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". 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, 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 cantata which he had composed in 1725. It is accompanied by oboes and strings and hasthree 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), indicates "a great and solemn ceremonious occasion, very likely the marriage of some 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 instrumental parts and employs the fugue subject in its instrumental episodes. The sc(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 nestling of the Saviour to the believer's bosom [Ex 1418]. Not too much injustice 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 what might sound nicer at a wedding, or possibly on the basis of the size of the roowhere 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.
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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: ýMay 14, 2008 ý13:09:49