aria. Its joy-motif seems to resemble the gay rhythm of a German country-dance or Ländler to illustrate the happiness that she has mentioned in her recitative (previous movement). The light tone of the soprano voice adds to the joyful impression made by music and text.

The delicate expression and the sweet voice of Costanza Cuccaro (with Rilling) [2] suit the joyful and happy mood of this aria perfectly. The boy soprano in Leonhard's recording [3] is not equipped with enough expressive and technical powers to do the aria for soprano justice. Holton (with Leusink) [4] with her light and innocent voice, and Leusink’s exquisite accompaniment, do justice for this aria for soprano.

Priorities: Cuccaro/Rilling [2], Holton/Leusink [4], O'Farrell (boy sopran)/Leonhardt [3]

Conclusion

Personal Priotities for the complete cantata: Rilling [2], Leusink [4], Leonhatdt [3].

Don't let the high BWV number and title 'Wedding Cantata' mislead you. This is a magnificent cantata with fine arias. Highly recommended, especially in Rilling's rendition.

And as always, I would like to hear other opinions, regarding the above mentioned performances, or other recordings.

Harry J. Steinman wrote (March 2, 2002):
It took me several listenings before I 'got' this cantata. My first impression of the opening movement was, "Ho hum...trumpets, drums, etc..." But after several listenings, something 'clicked'. I found a weight in Leusink's recording [4] (my only version of this cantata) that is unusual, in my opinion, for his conducting style. It is that 'heft' in the choral singing that grabbed my attention.

Skipping ahead to the soprano aria (Mvt. 8) I found Bach's use of the oboes on the second beat of the 6/8 time to be a very subtle way of grabbing my attention. Interesting: Organ-oboe-oboe; Organ-oboe-oboe (1-2-3; 4-5-6) Listen to the aria about 1 minute into the movement and this is very clearly heard in the instrumental interlude.

I have the recording, "The Bach Album" (DG 173670) [M-2], which is a collection of arias for soprano and violin, with Kathleen Battle and the great Itzhak Perlman. I expected it to suffer from 'opereticism' if I can coin that term: Excessive drama and vibrato. I was very happily surprised at the wonderful treatment, in my opinion. This aria is a world of difference from the Leusink. Perlman is one of the greatest violinists of the century and one can hear a significant difference in the violin parts...and Battle is magnificent: Direct and powerful. Maybe there are technical flaws that my uneducated ears cannot hear, mispronounciations and the like. Happily, I remain ignorant of these things. If you have this recording, listen in particular about 1:45 into the movement as Battle and Perlman become more and more 'intense'...the volume and intensity of their performance increase and give way to a lovely few-measure interchange between violin and viola at about 1:58 that is heavenly.

Otherwise, in the cantata, I enjoy the bass aria (Mvt. 6) very much-in particular the bassoon in the background (continuo???) and really enjoy the soprano recitative (Mvt. 7) especially at about 0:40 where the recitative becomes more songlike-arioso I believe is the term. Yes?

I didn't care much for the choral movements. Nothing wrong with 'em, just didn't grab me. I wish I had another version with which to compare, but with wedding and all in the future, it's just not in the budget. I wonder if I should register at Amazon ;D

Well, till next week,

Nick Kaufman wrote (March 2, 2002):
[To Dick Wursten] Well - I was conscious of maybe being a little too verbose when I wrote that !! But although I have not got the score - the key of "Schlafert" certainly sounds like E flat to me - maybe you can correct me if I am wrong. As a pianist, I always find E flat to be a comforting, happy and in this case sleepy key. The flats I always associate more with warmth as opposed to the sharps which I associate with coldness. I do not think that I am the only one to make such associations. Scriabin, for example, would associate notes with colours ! Having said that - I suppose it is all very subjective.

Discussions in the Week of May 11, 2008

Francis Browne wrote (May 10, 2008):
BWV 197/197a introduction

Like BWV 195 discussed recently this week's cantata is a wedding cantata, a genre somewhat underrepresented in Bach's surviving works. Two of its movements, at least, were originally composed for a Christmas cantata, Ehre sei Gott in der Hohe, (BWV 197a) performed probably in 1728. The cantata that we are discussing this week dates from 1736 -7 . It bears the title in diebus nuptiarum which, according to Spitta (Vol.3, p77-8 Dover), ind"a great and solemn ceremonious occasion, very likely the marriage of some exalted personages." But this is speculation and we have no definite information about the circumstances in which it was produced nor does the text give any indication. The music is magnificently varied and this is a cantata well worth getting to know.

As always Aryeh has provided a wealth of information for the study of this cantata: http://www.bach-cantatas.com/BWV197.htm

Specifically for this introduction the musical examples quoted by Whittaker can be found at: http://www.bach-cantatas.com/Scores/BWV197-Sco.htm

Dürr (p751-2) makes useful comments on the text . According to him:
"the anonymous librettist of the present cantata designed the arias so that the third movement should correspond with the aria Wieget euch, ihr satten Schafe' from the pastoral cantata BWV 249a and its parodies BWV 249b and BWV 249, and the sixth and eighth with Cantata BWV 197a, nos. 4 and 6 respectively. Only in the last two cases did Bach actually carry out the parody, however, either because he eventually found more time for composition than he had originally feared or because, for some reason, he considered it expedient to provide a new composition for the third movement.

[As often I find such information as this both fascinating and frustrating. It is fascinating to have a glimpse of Bach at work, but frustrating in that there is nothing comparable to some of the letters of Mozart, or Verdi's instructions to his librettists. If only someone had thought to record the exact circumstances of the production of a single cantata, or how Bach set about writing these works, or even how he would spend his time each week.]

Dürr says about the text:
"As far as we can tell, the text...makes no specific reference to the bridal couple. Proceeding from the opening line of Psalm 46, it urges trust in God (Part I), whose reward shall be God's unfailing kindness and His blessing (Part II). It is striking how often the text speaks of the path along which God will lead the bridal pair (Mvt. 1: Chorus is `He leads us on our way' Mvt. 2: `He directs our activities'; Mvt. 3: `our guiding star'; Mvt. 4: `that is the right path'; Mvt. 6: .. and lead you for evermore'; Mvt. 9: `this joyful course of life'; and Mvt. 10: `on God's ways'). Should we see herein an allusion to the calling of the bridegroom?

[Presumably as a leader of society rather than a coach driver]

In the second movement, the remark that God has `written on His hand' the good fortune of His children alludes to Isaiah 49.16. In the sixth movement, the words `God shall bless you out of Zion and lead you for evermore' are based on Psalm 128.5, one of the psalms sung during the marriage service. And in Mvt. 7, the words `He will never .... let you lack any good thing' may be understood as a reference to Psalm 84.11. Part I concludes with the third verse of Martin Luther's hymn Nun bitten wir den Heiligen Geist (1524). The chorale that ends Part II, no. 10, is transmitted without text in Bach's original score (the only surviving authentic source), yet there is no doubt that only the seventh and last verse of the hymn Wer nur den lieben Gott läßt walten by Georg Neumark (1641) can be intended. It seems very doubtful whether the rewording `So wandelt froh ...' (Then journey gladly ....'), transmitted only in secondary sources from Zelter's circle and adopted in the standard modern editions, goes back to Bach. It should probably be regarded as a product of Zelter's editing and is consequently best replaced in performance by the original text, as used by Bach in, for example, Cantata BWV 93.

Here for comparison are the texts to which Dürr refers :

BWV 93 :
Sing, bet und geh auf Gottes Wegen,
Sing, pray and go on God's way,
Verricht das Deine nur getreu
Perform your part only faithfully
Und trau des Himmels reichem Segen,
and trust in the rich blessing of heaven,
So wird er bei dir werden neu;
then he will be with you anew;
Denn welcher seine Zuversicht
For who places his confidence
Auf Gott setzt, den verläßt er nicht.
in God, he does not abandon.

And the present cantata :
So wandelt froh auf Gottes Wegen,
So travel happily on God's way
Und was ihr tut, das tut getreu!
and what you do, do that faithfully!
Verdienet eures Gottes Segen,
Earn your God's blessing,
Denn der ist alle Morgen neu;
for it is new every morning
Denn welcher seine Zuversicht
For whoever places his confidence
Auf Gott setzt, den verläßt er nicht.
in God, he does not abandon.

--

Mvt. 1: Chorus

Whittaker's account of this resplendent movement is as follows (Vol.2, p81ff):
"Three trumpets and timpani appear in i and are not indicated again, though doubtless they would take part in the two chorales, the instrumentation of which is not specified; two oboes and strings complete the score. In the opening bars of i the violins are heard in step-wise figure with repeated notes [Ex.1406] : an idea which, both direct and inverted, plays an important part in wood-wind and strings. It is evidently suggested by the clause which comes after the Fine pause: Wie Er uns're Wege führt' (`As He our ways guides'). (a) is accompanied by oboe semibreves [Ex. 1407] which are afterwards sung to wir vertrauen seinen Handen' (` we trust His hands'), a declaration of bold confidence. In the homophonous passage which opens Part II notes 1-3 of (b) are found diminished, and (a) joins up the phrases [Ex. 1408].

At the opening brass and percussion add short groups expressive of firm faith. At bar 13, after notes 1-3 of (c), tromba I anticipates the first theme of the chorus. A fugal exposition on a 6-bar theme: [Ex 1409] with the answer entering at bar 5 and with a long codetta between third and fourth entries, is accompanied by detached chords for upper strings. With the fifth entry the oboes enter and the orchestra doubles the voices. The fugal theme does not appear again. Bars 1-13 of the introduction are now repeated with voice parts added, bars 1-5 being massive chords for the choir, to (b). New thematic material is now heard in the chorus, the violins developing (a), brass, percussion, and oboes entering with short phrases. Later the oboes join hands with the vocal lines, trumpets and drums resume, and before the Fine pause a brilliant effect is produced by an independent, high- lying unison passage for violins and tromba I, oboes alternating detached chords with trumpets II and III and drums. The opening of Part II has been quoted supra. (a) is heard in a new form:[Ex 1410] while a canon between sopranos and altos, da ist Segen aller Enden' (' there is blessing everywhere'), reinforced by oboes, is supported by lower voices and bassi. An orchestral interlude brings part of (d) in oboe I, oboe II following the second phrase in canon, while tromba I hammers out a repeated note and the bassi are given (a) for the first time. The first part of the second section begins in the mediant minor, the canon is heard with reversed voices, the double bar is reached in the relative minor and Da Capo is indicated."

Dürr comments more succinctly :
"The principal section of the opening chorus, which is cast in da capo form and introduced by an instrumental sinfonia, is made up of a fugal exposition for the choir, plus a chordal or freely polyphonic continuation, which is largely dominated by the orchestra due to the technique of choral insertion. The middle section, in a plain choral texture, takes up motives from the introductory sinfonia in its independent insparts and employs the fugue subject in its instrumental episodes. The scoring (for trumpet choir, two oboes, strings, and continuo) is decidedly festive."

As so often in Bach this opening chorus makes an immediate and striking impact , but then also repays close study.

Mvt. 2: Bass recitative

Dürr comments on the recitatives :
"The four recitatives alternate between secco with arioso conclusion and instrumentally accompanied settings. The second movement contains only a hint of an arioso conclusion, but in the seventh it takes up a full half of the movement. Within the instrumentally accompanied recitatives, there is a progressive increase in intensity: the fourth movement begins with short chordal chords; the ninth is enriched by the addition of two oboes, and against their held chords, supported by continuo, we hear brief chordal strokes in the strings

Whittaker says : "A bass soloist, with continuo, begins in recitative and ends in arioso: In the arioso section beginning with lieben' (` love') the continuo repeats a phrase akin to (a) in i, and continues it after the voice ceases."

Mvt. 3: Alto aria

Whittaker comments :
"The alto aria, iii, is doubtless an adaptation. It is in three parts. The first is a slumber song - 'Schlafert aller Sorgen Kummer in den Schlummer kindlichen Vertrauens ein' ('Put to sleep all cares' sorrow in the slumber of childlike trust'). The strings move in repeated quavers throughout the introduction, an oboe d'amore doubles the violin I line for ten bars, but as a sustained melody:[Ex 1411] and then comes to rest on a long E while the violins play lulling figures. At the end of the twenty-four-bar introduction violin I and oboe d'amore sink gently down in semitones. The voice now sings a modified form of the opening sentence, doubled in repeated quavers by violin I, and the oboe d'amore plays imitative passages. On a long- sustained schlafert' the oboe d'amore, above detached and answering two-note groups for upper strings and repeated quavers for the bassi, lets us hear the sinking phrase again. The middle section changes to 4/4 and is very animated. The first vocal idea :[Ex 1412] is used frequently in the upper instruments and later, in a modified form, in the continuo. The remainder of the text is: welche wachen, and die unser Leitstern sein, werden Alles selber machen' ('which watch, and which our guiding-star are, will all things themselves do'). There are long runs to wachen', `machen', Leitstern', and Alles'the first part introduces new chromatic word-painting on Sorgen', and ` schlafert' has also an expression of anguish, a curious and unfitting device to be heard so late in the aria. Was this number borrowed from some lost Christmas cantata? As the next two arias are from a similar source the supposition is reasonable."

Dürr is less speculative :
"The three arias are again notably full in texture and instrumentation. The first, no. 3 - essentially an alto aria with obbligato oboe d'amore* - is filled out by accompanying strings in the form of a continuo realization, as it were, with the first violin reinforcing either the oboe or the alto part. Bach strikingly emphasizes the textual contrast between slumber and watchfulness by a change of time, livelier rhythmic movement, and freer treatment of the strings in the middle section."

Mvt. 4: Bass recitative

It is scored for strings .They play detached chords for seven bars.

Mvt. 5: Chorale

Both Parts I and II of the cantata end with a simple chorale. 5 is stanza 3 of Luther's Whitsuntide hymn 'Nun bitten wir den heil'gen Geist'

Mvt. 6: Bass aria

Whittaker comments at length on this aria and reaches a debatable conclusion :
The aria which begins Part II, Nach der Trauung ('After the wedding'), is an interesting rearrangement. In the fragment of 'Ehre sei Gott in der line' for Christmas Day, 1728, which is preserved, are to be found the closing nineteen bars of an alto aria. The words, by Picander, are 'O du angenehmer Schatz, hebe dich aus denen (deiner) Krippen, nimm davor (dafür) auf meinen Lippen and in meinem Herzen Platz' ('Oh Thou pleasing Treasure, raise Thyself out of Thy manger, take therefore on my lips and in my heart place'). The scoring is probably for two flauti traversi, continuo, and a separate bass line, assigned in the BGS score to a possible 'cello, but more likely, to judge by the adaptation in No. 197, a bassoon. The closing ritornello begins with detached quavers for the continuo, a rocking figure for the bassoon, and high-pitched passages in thirds and sixths for the flutes: [Ex 1413] There is a strong resemblance to ideas found in the soprano aria 'Stein, der fiber alle Schatze' ('Stone, which beyond all treasures') in BWV 152, for the First Sunday after Christmas.... It will be noted that Schatz' occurs in both. Beginning at the third bar of the fragment, imitative figures for the flutes are accompanied by a passage for the fagotto, also gently - rocking in character, a demisemiquaver upward run, followed by arpeggi: [Ex 1414] occurring four times in a rising sequence. In the vocal part this picturesquely accompanies the voice as it sings `hebe dich aus denen Krippen'. This ritornello occupies a similar place in the opening aria of Part II of BWV 197; bar 1 is omitted, flutes are replaced by violins I and II, muted, with the first passage an octave lower; there is also a line for oboe, which sometimes has new matter and sometimes plays one of the later bassoon figures. There may have been an oboe in the original score; knowing the later version one feels the earlier to be incomplete. Except that the last two bars are different, and apart from the absence of the oboe and a slight re-scoring, the music of the vocal part of the fragment agrees with that in the wedding cantata; and the rest of this lengthy aria, seventy-one bars of eight beats, contains nothing but development of this material and such ideas as:[Ex 1415] against short figures tossed between violin II and oboe:[Ex 1416] and above another form of the rocking fagotto theme. There are lovely answering passages between voice and oboe [Ex 1417] with repeated violin quavers and the rocking bassoon. At one place violin II plays the swaying theme in canon with the fagotto, but otherwise the upper instruments restrict themselves to the quoted motives and derivatives. The revised text addresses the bride and bridegroom - 'dir wird eitel Heil begegnen, Gott wird dich aus Zion segnen and dich leiten immerdar' ('you will only salvation meet, God will you from Zion bless and you lead evermore'), all of which fits not so badly. But Bach's sense of humour deserted him entirely when he changed O du angenehmer Schatz' to O du angenehmes Paar' ('Oh thou agreeable pair') ! What must have been the feelings of the uncomfortable celebrants on hearing themselves thus addressed no fewer than thirteen times? Breitkopf's vocal edition wisely substitutes other words, and so enables this truly lovely aria, in some ways unique, to be sung without inciting an audience to merriment."

I suspect that far from being uncomfortable the celebrants could hardly fail to be delighted by this music. Like the comparable bass aria in BWV 195 this movement was designed to please and surely did so. Dürr observes : "In the sixth movement, its original character as a lullaby at the crib is clearly recognizable even in the parodied version." Whether as lullaby or wedding song it is music to be enjoyed.

Mvt. 7: Soprano recitative

Mvt. 8: Soprano aria

Whittaker compares this aria with the earlier version in BWV 197a :
"viii, a soprano aria with violin solo and two oboes (possibly d'amore), is also borrowed from 'Ehre sei Gott'. The earlier version is a charming 6/8 nmber for bass with oboe d'amore obbligato. The second clause suggests the of the Saviour to the believer's bosom [Ex 1418]. Not too much injustice is done to the original by the substitution of 'Vergniigen and Lust, Gedeihen and Heil wird wachsen and starken and laben' ('Contentment and delight, prosperity and salvation will grow and strengthen and revive'). The close of one of the middle sections of the original introduces a long run on 'rauben' ('rob') but the new text makes this inappropriate: Das Auge, die Brust wird ewig sein Theil an siiBer Zufriedenheit haben' ('The eye, the breast will ever its share of sweet contentment have'). A few bars are therefore altered; blissful violin melodies cross and recross the vocal line [Ex 1419-1421]. The key is changed from D to G, violin solo substituted for oboe d'amore. There are a few differences, mostly with regard to grace notes. There is, however, an extraordinary addition. The oboes d'amore play a tum-tum' accompaniment-in sixty-eight bars out of the total of seventy-four, quite in the style of the German Landler! One finds this sort of thing nowhere else in Bach's works, not even in the orchestral suites. If one takes the aria at a gently allegretto tempo the effect is not at all as odd as it looks on paper.

Dürr comments : ". The eighth movement, originally a bass aria with obbligato oboe d'amore, is rewritten for soprano and obbligato violin and enriched by two oboes d'amore, which fill out the harmony. The joyous affect of this aria is so unspecific that the change of text proved unproblematic"

Mvt. 9: Bass recitative

Whittaker writes :
"Normally Bach would have marked the penultimate number, a bass recitative, Siebenstimmig, for all lines are independent. Oboes and continuo sustain throughout, at two places the upper strings sweep downward in arpeggi, otherwise they play detached chords."

Mvt. 10: Chorale

See earlier comment on the text'

There is plenty to enjoy and much to discuss in this cantata. I hope that members of the list, particularly those who have not contributed before, will share their understanding and enjoyment of this cantata.

Douglas Cowling wrote (May 10, 2008):
Francis Browne wrote:
< It bears the title in diebus nuptiarum which, according to Spitta (Vol.3, p77-8 Dover), indicates "a great and solemn ceremonious occasion, very likely the marriage of some exalted personages." But this is speculation and we have no definite information about the circumstances in which it was produced nor does the text give any indication. >
I wonder if Bach had a sliding reembursement scale for the size of the orchestra and elaboration of the cantata. Even today, a wealthy family will pay for isntrumentalists at a wedding and the organist takes a cut as the contractor. The organist's fee will be adjusted according to the amount of arranging and composing required and the number of rehearsals needed.

This cantata is a Big Show and indicates that the bride's family was very wealthy and socially if not politically important. The music of this cantata is on the scale of Christmas and Easter and I would guess that Bach made a tidy fee for both the compositional and logistical aspects of the occasion.

Once again we encounter critics who assume that parody technique indicates lack of inspiration or haste on Bach's part in this cantata. If anything, this wedding was probably in the works for quite some time and Bach had plenty of time to come up with a wedding gift that has outlasted even the names of the newly-married couple!

Jean Laaninen wrote (May 12, 2008):
[To Francis Browne] As Francis has pointed out, there is much to enjoy in this work. After a first time listening just now it seems to me that the energies really pick up with the Soprano in Mvt. 7 and Mvt. 8, and culminate in the bass Mvt. 9 before the chorale (Mvt. 10). The ending chorale offers some profundity, but I think though I rarely react negatively to Bach's choices, that the ending chorale tune is not fully satisfying. I found myself for hoping for something that just went through the roof to end this selection, and instead there was a greater sobriety than I really wanted to hear at this point. I suppose that is real life intervening.

I loved the instrumentation in the soprano aria (Mvt. 8), especially at the point where the tempo picks up, until the end. I have to imagine singing the soprano recitative (Mvt. 7) and aria (Mvt. 8) as simply great joyful pleasure.

Julian Mincham wrote (May 13, 2008):
BWV 197 and the partially transmitted BWV 197a have been rather squeezed out by other topics this week--a pity as there are some fine movements here.

Francis bemoans the lack of contemporary information about how Bach worked and it is regrettable. However in works like this there are some clues. 197a/6 was a bass aria in D major utilising oboe d'amore? and continuo (perhaps the bassoon?) The reconstructed version for the wedding cantata (BWV 197/8) is a fourth higher to better suit the range of the soloist, now a soprano. Bach retains the obligato melody but gives to now to the violin and adds a simple but colourful accompaniment for two oboe d'amore almost always moving in parallel.

One guesses that the decision to change the soloist may have come first, the higher key now more suitable to the violin than the oboe. And perhaps Bach felt that the whole thing having been shoved up to G, the texture was a little on the thin side hence the addition of the oboes. Thus it would seem that several of the later compositional decisions may well have been for practical rather than for purely aesthetic reasons although Bach, being Bach, makes it work musically. Perhaps even the decision to change the soloist was essentially practical too, since the conception of the wedding version contains two recits and one aria for bass and Bach may have wished to even out the load.

The incomplete alto aria from the original work (BWV 197a/4) was for alto and in the wedding version Bach ascribes it to the bass---here a reasonable assumption can be made that the macrostructure is again left intact.. The key does not now need to be altered to accommodate the range? of the singer--it remains in G. However Bach gives the two flute lines to the violins and adds a fairly minimal oboe line. This becomes significant when reconstrucing the original alto aria (backwards, chronologically!) from the later one for bass---the oboe part should almost certainly be considered a later edition and ignored. There is precedent of course for Bach adding additional lines to what was originally a complete texture (e.g. BWV 169/5).

Also it would be a pity not to hear this aria in something as near to the original conception as possible; there are few enough containing a solo bassoon obligato line.

One point deriving from all this is Bach's great attention to detail when paraphrasing or re-arranging earlier movements; it is never a slap dash 'well that will have to do' approach. The fact that he did so carefully rethink his work for both practical and musical reasons probably gives rise to the myth (recently discussed) that the earlier versions were inferior.

Jean Laaninen wrote (May 13, 2008):
Julian Mincham wrote:
< Francis bemoans the lack of contemporary information about how Bach worked and it is regrettable. However in works like this there are some clues. BWV 197a/6 was a bass aria in D major utilising oboe d'amore? And continuo (perhaps the bassoon?) The reconstructed version for the wedding cantata (BWV 197/8) is a fourth higher to better suit the range of the soloist, now a soprano. Bach retains the obligato melody but gives to now to the violin and adds a simple but colourful accompaniment for two oboe d'amore almost always moving in parallel. >
Perhaps this is a strange question, but would changes in instrumentation have been made on the basis of whmight sound nicer at a wedding, or possibly on the basis of the size of the room where the performance was to be given?

Julian Mincham wrote (May 13, 2008):
[to Jean Laaninen] Jean Indeed there could have been a number of factors--including what may have been suggested by a different text (which personally I think was frequently a powerful factor) . I would only argue that it is possible in this particular case that pragmatic issues were at the foremost in his mind, but nothing's certain!

William Hoffman wrote (May 13, 2008):
[To Jean Laaninen] Increasingly, I think, Bach seemed more concerned about performing conditions, especially after his experience with the Dresden Orchestra, considered the best anywhere. At the same time, and the issues are interrelated, Bach was making major adjustments in his adaptations, both in terms of the abilities of the performers, and the adjustment to new curcumstances: performing space, purpose of the performance, performing resources, and collaborative conditions. The last is increasingly important after 1730, as Bach explores larger forms. Imagine the St. Mark parody (BWV 247) of 1731, which may have been Bach's first major wholesale parody, culminatng in the B Minor Mass (BWV 232). His residence was about to be remodeled and I believe that Bach called upon Picander to oversee the entire text (p.1732), perhaps Christian Weiss, Sr., the Passion sermon preacher to approve the chorales and the sermon emphasis on Psalm 22 (Mark contains all four OT prophecies), and lastly to CPEB and Meissner as his copyists.

For major weddings in churches, the same extensive and intenstive collaboration may have applied. Into this mix could be added the couple, their families and patrons (or their representatives) and the only limit could be costs. To the table could come favorite chorales, strophic songs, and devotional book passages. We now have many Thomas Church wedding librettos and service books for this period. As to Bach's musical interests, I believe that as he is planning the Gloria from his Mass in B Minor (BWV 232), he's looking for appropriate festive music. As we know, eventually, virtually all the numbers are parodies (the best of Bach) or models (Kyrie) from other music, perhaps Cavalli's Missa Concertata. Christoph Wolff told us last week that in Bach's adaptation of oratorios in 1734-35, the only limitation on parodies would be available supply of cantatas to be parodied though contrafaction, including for a possible lost Pentecost Oratorio ref, Alfred Dürr, Göttingen, 6/1961).

Jean Laaninen wrote (May 13, 2008):
[To Julian Mincham] Good point on the idea that the text might have been a reason for changes in instrumentation. This aspect is something I have not thought about too much yet.

Neil Halliday wrote (May 14, 2008):
Does Bach employ repeated note figures more than usual in this cantata?

Eg, in the opening chorus (Mvt. 1), in the animated violin parts and the fugue subject; in the alto aria (Mvt. 3), in the string accompaniment; and in the soprano aria (Mvt. 7), in the oboe d'amore accompaniment, the latter two being an unusual type of accompaniment in Bach.

The bass aria (Mvt. 6) is also rather distinctive, with its animated bassoon part which is however not an obbligato part - the parts for oboe and duo violins are equally significant.

Briefly, (judging by the BCW samples), I think Koopman [5] has the finest opening chorus, displaying the most finesse. Leonhardt [3] is a bit slow with the crude, splattering trumpets common in the H/L set. Leusink [4] has a rousing performance but with out of balance, booming timpani; however, I prefer these to the insipid, dead accoustic of Rilling's [2] timpani. Rilling [2], Leusink [4] and Koopman [5] all have a similar lively tempo. Leonhardt is noticeably slower.

Leonhardt [3] redeems himself in the alto aria (Mvt. 3), with a particularly engaging performance.

Rilling [2] and Leonhardt [3] are engaging in the bass aria (Mvt. 6); both have clearly articulated bassoon parts.

None of the sopranos really please, but Koopman [5] and Leonhardt [3] have very nice accompaniments.

I was pleasantly surprised by the first chorale from Leonhardt [3] (the only one sampled at the site), noting that Herreweghe was apparently responsible for the choral element.

Julian Mincham wrote (May 14, 2008):
[To Neil Halliday] Neil?? as to your opening question, a good point and ?I think the answer is no, not necessarily more than elsewhere.

I have found that it is very common for Bach to employ repeated note motives in choruses and arias when they are to be found in the chorales. In the case of BWV 197 both chorales employ repeated notes in groups of two (reasonably common but occuring 4 times in Mvt. 10) or groups of three (less common but occuring in Mvt. 5).

I think that there is plenty of evidence to indicate that Bach frequently trawled his chorales for musical shapes which he then adapted into motives used as the building blocks for arias and choruses.

Just one of many possible examples of this practice (again with the theme of repeated note motives) is BWV 10. The motive is particularly obvious in the chorale, coming in groups of 4 from the second bar. Bach's principal motive for the soprano aria (Mvt. 7) is built of three repeated notes (from bar 2 and dominating the movement). Again, the continuo line of the bass aria (Mvt. 6) is predominantly built from repeated note ideas. Even the alberti-like string figuration in the tenor recit is similarly constructed.

So I think that the conclusion is that if repeated note ideas are an important part of the chorale melody it is very likely that Bach will have used motives constructed around them in the other movements.
<>

Ed Myskowski wrote (May 16, 2008):
Interim report. I have the Harnoncourt LP [1], which is interesting for a number of reasons.

Most important to me, if to no one else:

(1) It is a relatively recent acquisition, in response to my offer from 2006 to provide respectful burial services for expired LPs. Respectful burial includes extending life for maximum additional listening. Thanks again, Old Dude! Offer hereby renewed to anyone else with unused LPs. My turntable is spinning in anticipation.

Other details:

(2) This performance has not yet been reviewed on BCML, despite its early date, September 1967. I will make an attempt to do it justice, as soon as possible.

(3) The line up is classic early HIP, including Alice Harnoncourt (solo violin), and Max van Egmond (bass).

(4) Record jacket has a photo of the recording venue and performers, perhaps the actual session for a complete take? What a concept (but note the <perhaps>)! Jackets and ties (except Alice, the only female), or uniforms for the boys. Wonderful stuff, and I believe we have accumulated a bit of genuine evidence (hearsay, actually, Max via Brad) that the dress code was specific for Harnoncourt, not just for the camera. Other photos with other conductors suggest it was not a tradition of the time on <The Continent>.

(5) A couple minor discographic corrections which I will take up oflist with Aryeh, but one is of more general interest. Kurt Equiluz is listed as tenor. He performs elsewhere on the recording (BWV 83), but not on BWV 197, which includes boy soprano as indicated, but also unnamed alto from the Vienna Boys Choir.

>)! came up in the flow of writing. Rearranged to !>) could it be a face equivalent for HIP? Never mind.

Thanks for the introductions, Francis. I am making an effort to pull my share of the load.

Ed Myskowski wrote (May 18, 2008):
Francis Browne wrote:
>Two weeks ago I included what I thought was a gentle admonition for more discussion of the week's cantata. Those whom I had not the remotest intention of reproaching sprung quite unnecessarily to their own defence but no new contributors appeared, and last week's excellent cantata received so little discussion that I cancelled a review of recordings for lack of interest.<
Great minds think alike. Or similar minds think the same. Either conclusion (as well many others) is possible from the evidence. I have decided to defer (but not cancel) detailed comments on the Harnoncourt LP [1] of last weeks cantata (BWV 197), which is an excellent performance of an excellent cantata. For the picky (I am one, for sure), there is a bit of exaggeration in that statement, since I know the cantata from the performance.

The anonymous boy alto is superb, for those who appreciate that rarity (unless one of the jacket-and-tie guys hanging out with Max van Egmond in the jacket photo is a ringer counter-tenor). As it turns out, the LP is not such a rarity, other than for the jacket art. It has been reissued on CD, although apparently not currently available. Whatever, I am grateful to have it, and it may ease the mind of the donor. Like I am worried, Old Dude.

A comparison with the Leonhardt issue [3] (from the H&L set) is a small detail, but exactly the sort of detail which belongs in the BCW archives. I will get to it, if no else does so sooner based on the CD reissue. That may turn out to be important, because the published timings are absurdly different: 28:20 printed on the LP jacket, but about 30:20 (by my analogue wristwatch with sweep second hand, for those who remember), and 31:39 (approx., from memory) in the BCW discography, presumably from the CD reissue.

In the meantime, an unreviewed recording from 1967 (according to my copy), subsequently reissued on CD, is an example of how much room for improvement we (BCML) have, even though we are already quite wonderful. Google Bach for info, and you find us first. That, like the reputation of the BBC, creates an obligation to strive for accuracy.

From the bench, resting, I appreciate how much energy goes into creating the weekly introductions. For the lurkers, you could simply say:

<I read your introduction. I listened to a recording. Thanks.>

Cut and paste acceptable. Identifying which recording, and a thumbs up or down opinion (I like it, I dont like it), is welcome, but not necessary.

Special hello to Terejia, thank you for writing often with unique ideas, for introducing new concepts of courtesy to BCML, for expressing yourself with confidence in English, and for too much more to list.

I have just now given an extra listen to the alto aria (Mvt. 3), in order to rethink my use of the word <superb>. Unusually good breath control, light vibrato, pleasing tone. Distinct from any counter-tenor I have heard. I stand by superb, without a comparative frame of reference.

The counter-tenor ringer possibility was mainly intended to be jocular, withdrawn. Not without a shred of possibility, however, as long as those boys remain anonymous. Thats another thread entirely.

Week of March 1: Cantata BWV 197a - Ehre sei Gott & BWV 197

Douglas Cowling wrote (February 28, 2009):
Week of March 1:
Cantata BWV 197a - Ehre sei Gott in der Höhe
Cantata BWV 197 - Gott ist unsre Zuversicht (parody of 197a)

BACKGROUND LINKS:
Links to texts, translations, scores, recordings and earlier discussions:

BWV 197a: http://www.bach-cantatas.com/BWV197a.htm

BWV 197: http://www.bach-cantatas.com/BWV197.htm

PERFORMANCE HISTORY:
BWV 197a: Christmas Day
1^st performance: December 25, 1728 or 1729 - Leipzig
2^nd performance: 1736-1737 Leipzig

BWV 197: Wedding (parody of BWV 197a)
1^st performance: 1736-1737 - Leipzig

RELATIONSHIP OF VERSIONS:
Cantata 197a was written for Christmas Day and survives in an incomplete manuscript. Bach later used two movements for the wedding cantata, ³Gott ist unser Zuversicht². The text is by Picander.

CANTATA BWV 197a:

1. Chorus: ³Ehre Sei Gott² [Dictum] music lost
Dürr suggests that Bach may have preceded the cantata with an instrumental sinfonia as he did with other cantatas from this period. It is unlikely that the music of BWV 197 was adapted from this cantata although BWV 197 does have the Christmas trumpets. Bach set the same biblical text for choir in the recitative in Part 2 of the Christmas Oratorio with strongly contrasting music for ³glory², ³peace² and ³goodwill.² That same contrast can be found in the opening of the ³Gloria² in the B Minor Mass and in the duet, ³Ehre sei Gott² from ³Unser Mund.² We don¹t have the music for this cantata, but the same musical contrasts in the setting of the text may have been used in this chorus.

2. Aria (?): ³Erzählet ihr Himmel² music lost

3. Recitative(?): ³O Liebe² music lost
The recitative may have been for alto if the later pairing of recitative and ria in this cantata is a model. It¹s worth noting that Bach¹s librettists do not specify particular voices for their texts even though there seem to be conventions: martial music for basses, ³soul² music for sopranos.

4. Aria (alto) ³O! du angenehmer Schatz²
partial music survives, parody in BWV 197
This aria is scored for 2 flutes, obligato bass instrument and continuo. The BGA suggests cello for the obligato bass but it is a bassoon in 197. The part calls for a virtuosic player. Although the key is the same, Bach¹s two versions are radically different: the scoring in 197 is solo oboe and bassoon with muted strings.

5. Recitative (bass): ³Das Kind ist mein² [music lost]

6. Aria (bass): ³Ich lasse dich nicht² = parody in 197
Scored for Oboe d¹amore and continuo, this spirited 6/8 bass aria is reworked in BWV 197 in fancier dress as a soprano aria with violin solo, 2 oboes d¹amore and continuo. It is interesting that the wedding version uses a much more lavish orchestra than the Christmas version.

7. Chorale: ³Wohlan! So will ich mich²
The chorale uses the tune of ³Ich freue mich in dir² which is one of the chorales which the congregation may have sung later in the service at communion (see Musical Sequence for Christmas Day below.) Did Bach precede this cantata with an organ prelude on this chorale?

CANTATA BWV 197:

Part One: ³Before the Wedding²:

1. Chorus: ³Gott ist unsre Zuversicht²
It would interesting to know for whose wedding this massively festive cantata was written: the scale and scoring is so lavish that it¹s hard to believe that any rich burgher¹s daughter would receive such a royal gift. A Bach family occasion? It definitely falls into the category of a ³full² wedding. There were only 31 such weddings during Bach¹s tenure in Leipzig (see Musical Sequence for Wedding below.) Were the wedding categories reflected in performance by particular choirs? This cantata must have been performed by Choir 1. After a tremendously exciting orchestral introduction full of splendid fanfares, choir develops a fugue on a spirited, syncopated theme which leads into new material for the return of the orchestral passage. The middle section is Oa capella¹ with the choir doubled only with the continuo and the orchestra adding snippets of the principal themes as interludes. A full da capo follows.

2. Recitative (bass): ³Goist und bleibt²
The libretto is a charming depiction of a happy 18^th century marriage, and one is irresistibly tempted to read Bach¹s own marital bliss into this superb cantata. The secco recitative shifts into arioso with a Owalking¹ bass: the ³path of life²?

3. Aria (alto): ²Schläfert allen Sorgenkummer²
This Osleep¹ aria was parodied from the secular Cantata BWV 249. The solo oboe has a charming lullaby over nodding strings. The B section is a complete contrast: a lively allegro depicting God¹s vigilant watch. The da capo returns to the opening sleepytime music. Bach rarely uses this kind of dramatic contrast in a da capo aria, unlike Handel who loved to shock his listeners. Bach¹s most arresting use of contrasting sections is ³Es ist vollbracht² in the St. John Passion.

4.Recitative (bass): "Drum folget Gott²
In this accompanied recitative, the strings begin with short secco chords, relaxing into sustained harmonies in the last four bars.

5. Chorale : ²Du süsse Lieb²
The first half of the cantata closes appropriately enough with the hymn ³Nun bitten wir den Heilgen Geist² as a prayer for the wedding rite which was about to take place. There is some question about the ceremonial of the Leipzig rite and whether the wedding vows still took place at the door of the church. (see Musical Sequence for Wedding below.)

Part Two: ³After the Wedding² (³Post copulationem² !)

6. Aria (bass): ³O du angenemes Paar²
The second half of the cantata took place after the vows and ring-giving but before the sermon and benediction. The movement is a parody from BWV 197a as discussed above.

7. Recitative (soprano): ³So wie es Gott²
None of the recitatives in this cantata are simple secco movements an indication of the work¹s lavishness. Again, the declamative opening moves into an arioso with a ³walking² bass on the Path of Life.

8. Aria (soprano): ³Vergnügen und Lust²
This stunning aria is a parody of the aria in BWV 197a. As discussed above, the violin solo played by Bach himself? transforms the source music.

9. Recitative (bass): ³Und dieser frohe Lebenslauf²
Another elaborate accompanied recitative has sustained oboes with punctuating strings chords.

10. Chorale: ³So wandelt froh²
Given the luxuriousness of the scoring throughout this cantata, one would hope for a bit more splendour in the closing chorale which uses the melody of ³Wer nur den lieben Gott² and does not specify orchestration (at least in the BGA).

MUSICAL SEQUENCE FOR WEDDING:

Weddings were classified in 3 categories and normally celebrated on Mondays:
1) Full with cantata [Bach¹s Choir 1?]
2) Half with motet [Choir 2?]
3) Quarter with hymns [Choir 3 or 4?]

There were only 31 full weddings during Bach¹s tenure in Leipzig.
The wedding rite was normally held at the church door while the blessing was at the altar, although it is not clear whether the entire rite was conducted at the front of the church in Bach¹s time.

The three chorales, BWV 250-252, with orchestral doubling, were the chorales prescribed for all weddings:
"Was Gott tut, das ist wohlgetan", BWV 250 ³Before the Wedding²
"Sei Lob und Ehr dem hoechsten Gut" BWV 251 - ³After the Wedding²
"Nun Danket Alle Gott², BWV 252 ³After the Blessing²
(scored for 2 horns, Ob, Ob d¹A, Strings)

Chorale Prelude on First Hymn
Hymn: "Was Gott tut, das ist wohlgetan", BWV 250?
or "In allen meinen Taten"
Chorale Prelude
Cantata Part One
Consent [at church door?]
Vows [at church door?]
Exchange of rings [at church door?]
Announcement of Marriage [at church door]?
Cantata Part Two
Chorale Prelude on ³Sei Lob und Ehr²
Procession to Altar:
Hymn "Sei Lob und Ehr dem hoechsten Gut", BWV 251?
Reading(s)
Sermon
Chorale Prelude on Hymn:
Hymn
Benediction [at altar]
Chorale Prelude on ³Nun Danket² [BWV 657?]
Closing Hymn: ONun Danket Alle Gott², BWV 252?

MUSICAL SEQUENCE FOR MASS ON CHRISTMAS DAY:
Tower bells rung at 6 am and again at 7 am:
The 5200 kg bell ³Gloriosa² (1477) (pitched in A) was rung only on festivals
Candles lit at 7 am,
Archdeacon of Leipzig officiates as celebrant; Deacon assists
Musicians must be in loft by final bell or be fined.

Organ Prelude on ³Puer Natus² (BWV 603 Orgelbüchlein?)
Settings by Bach or other composers before all chorales & choral works:
http://www.bach-cantatas.com/CM/Ein-Kind-geborn-zu-Bethlehem.htm )
Introit Hymn/Motet by Choir: ³Puer Natus In Bethlehem²
Settings by Praetorius or Schein are possible

Organ Prelude before Kyrie to establish key and cover tuning
Missa Brevis: Kyrie & Gloria (Plainsong Gloria intonation sung by Celebrant)
A concerted setting in Latin was sung from Christmas Day to Epiphany.
Bach¹s own missae breve are generally from his later tenure in Leipzig but may have been used with later performances of the cantata:
B minor (1733) used in B Minor Mass [only missa brevis with brass]
BWV 233 - F major (1738)
based on Christmas cantata ³Dazu ist Erscheinen² 2 horns
BWV 233a Kyrie (1708-1712)
BWV 234 A major (1738)
BWV 235 G minor (1738)
BWV 236 G Major (1738)

Collect/Prayer of Day sung in Latin plainsong by Celebrant
Choral Responses sung to four-part polyphony
from Vopelius collection ³Neue Leipziger Gesangbuch²

Epistle: Titus 2:11-14 (The grace of God has appeared)
sung by Deacon in German to plainsong
http://www.bach-cantatas.com/Read/Christmas.htm

Organ Prelude on ³Gelobet Seist Du² (BWV 314 or 604?)
Congregational Gradual Hymn of the Day (³de tempore¹,):
³Gelobet Seist Du, Jesu Christ ³
http://www.bach-cantatas.com/CM/Gelobet-seist-du.htm

Gospel choral responses sung in six-part polyphony from Vopelius collection
Gospel : Luke 2: 1-14 (Birth of Christ)
sung by Deacon in German to plainsong
http://www.bach-cantatas.com/Read/Christmas.htm

Organ Prelude on ³Wir Glauben All An Einen Gott² (BWV 1098?)
Congregational Creed Chorale:
³Wir Glauben All An Einen Gott² (Luther)

Organ Prelude before Cantata
First Cantata

Organ Prelude on ³Ein Kindelein So Löbelich² (BWV 719?)
Congregational Pulpit Hymn after the Cantata (Offertory)
³Ein Kindelein So Löbelich²

Sursum Corda sung in Latin in six-part polyphony
from Vopelius collection
Preface sung in Latin by Celebrant
Sanctus (without Benedictus)
A concerted setting was sung in Latin during Christmas week.
BWV 237 C major
BWV 238 D major
BWV 239 D Minor
BWV 240 G Major (arr?)
BWV 241 D Major (Kerll?)
Hand bells rung at the altar at the end of the Sanctus
Verba (Words of Institution) sung in German plainsong by Celebrant

Second Cantata ³sub communione² during Communion?
Unknown if by Bach or other composer;
Bach¹s motet ³Lobet den Herrn² has a traditional Christmas text.

Other congregational hymns during Communion:
introduced by organ prelude:
³Ich Freue Mich In Dir² (Ziegler)
³Wir Christenleut² (Fuger)

Final Prayer & Benediction:
sung with 4 part polyphony from Vopelius

Organ Prelude on ³³Ein Kind Geborn zu Bethlehem²
Final Congregational Hymn: ³Ein Kind Geborn zu Bethlehem²
German repeat of Introit chorale

William Hoffman wrote (March 3, 2009):
Correction: Intro to BWV 197a

Douglas Cowling wrote:
< In the commentary on the opening chorus of 197a, the second sentence should read:
It is unlikely that the music of 197 was adapted from this cantata although BWV 197 does have the Christmas trumpets. >
William Hoffman replies: Here is the original: "It is unlikely that the music of 197 was adapted from this cantata although 197a does have the Christmas trumpets."

The correction is the same, verbatum, as the original. And I agree with both statements!

I am putting together research on the lost first half of BWV 197a, the supposed original. I do think there is a strong connection between it and its "parody." Some amazing music has been suggested by competBach authorities for the lost first half. This week I'll do a "down-and-dirty" summary of the French Overture and the Sinfonia in Bach's cantatas, which could have played a role in the "lost" BWV 197a music. Stay tuned!

And, thanks again to Doug for his incisive words and accompanying service schedules which should stir some thought about connections and contexts. We still have much to discover and experience, especially within the context of Aryeh's recent thoughts.

William Hoffman wrote (March 4, 2009):
BWV 197a Realized!

CHRISTMAS: 197a, Ehre sei Gott in der Hohe [Chorus; Incomplete, parodied]
12/25/c.28 (Cycle 4); parodied, #4, 6 in BWV 197, Gott ist unsre Zuversicht, wedding c1736-37; partially lost (#1-3).
Sources: (1) score fragment dated to 1736-37 (NY priv., ?WFB; Epstein, Vienna 1894; (4) score fragment copy (SPK P.1054, ?WFB, Hauser).
Literature: BG XLI (Dörfffel 1894); NBA KB I/2, 39 ff (Dürr, 1957) sp. ed. (reconst.), ed. G. A. Theill (Forberg: Bonn, 1981): #1 = BWV 1068/1, #2 = BWV 62/2, #3 orig.
Text: #1-6, Picander P5 (1728, 1732); #7, Ziegler cle., "Ich freue mich in dir" ("I Rejoice in Thee") (S.4), mel. "O Gott, du frommer Gott" ("O God, Thou Pious God") (BWV 398).
Forces: ? SATB, 4 vv, 2 fl, 2 ob d'a, 3 tp, ti, str, bc.
Movements: chorus, 3 arias (?T, A, B), recs. (?A, B), chorale.
1. Chs. (?tutti): Glory to God in the Highest (Gospel, Lk. 2:14) (lost, ?=1068/1 French overture, c1729-31).
2. Aria(?T, obs, str): Tell, ye Heaven, the glory of God (lost, ?=62/2, Advent 1, 1725).
3. Rec. (?A): O love, that no love equals (lost).
4. Aria (A, fls, vc): O you, agreeable beloved (=197/6).
5. Rec. (B): This child is mine.
6. Aria (B, ob d'a): I await thee not (=197/8).
7. Cle. (?tutti): Well then, so shall I myself to Thee, O Jesus, hold.

Only all or part of some nine cantatas exist from Bach's so-called Picander fourth annual cantata cycle of 60 extant service texts of 1728-29. Some of the surviving music is parody - vocal music from sacred works, or instrumental adaptations of concerto movements, usually introductory sinfonias to church cantatas. Collectively, much of it is first-rate festive music which Bach revived. Beyond this motive, these church pieces performed between 1726 and 1729 presage Bach's pursuit of parodied works in the 1730s, ultimately achieving a marvelous Christological cycle of major works, yielding three oratorio Passions, at least three oratorios for major feasts, and five Mass works.

Turning to Christmas Cantata BWV 197a, initially presented in 1728 or 1729, Bach obviously had some marvelous music to set to traditional texts, possibly a "parody" (BWV 197a/1, 2; Z. Philip Ambrose translation):

1. Coro Ehre sei Gott in der Höhe, Friede auf Erden
und den Menschen ein Wohlgefallen.

2. Aria Erzählet, ihr Himmel, die Ehre Gottes,
Ihr Feste, verkündet seine Macht.
Doch vergesset nicht dabei
Seine Liebe, seine Treu,
Die er an denen Verlornen vollbracht.

1. Chorus(1) [Dictum]
Glory to God in the highest, peace be on earth and unto men a sign of good favor.
2. Aria
Be telling, ye heavens, of God's great glory,   Ye feast days, make manifest now his might. (d.c.)
But forget not, all the while,
His affection, his great faith,
Which he to them who are fallen extends.

The first two substantial movements could certainly have involved some first-rate festive music which, in its realization in the first half of the Christmas cantata, BWV 197a, would have been inappropriate for the parodied wedding cantata, BWV 197, in two parts, presented about the same time, 1736-37.

I have been unable to obtain the realization of BWV 197a, cited above, by the late Gustave Adolph Theill, Forberg Verlag Press (OOP). Theill, and the late Diethard Hellmann, accomplished, source-critical reconstructions - or realizations -- of various Bach cantatas and the St. Mark Passion. Hellmann, using the parody of the bass aria, 197/6, opening Part 2 of the wedding Cantata, easily duplicated the original, "O du, angenehmer Schatz"(Lk. 2:7) originally sung by an alto an octave higher as 197a/4, and published by Hänssler-Verlag.

Theill began his reconstruction by comparing the concise BWV 197a/1 Canticle text (Lk, 2:14) with the opening movement of Bach's previous (1725) Christmas cantata, BWV 110/1, with its concise text (Ps. 126:2f) by Georg Christian Lehms (the only biblical reference in his 1711 cantata texts) (BWV 110/1, Francis Browne translation):

Unser Mund sei voll Lachens und unsre Zunge voll Rühmens. 
May our mouth be filled with laughter and our tongue full of praise
 Denn der Herr hat Großes an uns getan.
 for the Lord has done great things for us.in

In the previous Christmas cantata opening, BWV 110/1, Bach had an established festive text which he wove into the main allegro movement of the French Overture to the Fourth Orchestral Suite, BWV 1069, a sort of text overlay, adding three trumpets and timpani, in addition to the four-voice chorus. Three years later, Bach could easily have told Picander to use the Christmas Canticle text so that he could weave it into the corresponding music in the opening French Overture of the Third Orchestral Suite, BWV 1068. Supporting this thesis is the fact that around 1729, as Bach assumed leadership of the Collegium musicum, he took his orchestral suites from Köthen and added three trumpets and timpani to key movements of Suites 1, 3, and 4, presenting them as intermezzi or entradas for secular vocal works at Zimmermann's Coffehouse.

Turning to Movement 2, BWV 197a/3, an aria, Theill examined arias from Advent and Christmas cantatas and found a vocal text correspondence with the spirited second movement, a tenor aria, from Advent Cantata BWV 62, "Nun komm der Heiden Heiland," 1724, from the chorale cantata cycle, an aria recently singled out in a BCW discussion. Here is the original text, author unknown, BWV 62/2 (Francis Browne translation):

Bewundert, o Menschen, dies große Geheimnis:
 Admire, mankind, this great mystery,
 Der höchste Beherrscher erscheinet der Welt.
 the highest ruler appears to the world. (d.c.)
 
Hier werden die Schätze des Himmels entdecket, 
Here the treasures of heaven are revealed,
 Hier wird uns ein göttliches Manna bestellt,
 here a divine manna is presented to us,
 O Wunder! die Keuschheit wird gar nicht beflecket. 
O marvel! Chastity can not be defiled.

Both arias, BWV 197a/2 (Lk. 2:14, Jn 3:126) and BWV 62/2 (Ps. 126:3), have the same number of lines, five, including the corresponding da capo two lines. However, the extant text of cantata BWV 197a/2 is not an exact parody, or text underlay, to BWV 62/2. It does not have the same meter or line length, especially in the second line, or the same rhyme scheme. As Bach scholars might say, Theill had to "shoehorn" Picander's text into the original words to get them to fit the music. Bach scholars also would be quick to point out that there are no examples of radical parody, or text underlay, in German, only so-called contrafaction of German from Latin, as Luther did in his German settings of the Latin Mass Proper and the Magnificat.

For BWV 197a/3, a recitative, Theill set the Picander text to his own realization, a procedure done by other Bach scholars, in similar situations (BWV 249a recitatives, Hermann Keller), sometimes doing semi-parodies from corresponding, existing recitative music.

As for the final four movements of the BWV 197a, the most accessible source is the Kalmus Study (Miniature) Scores, No. 858, six pages, beginning with the final 17 bars of the alto aria, BWV 197a/4, and the final three movements, recitative, aria (=BWV 197/8), and chorale (BWV 398). The study score also has BWV 196 and 197 in full.

I have not had the opportunity to examine Alfred Dürr's 1957 NBA KB I/2, Christmas Cantatas critical commentary. Other sources show that the BWV 197a surviving half-score was composed during the Picander Cycle, 1728-29. Of the other some eight other surviving Picander Cycle scores and parts, it appears that most went to Wilhelm Friedand may have been dispersed haphazardly. Some scores or parts sets survive while some scores were cut up and some parts sets broken up, sold and acquired as Bach remnants by souvenir collectors (Gerhard Herz, Bach Sources in America, 1984).

Beginning with Spitta, various scholars have suggested that since half of BWV 197a is lost (three folios or pages) what is missing could have involved not only the first three movements, based on Picander's printed text, but also, possibly, a sinfonia introduction.
For a long time, much speculation centered around Sinfonia BWV 1045 in D, a 1740s transcription of an earlier violin concerto. In addition, there were suggestions that Bach may simply have followed the opening sinfonia in BWV 197a with the duet, BWV 110/5 (same text in A Major), which itself is a contrafaction of the BWV 243a Magnificat Christmas interpolation, "Virga Jesse flourit" of 1723.

Most interestingly, the extant autograph score of BWV 197a could date to the same time as its parody, BWV 197, about 1736-37.

According to Yoshitake Kobayashi, "Zur Chronology der Spätewerke J. S. Bachs, 1736-50, Bach Jahrbuch 1988: 39 (my translation):

BWV 197a. verified through autograph watermark Weiss 86; writing characteristics: a, c, e, i. Dating mainly due to watermark, however it is uncertain; also the origin around 1729 does not seem impossible, compare above for this p. 10. The writing findings permit only a rough determination to approximately 1738.

English summary translation. Gerhard Herz, BACH, XXI/1, Spring 1990, p. 11: "ca. 1736/1737: BWV 197a: Ehre sei Gott in der Höhe - autograph score - (but perhaps as early as 1729)." Herz also lists (p. 11) Kobayashi's "Um 1736/37" citations of Cantata BWV 197 autograph score and Cantata BWV 171 autograph score (also Picander cycle) on the bases of similar watermarks and writing characteristics.

Alfred Dürr's definitive study, "Zur Chronology der Leipziger Vokalwerke J. S. Bachs," Bach Jahrbuch 1957: 18, cites but does not give specific performing dates for the nine church cantatas in Picander's cycle, published on 24 June 1728: BWV 197a (fragment), 171, 156, 84, 159, (Anh. 190, fragment), 145, 174, and 149.

So, to make a long story even longer, it's just possible that Bach repeated BWV 197a at the same time as his majestic sacred wedding parody, BWV 197 (with no specific date or couple determined) during 1736-37. It's quite possible that Bach utilized BWV 197a as a "proto" cantata, like a number of other sacred and especially secular cantatas, to meet specific, festive needs and then be source material for other works. This would explain why only one-half survives, was never part of his church cantata cycles, and was recycled or "canabalized" for a gala wedding.

Meanwhile, those present at the initial Christmas Day performance of BWV 197a (and a later revival?), on the basis of Bach's marvelous Christmas day surviving legacy, must have experienced a similar work. We now have the opportunity to explore this "fragment" and perhaps sense Uri Golomb's multiple approaches to Bach's "profoundly expressive" music, with a sense of generosity and awe.

Next: Fugitive Thoughts, "Overtures and Sinfonias-Foreplay and Diversion!"

William Hoffman wrote (March 5, 2009):
BWV 197a Fugitive Thoughts: Overtures and Sinfonias

Fugitive Thoughts, "Overtures and Sinfonias: Foreplay and Diversion!"

There are six Bach sacred cantatas for major occasions which begin with French Ouvertures:
BWV 61, Nun komm, der Heiden Heiland I, for Advent, 1716;
BWV 119, Preise, Jerusalem, den Herrn, for the Town Council, 1723;
BWV 194, Höchsterwünschtes Freudenfest, sacred dedication; later, Trinity Sunday;
BWV 20, O Ewigkeit, du Donnerwort I, for the First Sunday after Trinity, 1724;
BWV 110, Unser Mund sei voll Lachens, for Christmas, 1725;
BWV 97, In allen meinen Taten, unknown, possibly wedding, 1734;

All are for important festive services and, except for the first with only strings, BWV 61, have instrumental accompaniment with oboes or trumpets and drums. In three, BWV 20, BWV 61, and BWV 97, a chorale tune is overlaid on the ouverture. The ouvertures usually follow the tri-parte structure of an opening grave in duple or quadruple time with stately dotted rhythms; the middle is an extended, fast polyphonic section in triple or compound time; with the return of the slow introductory material at the end. In Bach's vocal settings, the chorus is featured in the elaborate middle section (ref. OCC:JSB, 1999: 349/354f).

These cantatas are mentioned in "Jeanne Swack's essay, "A Comparison of Bach's and Telemann's Use of the Ouverture as Theological Signifier" (pp. 99ff) in Bach Perspectives, Vol. 6, Concerted Ensemble Music, The Ouverture, ed. Gregory Butler, Univ. of Illinois Press, 2007.

It is possible that the lost opening movement of Christmas Cantata BWV 197a, Ehre sei Gott in der Höhe, c.1728, may have been modeled after the opening Ouverture to Orchestral Suite No. 4 in D, BWV 1069.

Many of these Ouvertures, including the opening of BWV 97, were composed originally in Köthen or even in Weimar (BWV 61), and expanded with chorus and additional instruments in Leipzig.

The origin, genesis and application of these cantatas with French Overtures for major occasions, as well as the Four Orchestral Suites, BWV 1066-69, reveal an interesting saga with pre-history, according to the extensive article in the program notes to the 2002 recording, "JSB: The Early Overtures: BWV 97a, BWV 119a, BWV 1066, BWV 1067a, BWV 1068a and BWV 1069a (Siegbert Rampe, Nova Stravaganza, MDG 341 1131-2). Rampe suggests that these introductory movements "express power," both secular and ecclesiastical, beginning with BWV 61 in 1714, where Bach integrated four-part vocal music into the orchestral texture. He did likewise in BWV 119 in August 1723, adding three trumpets and drums. Possibly, Bach was able to use Leipzig stadfeifer and members of the Collegium musicum in his Town Council annual cantatas at the Nicholas Church.  

In the past decade, Rampe and other Bach scholars have shown not only that Bach's Overtures (Orchestral Suites) originated in Köthen and possibly earlier, but also that two, BWV 1068 and BWV 1069, had the trumpets and drums added in Leipzig. First came BWV 1069 in the first movement "parody" for Cantata BWV 110 on Christmas Day 1725. Bach may have done likewise with the opening of BWV 1068 to open Cantata BWV 197a, about 1728. Finally, after he assumed directorship of the Collegium musicum in 1729, Bach added the trumpet and drum parts to the other movements of Orchestral Suites 3 and 4. Rampe also suggests that Bach then used these works "as introductory pieces for the secular cantatas he presented in the open air."

Sinfonias

Bach primarily composed sinfonias to open cantatas and cantata parts. They were written throughout his formative career from 1707, BWV 106 Sonatina, to the mid 1740s, BWV 1045, an adaptation of a movement from a "lost" violin concerto. Bach's sinfonia efforts were focused on works of "disparate character" in Weimar and to the Leipzig years 1725-31 when Bach adapted keyboard and Brandenburg concerto movements, says keyboard specialist Richard D. P. Jones in JSB:OCC, 1999:452.

Bach's earliest cantatas involve concise instrumental introductions (BWV 4, 150, and 196) for strings and basso continuo as well as the intimate, antique sound of pairs of recorders and violas da'gamba (BWV 106). That special chamber music sound continued in Weimar, notably with Cantatas BWV 152/1 and 18/1 as well as solo winds in BWV 12/1, 21/1, and 182/1. The festive Easter Sunday piece, BWV 31/1, with trumpets and drums, set the tone for similar workin Leipzig, BWV 120/a6=29/1 and 249/1, 2.

The Weimar "disparate character" pieces involve a chaconne (BWV 18), prelude and fugue (BWV 152) and concerto slow movement (BWV 12 and 21). French Ouvertures are found in BWV 75/1, 76/8, and 152/1. Bach's oldest son, Friedemann, is supposed to have played the concerted organ part adaptations from keyboard and Brandenburg concerti: BWV 35/1, 49/1, 52/1, 146/1, 169/1, and 188/1 in Leipzig. Special note is made of the pastorale sinfonias opening the BWV 208 Hunting Cantata, and opening the Christmas 2 Festival, BWV 248/10, with the shepherd's sound of pairs of flutes, oboes d'amore and hunting oboes. The last two categories show Bach, originator of the keyboard concerto, beating Georg Frideric to the punch.

Foremost among sinfonia recording collections is Helmuth Rilling's "Complete" Hänssler 2 CDs, 5286579, followed by Ludwig Wünscherman for Nonesuch, and E. Power Biggs' "Bach Book" and "Music of Jubilee."

In MVHHHO, I think many of the presumed "lost" Köthen instrumental pieces were transformed by the ever-calculating Sebastian in Leipzig and not only show up in the vocal works but also in the instrumental works as well. In addition, Bach wrote many ravishing orchestral ritornelli in his lyric vocal movements and moving, singing melodies in his concerto slow movements. Eat your hearts out - G. F. and Giacomo!

1: BWV 4/1 - Christ lag in Todesbanden; Easter, 1707; str, bc; Venetian style
2: BWV 12/1 - Weinen, Klagen, Sorgen, Zagen; Eas.Sun +3, 1714; ob, str, bc
3: BWV 18/1 - Gleich wie der Regen und Schnee; Sexagesima, 1715; 2rec, 4va, bc(+vc, bn)
4: BWV 21/1 - Ich hatte viel Bekümmernis; Tr.+3, 1714; ob, str, bc(+bn); trio
5: BWV 29/1 - Wir danken dir Gott; Council, 1731; conc.og, 3 tp, ti, str bc (orig. 1006/1)
6: BWV 31/1 - Der Himmel lacht (Sonata); Eas., 1715; 3tp, ti, 3ob, tai, str., bc(+bn)
7: BWV 35/1 - Geist und Seele wird verwirret; Tr.+12, 1726; conc.og., 2ob, obd'c, str, bc (=1059/1)
8: BWV 35/5 - Geist und Seele; same instr (=1059/3)
9: BWV 42/1 - Am Abend aber desselbigen Sabbats; Eas.+1, 1725; ob, str, bn, bc; dc (vn. work)
10: BWV 49/1 - Ich geh und such emit verlangen; Tr.+20, 1726; od'a, con. og, bc; dc
11: BWV 52/1 - Falsche Welt, dir trau' ich nicht; Tr.+23, 1726; 2hn, 3ob, str, bc(+bn) (=1046/1)
12: BWV 75/1 - Die Elenden sollen essen; Tr.+1, 1723; tp, 2 ob, obd'a, str, bc(+bn) (Fr. Ov.)
13: BWV 75/8 - Die Elenden; tp, str, bc (chorale adapt.)
14: BWV 76/8 - Die Himmel erzählen die Ehre Gottes; Tr.+2, 1723; oba'd, vad'g, bc (Fr. Ov.)
15: BWV 106/1 - Gottes Zeit ist die allerbeste Zeit; memor., 1707; 2rec, 2v'dg, bc; Sonatina
16: BWV 120a/5 - Herr Gott, beherrscher alert Dinge; wedding 1729 (=29/1)
16: BWV 142/1 - Uns ist ein Kind geboren (Concerto); Xmas, 1712-13; 2fl, 2ob, str, bc; ?Kuhnau
17: BWV 146/1 - Wir müssen durch viel Trübsal; Eas.+6, 1727;con.og; 2ob, obd'c, str, bc (=1052/1)
18: BWV 150/1 - Nach dir, Herr, verlanget mich, memorial, 1708; 2vn, bc(+bn)
19: BWV 152/1 - Tritt auf die Glaubensbahn; Sun.a.Xmas, 1715; fl, ob, vad'a, vad'g, bc (Fr.Ov.)
20: BWV 156/1 - Ich steh' mit einem Fuss im Grabe; Eph. Sun. +3; ob, str, bc (=1056/2)
21: BWV 169/1 - Gott soll allein; Tr.+18, 1726; conc.og, obd'a, obd'c, str, bc (d.c.=1053/1)
22: BWV 174/1 - Ich liebe den Höchsten; Pen., 1729; 2hn, 2ob, obd'c, str. Bc(+bn) (=1048/1)
23: BWV 182/1 - Himmelskönig, sei willkommen (Sonata); Pl.Sun., 1714; fl, str, bc
24: BWV 188/1 - Ich habe meibe Zuversicht; Tr.+21, 1728; obb.og; 2ob, obd'c, str, bc(=1052/3)
25: BWV 196/1 - Der Herr denket an uns; wedding, 1708; og, str, cb
26: BWV 208(b)/1=1046a - Was mir behagt; 1716; 2hn, 2fl., 2ob, bn, str, bc (=1046/1, 2, 4)
27: BWV 209/1 - Non sa che sia dolore; farewell, ?1729; fl, str, bc (d.c.)
28: BWV 212/1 - Mer Hahn en neue Oberkeet (Ouverture); burlesque, 1742; vn, va, bc
29: BWV 246a=1071=1046/1, 2, 4; cf. BWV 52/1, 208(b)/1
30: BWV 248/10 - Christmas Oratorio; Xmas 2, 1734; 2fl, 2ob d'a, 2obd'c, str,bc (pastorale)
31: BWV 249/1, 2 - Easter Oratorio, Eas., 1725; 3tp, ti; 2 rec., 2ob, obd'a, str, bc(+bn.) (lost con.)
33: BWV1045 - no title, 1743-46, opening sinf.; vn, 3tp, ti, 2ob, str, bc; frag. (lost vn.con.)

Cantatas BWV 197 & BWV 197a: Complete Recordings of BWV 197 | Recordings of Individual Movements from BWV 197 | Recordings of BWV 197a | Discussions

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Last update: ýMarch 23, 2009 ý06:16:30