Cantata BWV 31 - Discussions

Cantata BWV 31
Der Himmel lacht! Die Erde jubilieret
Discussions - Part 2

Continue from Part 1

BWV 31… a question

Boyd Pehrson wrote (November 8, 2002):
Toño Kolias Wrote:
< Unfortunately during my trip I was not able to do what I like most.. listening to "my" music, so to welcome myself home I had to choose one CD between so many! Difficult? No, not at all... I took straight away cantata BWV 31: Der Himmel lacht! Die Erde jubilieret, I guess that Bach had to drink something else than coffee to create that "explosive" coro :-). By the way I did read sometime somewhere (my memory fail even more than my pc) that Harnoncourt´s version [5] is not too good..any opinion? >

I'm happy that you like Cantata BWV 31 so much. I would like to reply to your question, but I would need more specific information. Who is the critic and where can their comments be found? Was the issue with one or more of the specific and unique "problems" inherent in that cantata and Herr Harnoncourt's treatment of those issues [5]? If you can provide more specific information it will help to focus on a proper reply. I would not like to assume you want an opinion on a general or vaguely defined issue.

Toño Kolias [Tenerife - Canary Islands] wrote (November 20, 2002):
[To Boyd Pehrson] First of all I'd like to apologize for such a slow reply, but my pc crashed again just after I sent my last mail...many shooting stars have fallen since then! Now I'll try to answer your question regarding the critics I did read about cantata BWV 31. Finaly after a long search I found the sources of such "remarks" about that particular cantata. The book is called J.S Bach - Discografia recomendada. Obra completa comentada. by Enríquez Martínez Miura. He says as follow:... Los muchachos del coro, principalmente los solistas se encuentran con problemas insolubles de tesitura: (The choir boys, mainly the soloists faced themselves with insoluble problems of tesittura). In my own opinion the wienner sangerknaben were in those days (1974) very "fit", were not they?. So, as I said in my previous mail that particular cantata is another of my "love one" (to be frank I have many) so, I would like very much to know your opinion in both Harnoncourt version [5] and other recordings in order to purchase it/them. Have this cantata been recorded by any other boy choir?. Now, I would like to thank Aryeh for that wonderful interview which I did enjoy very much indeed. Bravo! I cannot understand why Panito having such a unique voice was used to record ONLY: 9 "songs" as a soloist in his whole career (recit. BWV 163- aria BWV 163 - recit. BWV 167 - duetto BWV 167 - recit. BWV 171 - aria BWV 177 - recit. BWV 178 - Aria Missa Si menor : Qui sedes ad dextram Patris - Aria Missa en Si menor: Agnus Dei) plus his " Es is vollbracht" (a sample that has to be send to space as a proof of "perfection"...or was he send out of space to us ? :-) ). Am I missing any other of his recordings?. Before I go to bed I´d like to apologize again for my delay and wish you all a g´day!

P.D I did try to used others pc to send my mails to the groups with no results :-( .....now you know why my pc broke so often! :-)

Boys Pehrson wrote (November 20, 2002):
[To Toño Kolias] Your critic is very right if he indeed says "se encuentran con problemas insolubles de tesitura" or insoluble (unsolveable) problems of the tessitura. He is not necessarily pointing out inadequacies among the singers, for the key here is that any singer will have problems with this tessitura. This problem is inherent in this Cantata due to the way pitches were assigned in Bach's day. Harnoncourt is justified in his approach of his recording of Cantata BWV 31 [5]. The unsolveable problem of pitch is left 'unsolved' by Harnoncourt here, who tunes violins to original (Chorton) pitch- up a minor third, taking sopranos up along with it. Some critics decided this approach was too "doctrinaire" for modern tastes. Those that attempt to reslove the problem for us (Rilling [7]) merely force "the problem not to exist" somehow as my good friend once said it.

The Harnoncourt approach expresses two things - Harnoncourt's genius in applying the best solution that maintains the interesting features of this situation, and Bach's genius in exposing the difficulty in what it takes to create his Cantatas- under what conditions. The Harnoncourt recording is of great value, and is not "doctrinaire" by any means.

The critics of that Vol. 9 of the Teldec series which contains the Harnoncourt recording of BWV 31 all originally expressed excellent praise for it. These, according to the old (complete) Maleady Index to Record Reviews of 1975, include: High Fidelity, Gramophone, American Recorder, Music Journal, Records and Recording, and New Records, who all gave the Vol. 9 a rating of excellent. The Sunday Times of London is shown in Maleady as giving it only a rating of "good", but I read that STL article and author Felix Aprahamian calls it a musical treasury. He notes the organ obbilgato in BWV 31, and calls it sparkling. This too is what I would call an excellent review. Thus, the critics at the time this Teldec Vol. 9 came out fairly enjoyed the work. I think you have a real treasure there in Harnoncourt's version (to borrow the London Times reviewer's words). But it is your decision to know what your ears tell you is right for you. Yes the Vienna Boys were in top form in their singing of that BWV 31!

Regarding "Panito's" lack of being used... his comments show, as far as I can see, that once we give boys the chance to sing (especially boy altos) they will provide some of the most endearing performances for our recordings and stages. His performances are a great demonstration of what we missed in that Teldec series with Harnoncourt and Leonhardt using counter-tenors instead of the unique sound of boy altos...a sound that is not replicated by girls, women or men. I hope that someone will record the cantatas again using more boy altos along the way.

Juozas Rimas wrote (November 20, 2002):
Toño Kolias wrote:
< wonderful interview which I did enjoy very much indeed. Bravo! I cannot understand why Panito having such a unique voice was used to record ONLY: 9 "songs" as a soloist in his whole career >
I think the answer is given in the interview and the answer is simple – Paul Esswod :) [5]

To my mind, Harnoncourt's cantatas cycle would be MUCH better with another alto than Esswood. He had an exceptional tenor (Equiluz) and quite good basses but Esswood's ubiquity is tiring... :(

Boyd Pehrson wrote (November 20, 2002):
[To Juozas Rimas] I cannot say why I never tire of hearing tenor Equiluz sing Bach, his voice embodies "Bach" for me. Esswood (as "alto") lacked depth in his tone, and on high end seemed shrill at moments, and a bit boring on the low end of the scale. With flauto traverso and its richness, this was not the best mix of instruments. Boys singing alto from chest to head would have generated a richer tone quality to match the baroque instruments. One can compare the Esswood/Panito & Christian Immler differences on Teldec Vol. 39, where both Esswood and the boy singers appear variously in Cantatas BWV 164-169.

Johan van Veen wrote (November 20, 2002):
[To Boyd Pehrson] What matters is which singer is best suited for the job. Sometimes that could be a male alto, sometimes a boy alto. I think generally speaking Paul Esswood's interpretation was quite good, but the problem is his voice as such, in particular the constant tremolo. I much preferred René Jacobs to him.

As far as boy altos are concerned, my preferred alto is still Andreas Stein, who sang the solos in the Christmas Oratorio (BWV 248) which Gerhard Schmidt-Gaderecorded with the Collegium aureum. Although I think the Concentus musicus Wien was a much better orchestra, I prefer the Tölzer recording because of the choir and especially because of Andreas Stein, who does a far better job than Esswood in Harnoncourt's recording.

Boyd Pehrson wrote (November 20, 2002):
[To Johan van Veen] My comments regarding Esswood were centered on his BWV 164 in the context of what Panajotis was speaking about which I see I didn't note in my last post, and somone may have been lost as to why I brought up the flauto traverso.

To be sure Esswood has demonstrated great musicianship in the Teldec series, with super fluidity in his vocal range at times. I think the problems I mentioned are ones of style and not of ability. The best suited singers were not always available when Harnoncourt recorded, and unlike Rilling who sometimes waited ten years to get the right combinations of people and pre-recorded tracks together in studio, Harnoncourt moved forward with recordings under the best conditions of the recording date. Thus, using Esswood consistently must have provided some sort of constancy in the recording process. Harnoncourt said in his Jacobson interview that he never intentionally eschewed either women, boys or counter-tenors for any parts. Quite possibly in the business of such a vast undertaking the best suited singers were overlooked from time to time.

René Jacobs to me seems to have a greater depth to his tone. There is a richer texture there that is missing in Mr. Esswood's performances. But we are spoiled with these fine musicians- to pick over them looking for flaws is a bit overbearing of me. I admire them all- and having tried counter-tenor in the morning shower and finding the medical rescue team knocking at my door to see if I am all right, is a little embarrassing... (just joking). Thus I do appreciate the haunting counter-tenor sound, but am not above picking at the performances.

Toño Kolias wrote (November 21, 2002):
[To Boyd Pehrson] Thanks very much for your fast reply and educative explanation!. I totally agree with you, after trying to imitate to any of the singer (I do not dare to do it in the shower but in the car, windows well close and watching the driving mirror) in Harnoncourt recording, one realize how good are every one of them. I also very happy to know that Harnoncourt recording of BWV 31 is such a treasure! Trust my ears? No, I don´t trust them very much...a week ago I went to bed and played the Mass in Si Menor (BWV 232) and I could not close my mouth listening with "the same ears" such an immense creation! It was night of complete happiness! Next morning I jumped up out of bed, open the window and listened cantata 1 (How brightly shines the morning star)...what a day! :-)))

P.D Johan, I'm looking forward to purchase that Christmas Oratorio (BWV 248) CD to listen Andreas Stein voice.

Discussions in the Week of April 24, 2005

Thomas Shepherd wrote (April 23, 2005):
BWV 31: Introduction

The cantata for discussion this week (April 24-May 1) is:

Cantata BWV 31
Der Himmel lacht! Die Erde jubilieret
Event in the Lutheran church calendar: Cantata for Easter Sunday

Composed: Weimar, 1715; Re-fashioned for re-performances in Leipzig in 1724 and in 1731 | 1^st performance: April 21, 1715 - Weimar; 2^nd performance: April 9, 1724 - Leipzig; 3^rd performance: March 25, 1731 - Leipzig

Link to texts, commentary, vocal score, music examples, and list of known recordings: http://www.bach-cantatas.com/BWV31.htm

Link to previous discussions:
http://www.bach-cantatas.com/BWV31-D.htm
http://www.bach-cantatas.com/BWV31-D2.htm

Streamed over the internet, it is possible to hear Leusink's version of the whole cantata [11]: http://www.bach-cantatas.com/Stream/BWV31-Leusink.ram

Link to liturgical Readings: http://www.bach-cantatas.com/Read/Easter-Sunday.htm

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From Tadashi Isoyama's 1997 notes for vol 6 of Suzuki's Cantata cycle on BIS records [9]:

"With the exception of the Easter Oratorio, only two of Bach's cantatas for Easter Day are still in existence: BWV 4 and BWV 31. Both of these works are relatively early but offer a wide range of contrasts, and were often reperformed in Leipzig.

"Unlike BWV 4, which looks back on the Passion through a Lutheran chorale text, BWW 31, which uses a libretto by Salomo Franck, is a true festival piece, requiring three trumpets, timpani, three oboes and an oboe da caccia, which captures the great rejoicing of Jesus's resurrection. This rejoicing is transformed into fervent hope of
participation in the resurrection of Christ, at last leading to a great chorale singing of death and eternity. The cantata was first performed on 21^st April 1715, when Bach had just turned 30. It was heard again the very next year…

"The cantata opens with a movement entitled Sonata, which is a concerto-like instrumental overture. Dancing 6/8 metre here is evocative of the Brandenburg Concertos. As this movement ends, the chorus introduces the shouts of 'The heavens laugh! The earth rejoices!' The Allegro C major chorus uses short blocks and fugue-sections in alternation to present very lively images of 'laugh' and 'rejoice'. After an Adagio section in A minor, which refers to the grave and rest, and an Allegro section, which praises the Most High, the opening idea returns to close the movement.

"Next the bass announces Christ's resurrection (Recitative, number 3). Bach's meticulous use of tempo changes, perfectly suited to the words they accompany, creates an ideal musical rendition of the Bible verse. The bass continues in the fourth movement to an aria in C major with basso continuo, marked Molto adagio. Images from the text, painting the Lord as 'Prince of life, strong Champion,' are powerfully declaimed. Schweitzer called this 'rhythm of solemnity'; a sharply demarcated rhythm is brought out here.

"With the tenor's bright exhortation to the soul to look to the new life in spirit, the perspective changes in the fifth movement to portray the path of the believer. Here follows a sprightly G major aria for full strings (number 6), in which the believer becomes 'der neue Mensch' ('the new man'), free from the grip of sin.

"From this point on, the cantata becomes more spiritual in focus; the narration is from the viewpoint of the soul in the first person (number 7, soprano recitative). The conviction of participation in the resurrection of Christ and in the attainment of everlasting life is here emphatically presented. The soprano aria in the eighth movement (C major) is filled with a mysterious brightness. The oboe obbligato with its echo effect blends with the solo soprano voice, and in the background the violins and violas accompany her with the melody of the closing chorale ('Wenn mein Stündlein vorhanden ist' [When my last hour is at hand]).

"The last movement of the cantata, the above mentioned chorale, contains a remnant of the exuberance of the opening movement. In an exquisite emphasis on the attainment of eternal heavenly life as the true joy of the Resurrection, the first trumpet and first violin soar above the chorus, shimmering like the halo for which the soul waits."

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I'm sorry that the only musical examples I can offer week by week are from the same four cantata cycles. The first two movements were analysed in some depth in the last round of discussions so this week's recordings are of the hauntingly beautiful soprano aria (and ch) Letzte Stunde, brich herein - the eighth movement of the cantata.

Rilling: Arleen Augér [7]: http://www.bach-cantatas.com/MusEx/BWV31-M8-Rilling.mp3

Harnoncourt: Boy Soprano of the Wiener Sängerknaben [5]: http://www.bach-cantatas.com/MusEx/BWV31-M8-Harnoncourt.mp3

Suzuki; Monika Frimmer [9]: http://www.bach-cantatas.com/MusEx/BWV31-M8-Suzuki.mp3

Leusink: Ruth Holton [11]: http://www.bach-cantatas.com/MusEx/BWV31-M8-Leusink.mp3

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I hope to see many of you enjoying the music and joining in the discussion about this aria or any other aspect of the cantata.

Doug Cowling wrote (April 23, 2005):
[To Thomas Shepherd] I first heard this cantata as a teenager and have for ever been a fanatic for Bach's grand festive scoring for three trumpets and timpani.

It struck me listening to the opening that we have much the same situation as "Gott ist mein König" (BWV 71) with the Sonata providing the singers with the key of the chorus which begins ex nihilo. Perhaps an argument for the Gott ist Mein König beginning with a brass canzona. I'm also wondering now about other cantatas such as "Es Erhub Sich Ein Streit" which begin without any orchestral introduction.

The grand style of the cantata seems so appropriate for the principal day of the church year. The contrast with "Christ Lag in Todesbanden" is striking. Has there been any discussion that BWV 4 might be a cantata "sub communione" performed during the reception of communion? McCreesh suggests that "Schmucke Dich" is another communion cantata. Certainly, the references to the Passover feast in BWV 4 make it a likely candidate.

By the way, the "laughing" runs in the opening chorus are horrifically difficult to sing. You can easily sound like a Valkyrie jumping from rock to rock.

Peter Smaill wrote (April 24, 2005):
'The progression from the riotous laughter of heaven and earth to the intimate and affecting close provides a varying and dramatic scheme of arresting significance and human interest, and Bach's magical touch has endowed every phase of it with immortal art' (Whittaker on BWV 31.)

lt's tempting to stop there regarding "Der Himmel lacht, die Erde jubilieret". However, scholarship has moved on since Whittaker, and more points of interest emerge - if it were possible adding to the significance of this work which, contains one the greatest choruses (BWV 31/2), most beautiful arias (BWV 31/8), and noblest chorales (BWV 31/9).

The development of interest on the textual front is the alignment by Eric Chafe of this cantata with the New Year piece, BWV 41 ("Jesu nun sei gepreiset"), and also less directly with BWV 1 ("Wie schoen leuchtet) BWV 140, BWV 49 and BWV 61. The idea expressed by Chafe as the key, is the "Angfang und Ende": the "beginning and end "; that Jesus is made, the "Alpha and Omega", "A und O."

This allusion to Jesus derives from the quasi-apocryphal Book of Revelation and finds expression particularly in BWV 31 and BWV 41. One is for Easter day; the other New Year. BWV 1 is set for the the Annunciation; BWV 61, the first Sunday in Advent. Only BWV 49 ("My treasure is the A and O"), for the twentieth Sunday after Trinity, is not a major date in the calendar. As we discussed, BWV 140 is for the end of a very prolonged Trinity. Chafe detects in the alignment of the "A and O" ideas, alternately the "Morningstar "concept, a deliberate marking out in Bach's libretto of the order of salvation implied by "Anfang und Ende" each time it is found on a significant and related date in the liturgical year.

In BWV 31, the A und O idea comes immediately after the dialogue of heavenly trumpets and earthly choir in the Chorus 31/2. Imagine the effect in the high gallery of the Himmelsburg in Weimar on Easter Day!

The allusions to "Death's prison" resonate with "Durch deine gefaengnis" in the SJP (BWV 245). Bach accommodates the theologically competing emphases regarding the Resurrection; both the idea of "Christus Victor" (breaking out of prison, breaking the bonds of sin, taking the keys of hell, mighty warrior); and that of Atonement/sacrifice (emphasising the efficacy of the wounds of Jesus, suffering with Christ, the unlocking of the door of Heaven), are found together, or rather, in sequence as the narrative progresses.

A fuller discussion of these tensions can be found in Jaroslav Pelikan's book "Bach among the Theologians", where he contrasts the emphasis in the SJP (BWV 245) and SMP (BWV 244) and notes that the 'Christmas Oratorio' (BWV 248) in its final chorale conflates triumphalist text/ trumpets with the sacrificial theology of the chorale which includes "O haupt von Blut und Wunden." But it also appears to me that Bach is also, in this early collaboration with Salomo Franck, also balancing sacrificial and triumphalist imagery.

Unusually this libretto has two references to colours; the red-sprinkled robe (from Isaiah, OT), and the purple wounds; perhaps derived from the "purple cloak" in Mark, NT). I read once that colour /color is absent from the Gospels (except for white and purple); and thus rare too in the cantata texts, despite the references to extra-biblical mystical imagery.

The contemplation of death in the midst of Easter joy suprises some commentators, bringing forth from Bach the lovely "Letze Stunde, brich herein" (BWV 31/8). As with other sterbenlied, pizzicato is used, when a repeated monotone in the bass, suggests the ticking of clocks and the passage of time. The theme of renewal, the "neue Mensch" appears, as in the schlusschoral of BWV 22, the probe cantata :

"Ertodt uns durch dein Gute
erweck Uns durch dein Gnad ;
Deb alte menschen kranke,
Dass der neu leben mag
wohl hier aug dieser Erden..."

("Mortify us through thy Goodness
Awake us through thy Grace
Chasten in us the old man
That the new life may live well here on earth...")

Thus it is that this cantata provides us not just with a musical feast, but a theological one in which libretto and setting illustrate the antitheses of old man and new life, beginning and end, victor and victim, sinner and saved, living and dying, today and eternity, sleeping and waking, heaven and hell.

Were there any other (now lost) Cantatas for Easter Day? it is difficult even with Bach to imagine another production outshining this brilliant work.

Doug Cowling wrote (April 24, 2005):
Peter Smaill wrote:
< This allusion to Jesus derives from the quasi-apocryphal Book of Revelation and finds expression particularly in BWV 31 and BWV 41. >
The Book of Revelation has always been one of the canonical books of the New Testament.

This cantata is one of those rare instances of Bach writing for five voice choir (SSATB). The most notable other examples are in the Magnificat (BWV 243) and the Mass in B Minor (BWV 232). Is there any significance to Bach's choice of scoring?

Peter Smaill wrote (April 24, 2005):
Bach and the Book of Revelation

[To Doug Cowling] Doug Cowling has spotted that I hedged my bets on the Book of Revelation, calling it quasi -apocryphal. It is indeed as he says historically a canonical book of the Bible, but is the most challenged right from thbeginning and even today scholars doubt its status.

St Jerome never accepted it as part of the Bible; his view found support in Luther and only by Bach's time had Revelation been accepted into mainstream Lutheranism.

A fuller set of references would include:

Cantata Imagery / (text in Revelation)

BWV 49, BWV 31, BWV 41 etc.
A and O (2:10)

BWV 61/4 Jesus knocking at the door (3:20)
BWV 21/11 The Lamb that was slain (5:11-12)
BWV 50/1 Casting down of the accusers (12:10)
BWV 60/4 Blessed are the dead who die in the Lord (cf Brahms) (14:13)
BWV 106 He who testifies says, "Come, Lord Jesu" (22:20)

The affinity of Revelation with mystical language helps to explain the move within Lutheranism away from the rejection of this Book as inauthentic, to the position where Bach's librettists could use its texts. The composer almost invariably produces settings (either of the words or in the relevant cantatas overall) of exceptional musical quality.

These texts help to confirm that Bach did not simply churn out Cantatas, sometimes striking lucky with the effect, but responded to the nature and quality of the sources and images which he handled. in BWV 31 Salomo Franck gave precisely the quality of libretto allowing Bach to achieve an outstanding musical tour de force.

Thomas Braatz wrote (April 24, 2005):
Doug Cowling wrote:
>>This cantata is one of those rare instances of Bach writing for five voice choir (SSATB). The most notable other examples are in the Magnificat and the Mass in B Minor. Is there any significance to Bach's choice of scoring?<<
In keeping with its editorial policy ('aus letzter Hand'= the last version available represents the composer's final intention) of ascertaining and printing the latest version (often they do print earlier versions as well as later versions), the NBA, in this instance presents BWV 31/2 as SSATB. As David Schulenberg (OCC) determined, it is 'the only such mvt. in Bach's regular Sunday cantatas' [actually, Easter is anything but a 'regular' Sunday!] A glance at the BWV (Alfred Dürr, et al, 1998) will inform the reader that this cantata is for SATB as far as the choral forces are concerned. Interesting! To find out what has really happened here, it is necessary to consult the NBA KB I/9 pp. 34ff for Bach's original intentions on April 21, 1715. Even here the editor (Alfred Dürr in 1986) came to the conclusion (a 'wild' guess without any evidence to back it up other than that Bach once performed this mvt. in 1731 with a second soprano part) that among the missing vocal parts there must have been two soprano parts [p. 44). Fortunately, on p. 35, the NBA KB gives the necessary evidence in the form of an autograph [!!!] title page from 1715 which states quite clearly:

Feria 1 | Pashatos. | Der Himmel lacht, die Erde jubilieret | a | 4 Voci. | 3 Trombe | Tamburi | 2 Hautbois. | 2 Violini | 2 Viole | 3 | Continuo | di |
Joh. Seb. Bach.

Based upon this, we can assuredly assume that the 1^st performance of this work had only a single soprano part.

I would rather doubt that anyone has attempted reconstruct the original of this mvt., or does anyone know of any recording where the sopranos are not split into two parts?

Doug Cowling wrote (April 24, 2005):
BWV 31: SATB Chorus?

Thomas Braatz wrote:
< Feria 1 | Pashatos. | Der Himmel lacht, die Erde jubilieret | a | 4 Voci. | 3 Trombe | Tamburi | 2 Hautbois. | 2 Violini | 2 Viole | 3 | Continuo | di |
Joh. Seb. Bach.
Based upon this, we can assuredly assume that the 1^st performance of this work had only a single soprano part.
I would rather doubt that anyone has attempted reconstruct the original of this mvt., or does anyone know of any recording where the sopranos are not split into two parts? >
Looking at the opening chorus, I find it impossible to believe that it was ever in four parts. The second soprano line is no "ad placitum" part but an integral part of the counterpoint. In fact, the fugal exposition of the chorus bears a resemblance to "Fecit Potentiam" in the "Magnificat" (BWV 243) where the fugal subject is equally long and the other voices enter with homophonic "fanfares" of "fecit potentiam" each time a new point of imitation enters; in this cantata the shouts of "Die Himmel lacht" mark the fugal entries. If this was ever a four-part version, it must have a radically different piece of music.

Thomas Braatz wrote (April 24, 2005):
Doug Cowling wrote:
>>Looking at the opening chorus, I find it impossible to believe that it was ever in four parts.<<
What you may find impossible to believe about Bach's abilities to transform and reuse his existing compositions as needed may arise from an underestimation of Bach's abilities.

>>If this was ever a four-part version, it must have a radically different piece of music.<<
Your determination seems to have overlooked and fails to consider some very important aspects of Bach's compositional techniques such as "Choreinbau"/"Vokaleinbau" or in the case of instrumental compositions used in the cantatas, the fuller arrangements of movements from the Brandenburg Concertos, which illustrate how Bach frequently expands already existing material.

The NBA KB believes that, based upon the available evidence, BWV 50 "Nun ist das Heil" was originally the 1st mvt. of a church cantata and would not have been scored for a double choir, but rather for SATB.

Consider also what you hear in the final instrumental conclusion of BWV 31/2...now, suddenly, the 1^st trumpet plays the fugal theme (after the 3 trumpets had only been used for short flourishes throughout the mvt.) What could have prevented Bach from having used the same 1st trumpeter in playing the Soprano I fugal entries in the body of this piece?

The only original parts from the Weimar period are: 1^st, 2^nd, and 3^rd Oboes, Tenor Oboe ("Taille"), Bassoon, 1st and 2nd Violins and Violoncello.

Crucially missing are all the vocal, trumpet, and remaining string parts (1^st and 2^nd Viola).

The first real evidence that a 2^nd Soprano part was added comes from a performance in 1731.

From all appearances at the present time, and the BWV confirms this, BWV 31 was originally composed for only 4 vocal parts and 16 years later Bach added the additional soprano part.

Doug Cowling wrote (April 24, 2005):
[To Thomas Braatz] To begin, I have never underestimated Bach abilities to transform and transfigure pre-existing music! I could well accept that "Nun is das Heil" was a single choir piece, just as the antiphony of "Osanna in exclesis" in the B Minor Mass (BWV 232) is engineered from another piece.

However, if you look at the second soprano part in Cantata BWV 31, you will see that its tessiatura lies in a "mezzo" range between the usual soprano and alto ranges. This was never the top vocal part of the chorus. Neither is there any Bach choral work in which the first entry of the fugue is taken by an instrumental line. There are plenty examples of the FINAL entry being taken by say, a trumpet, but the first entry? - never. The whole structure of the counterpoint in this cantata argues against that it was a four-part fugue. I have no doubts that Bach could have reworked this movement from an earlier four-part version, but it would have been a very different piece.

Thomas Braatz wrote (April 24, 2005):
Doug Cowling wrote:
>>However, if you look at the second soprano part in Cantata BWV 31, you will see that its tessiatura lies in a "mezzo" range between the usual soprano and alto ranges. This was never the top vocal part of the chorus.<<
Performing pitch must be considered here as well. In Weimar in 1715, according to Bruce Haynes in his article on pitch in the OCC, a' was approximately equal to 390 Hz in "tief-Cammerton" but in Leipzig Bach used "Cammerton" = 415 Hz. Correct me if Iam wrong about this, particularly since Ulrich Prinz has recently (2005) criticized and seriously questioned numerous aspects of Haynes' theory on pitch.

>>Neither is there any Bach choral work in which the first entry of the fugue is taken by an instrumental line. There are plenty examples of the FINAL entry being taken by say, a trumpet, but the first entry? - never.<<
Generally this seems to be true when Bach has a 4 part choral fugue beginning in the bass and then adds a fifth, glorius, crowning entry by the 1^st trumpet at the end of the ascending fugal pattern.

Take BWV/2 now an examine it carefully:

I. descending fugal entries (only 3!!)
mm 1-7 treated just as mm 63-71 at the very end

II. ascending 5 part fugue
mm. 8-21 at m 15 the 1st trumpet plays the 5th entry, thus replacing the 1st soprano part.

III. repeat of sections I & II above
mm 22-42

IV. Adagio all but trumpets play colla parte with choir
mm. 43-50 Block chords

V. Allegro descending fugal entries (no trumpets)
mm 51-62

although not Bach's usual practice (Bach is quite experimental in his compositions), the first entry by the 1^st violin, 1^st oboe and the 1st trumpet in unison would certainly give a strong 1^st entrance of the fugal them followed then by the SATB entrances.

VI. Ritornello by the instruments alone as written.
mm63-71

>>I have no doubts that Bach could have reworked this movement from an earlier four-part version, but it would have been a very different piece.<<
Not that very different! The music remains essentially the same and still achieves it original glorious effect.

Teddy Kaufman wrote (April 24, 2005):
[To Thomas Braatz & Doug Cowling] Music, Painting and Sculpture mean Art, respectively produced by musicians and artists.

During the evolution of painting and sculpture, it has been a common and a well accepted habit that the artist "reworks" or reuses his own previous motives, figures , backgrounds and even landscapes.

I don't think that Composers are an exception nor Bach in particular. Am I wrong ?

Doug Cowling wrote (April 24, 2005):
Thomas Braatz wrote:
>>(Braatz) Performing pitch must be considered here as well. In Weimar in 1715, according to Bruce Haynes in his article on pitch in the OCC, a' was approximately equal to 390 Hz in "tief-Cammerton" but in Leipzig Bach used "Cammerton" = 415 Hz. Correct me if I am wrong about this, particularly since Ulrich Prinz has recently (2005) criticized and seriously questioned numerous aspects of Haynes' theory on pitch.
(Cowling) Neither is there any Bach choral work in which the first entry of the fugue is taken by an instrumental line. There are plenty examples of the FINAL entry being taken by say, a trumpet, but the first entry? - never.<<
(Braatz) Generally this seems to be true when Bach has a 4 part choral fugue beginning in the bass and then adds a fifth, glorius, crowning entry by the 1st trumpet at the end of the ascending fugal pattern. >
Even with considerations of tuning, the Soprano 2 line in Cantata BWV 31 lies in a mid-point between Soprano 1 rarely approaching the top of the staff and frequently including middle C. That is not the tessiatura of the usual soprano line in Bach. Normally, middle C does appear but G's and A's at the top of the staff are characteristic of Bach's soprano range.

Having just pronounced that Bach never begins a choral fugue with an instrumental line, I'm reminded that Cantata BWV 43, "Gott Fähret Auf" begins with the trumpet on the fugal theme and the strings entering with at least one answer before the choral bass enters with what I think of as the beginning of the fugue (it rises through the choir). I only have the vocal score, so it's not clear what Bach is doing. Would someone check the full score and see if the instrumental opening is the real beginning of the counterpoint or a faux-fugue introduction?

Thomas Braatz wrote (April 24, 2005):
Doug Cowling wrote:
>>Even with considerations of tuning, the Soprano 2 line in Cantata 31 lies in a mid-point between Soprano 1 rarely approaching the top of the staff and frequently including middle C. That is not the tessiatura of the usual soprano line in Bach. Normally, middle C does appear but G's and A's at the top of the staff are characteristic of Bach's soprano range.<<
The correct word is 'tessitura' (which does not simply equate with 'vocal range.') Along with the change in pitch, consider also that Bach probably had some special male 'Concertisten' singing these soprano parts in Weimar. Their ranges may have been somewhat different (very likely a wider range than regular boy sopranos.) When Bach 'reperformed' this mvt. in 1724 in Leipzig, he probably discovered that it did not work as well as he might have expected (too demanding for the Thomaner boys, hence the revision (additional soprano part) in 1731.

>>Having just pronounced that Bach never begins a choral fugue with an instrumental line, I'm reminded that Cantata BWV 43, "Gott Fähret Auf" begins with the trumpet on the fugal theme and the strings entering with at least one answer before the choral bass enters with what I think of as the beginning of the fugue (it rises through the choir). I only have the vocal score, so it's not clear what Bach is doing. Would someone check the full score and see if the instrumental opening is the real beginning of the counterpoint or a faux-fugue introduction?<<
The fugal theme is first announced by the 1st trumpet, then it appears only in the continuo, after which only the vocal bass sings the subject once more as the beginning of the ascending fugue which ascends BTAS and finally, the crowning effect in the 1^st trumpet (all by itself). Now, after the trumpet, at the end of m. 54 the soprano has a slightly changed version of the subject which is only an approximate (modified) imitation of the fugal subject. The other voices enter with this subject in descending order ATB.

It is easy to see how Bach could easily modify the fugal subject so that it would not force the voices (or even instruments) out of their normal ranges.

Eric Bergerud wrote (April 25, 2005):
[To Peter Smaill] I'm not sure that Luther ever rejected Revelation. When first translating the Bible, Luther was still to some extent, a "reformer" and a scholar. He didn't reject Revelation, but recognized the tradition of books "spoken against" and those accepted by early Church fathers as unquestionably accurate. As always Luther was good with a quip. Frustrated by the complex symbolism he commented: "A revelation should be revealing."

According to Luther scholar Mark Edwards (former head of St. Olaf College, one of the excellent small and expensive liberal arts colleges in Minnesota) Luther's attitudes toward the book changed greatly as he turned from reformer to revolutionary. When the gloves came off Luther was quick to employ images directly from or associated with Revelation (Anti-Christ, Whore of Bablyon) in his polemics directed toward Rome. Some of the woodcuts Luther used in his editions of the Bible and also in his polemics exploit these images with full impact. (The earthiness of some of Luther's works was nothing unusual. The sainted Thomas Moore replied in exactly the same type of language.) Edwards contends as Luther's life progressed he indeed became influenced by millennial thought and spent much time trying to decipher the more opaque symbols found in Revelation - I bet that gave him a headache. In any case, Luther lived, for his era, a long life. And like many people of genius, particularly individuals prolific with words and speech, it can be tricky to look for consistency in Luther's teachings. As might be exepcted the Church replied in kind. Obviously Luther was pictured as the Anti-Christ. Some early Jesuist writers speculated that the Reformation (if that's the right word) might herald the "end of days" - quite a departure from Augustine. People did take these thing seriously. Oddly this period was one of the few prior to th19th century where Revelation was looked at as some kind of literal road map toward the end of time. Now such stuff is commonly encountered in fundamentalist sects.

Be that as it may, BMV is another wonderful cantata and certainly doesn't conjure up any feeling of coming apocalypse. I listened to versions recorded by Leusink [11] and Rotzsch with the Gewandhaus/Thomanerchor [6]. The opening sontata does lend itself well to the big band approach employed by the Gewandhaus, although Leusink's players certainly do it justice. (As Aryeh pointed out a few years back, the movement does evoke Händel, espeically when played by the Gewandhaus.) I suppose the highlight of the work is movement 8, one of those lovely bittersweet Bach arias, this one for soprano. Helga Termer sings wonderfully and I would hardly fault her. However, this is the kind of music made for the delicate voice of Ruth Holton and she is in very fine form in the Leusink's recording. If anyone hasn't taken advantage of our online Leusink collection, at least check out this movement - it's really nice. (I really must find a copy of Harnoncourt [5]. Aryeh claims that the boys wreck the kitchen when given this aria. I've never heard them that bad, and have to check it out myself.)

Stephen Benson wrote (April 25, 2005):
Eric Bergerud wrote:
[5] < Aryeh claims that the boys wreck the kitchen when given this aria. I've never heard them that bad, and have to check it out myself.) >
Aryeh's right. But as unattractive as this aria is, it cannot compare to the cacophony generated in the opening chorus of the same recording.

Eric Bergerud wrote (April 25, 2005):
[To Stephen Benson] Okay, now for sure I'll find a Harnoncourt BWV 31 [5]. But there isn't a possibility here that some of the reviewers have had anything to do with Middle School education is there? My wife has been waging war with elementary school kids for thirty years. The only thing that made her question her vocation was one year when she did a 5^th/6^th grade combination. The experience brought her close to breakdown and injected a general dislike of the male gender that was long lasting. A rough time for myself (our son escaped censure of course because he's special.) But I will allow for a bad outing for the Tölzer choir.

Yet I still like boys in Bach - a lot.

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Cantata BWV 31: Complete Recordings | Recordings of Individual Movements | Discussions: Part 1 | Part 2 | Part 3

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Last update: ýFebruary 29, 2008 ý22:31:26