Cantata BWV 83 - Discussions

Discussions in the Week of February 4, 2001

Aryeh Oron wrote (February 4, 2001):
Background

This is the week of Cantata BWV 83 according to Andrew Oliver's suggestion. Bach may have set the first three movements (aria, recitative & aria) on the format of allegro, adagio & allegro of the Italian concerto, and if this is the case, it is most probable that Bach based this cantata on a lost concerto for violin. By doing so he used the same formula, which served him in Cantata BWV 35, already discussed in our group couple of months ago. That cantata was one my least favourites among the cantatas which have been discussed in our group so far. And Cantata BWV 35 was composed two years after the cantata of this week. Before comparing the various recordings of BWV 83, I have had the hope that Bach did with this material better than he did with similar material in BWV 35. Let us examine the results. I shall compare the first three movements, which form a complete unity, assuming that they are indeed based on the lost concerto. The remaining movements are ordinary secco recitative and the usual chorale. As a background I shall use this time the description of Alec Robertson taken from his book - 'The Church Cantatas of J.S. Bach'.

Mvt. 1. Aria (for Alto)
(text as above)
2 Corno, 2 Oboes, Violin Solo, 2 Violins, Continuo
"It does not need much perception to assign the violin solo and its accompaniment in this movement to a lost violin concerto - its speech betrays it, and nowhere more so than during the middle section where the figuration at one point is that of alternate open and stopped strings. The movement could be played without the voice part and make perfect musical sense. Bach, needless to say, has fitted in the voice part with great skill. There are the expected runs on 'joyful', four of them, and in the middle section 'How joyfully will be at the last hour the resting-place, the grave, prepared'. 'Resting-place' is given characteristic groups of quavers, but here the violin figuration noted above does not at all fit the sentiment of the words."

Mvt. 2. Intonation and Recitative (for Bass)
2 Violins & Viola unison, Continuo
'Herr, nun lässest du deinen Diener in Friede fahren wie du gesaget hast'
('Lord now lettest thou thy servant depart in peace, according to Thy word')
It is the first plainsong psalm tone that Bach styles 'Intonazione' in this movement, and uses for two verses of the Nunc Dimittis. Ritornellos divide up the two halves of these verses. The theme of these, a rising scale in 6/8 time, conveys the idea of journeying and is treated in canon. The interpolated recitatives are, as always, in common time, and Bach also separates them with phrases of the ritornello. The words of the first recitative begin 'What to us as to men terrible appears, is for us an entrance into life'; then, after three bars of the ritornello, 'It is death (that is) an end of this time and suffering, a pledge that to us the Lord has given as sign that He means sincerely and us after completed struggling into peace will bring'. The recitative continues after another three bars of the ritornello 'And because the Saviour now the eyes comfort, the heart's refreshment is, what wonder that a heart the death-fear forgets. It can joyfully the declaration make.' The drop in pitch for the plainsong tone at the last verse may be taken as reflecting the peace and resignation of the 'joyful declaration' of the recitative. The librettist is not here portraying Simeon but the individual soul taking his words to heart. The beautiful 'dying' close should be noted.

Mvt. 3. Aria (for Tenor)
'Eile, Herz, voll Freudigkeit vor den Gnadenstuhl zu trete.'
('Hasten, heart, full of joyfulness before the mercy-scat to step')
Violin solo, 2 Violins, Viola, Continuo
This lovely aria may be taken as an adaptation of the last movement of the lost violin concerto. Triplet figures abound in both violin solo and solo part, with long runs in the latter on the 'step' each time the word is repeated."

Review of the Recordings

During last week I have been listening to 4 complete recordings of BWV 83 of the 5 available. See: Cantata BWV 83 – Recordings (1) to (4).

(1) Nikolaus Harnoncourt (1963, or 1978?)
Harnoncourt had recorded this cantata in the late 1960's, before he started his co-operation with Leonhardt in recording the complete Bach Cantatas cycle for Telefunken (later Teldec). I do not have the original LP (which included also Cantatas BWV 50 & BWV 197), but I suspect that this is actually the same recording, although the liner notes to the Teldec album from the complete cycle do not mention it. The vocal soloists are identical. So are the Choir and the orchestra. If this is the case, it means that this cantata is the earliest recorded in the H&L cycle.

Aria for Alto: Usually the alto part in the Bach Cantatas is given either to contralto (female voice) or to counter-tenor (male voice). Here is one of the cases where this part was given to boy alto. Günther Ramin also did it once in a while in his recordings from Leipzig during the early 1950's, but since then it has become a relatively rare phenomenon. Is it because it is so difficult to find a good alto voice among the boys in the choir? I wonder. Anyway, The anonymous boy alto here proves himself to be an excellent choice for the difficult task. Firstly, the timbre of his voice blends beautifully with the sound of violin. Both the singer and the player avoid using vibrato and it works. Secondly, it seems that the technical challenges of this aria do not put any obstacles in his way. Thirdly, the emotional challenges of this aria are not very high, and consequently he passes successfully also this aspect of his part. And above all, he has a kind of fresh purity, which I found irresistible.
Intonation & recitative for Bass: Max van Egmond gives a lot of warmth and confidence to his rendering of this complicated movement. However, I find his approach too uniform, and many nuances are not getting the right treatment. During the listening to him I thought to myself wondering what a singer like Dietrich Fischer-Dieskau would have done with this declamatory movement. Unfortunately, AFAIK DFD has not recorded this cantata.
Aria for Tenor: Kurt Equiluz sounds as if knows exactly what he wants to do with his part. The give-and-take play between the voice and the violin is also beautifully treated. So why was I not convinced by the way Equiluz is trying to convey joy? Is it because the accompaniment of this aria in this recording is a little bit heavy-handed?

(2) Helmuth Rilling (1979)
Aria for Alto: The colourful instrumental opening of this recording expresses uninhibited joy, but the strong and expressive voice of Helen Watts dominates this aria. She is ruling the events and in her rendering this aria sounds as if it was originally composed for voice and not as an adaptation of a lost violin concerto with the voice part dubbed in. But I have to admit that while I was hearing her very convincing performance, I could not erase the memories of Harnoncourt's boy alto from my mind.
Intonation & recitative for Bass: Although Heldwein's voice is more lyrical than that of van Egmond (with Harnoncourt), I find their approaches very similar (it means, not enough interesting). I also find that the accompaniment here too rich and dense. The delicacy and transparency of Harnoncourt's accompaniment suits this unusual movement much better.
Aria for tenor: Adalbert Kraus is a virtuoso. I mean that he has complete technical command of his means. He is not forced to limit his interpretation to the boundaries of his talent. He gives you the feeling that he has the capacities to do whatever his mind and soul are telling him to do. But he has also a lot of taste and he uses his powers to take almost always the right artisdecisions. In his aria here he has to compete with the lightness and speed of the violin, and he succeeds in convincing you that if anybody has a problem, then this is the violinist and not the singer. He stops, he runs, he decorates, he passes easily the coloratura parts, always keeping you in tension.

(3) Ton Koopman (1998)
Aria for Alto: Elisabeth von Magnus' beautiful voice suits the delicate and tender approach of Koopman, and her voice interweaves charmingly into the instrumental texture. I am not sure that this is the right approach for this aria, because I found myself wishing that more force and drive was put into it to keep the lively nature of the music.
Intonation & recitative for Bass: Klaus Martens has everything I missed in the rendering of this movement by the two previous bass singers - variety, care for details and a kind of nonchalance, which I found as fitting this unusual movement very well. The accompaniment playing is so humble, that all our focus is turned to the declamation / singing of the bass, as it should be.
Aria for Tenor: Jörg Dürmüller's singing is light, flowing and effortlessness, but lacking some power and evident joy.

(4) John Eliot Gardiner (2000)
Aria for Alto: Gardiner gives the opening aria all the drive I missed in Koopman's. In his hands it almost sounds as a piece by Händel. He is also clever enough to put Robin Tyson in the front line, and consequently the results remind me Watts / Rilling rendering of this aria. Tyson's has a unique, forceful and flexible voice, but he also knows when and how to be delicate and even sensitive. A very convincing performance.
Intonation & recitative for Bass: After Mertens, Harvey sounds almost one-dimensional. He does not vary his approach enough to hold the attention of the listener. I also found his voice the least pleasant of all four.
Aria for Tenor: Agnew sounds here as an improved version of Dürmüller. Is it as if he had listened carefully to Dürmüller's recording, investigated its weaknesses and learnt what should be improved. He has more force when needed and overt joy in the right places.

(5) Pieter Jan Leusink (2000)
I do not have this recording yet. It is included in Bach Edition Vol.18 from Brilliant Classics (Cantatas - Vol. 9).

Conclusion

Aria for Alto: Anonymous boy / Harnoncourt (1) and Tyson / Gardiner (4).
Intonation & recitative for Bass: Martens / Koopman (3).
Aria for Tenor: Adalbert Kraus / Rilling (2).

One last word about the cantata itself. I found it more satisfactory than Cantata BWV 35, but I still have to admit that it should not be counted among the high peaks of the oeuvre of the cantatas. This impression has been strengthened, when I heard the opening notes of Cantata BWV 82 in the CD of Gardiner, which followed the last notes of Cantata BWV 83.

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

Jane Newble wrote (February 6, 2001):
(5) I'm just about to listen to it. The tenor is Marcel Beekman, which will be interesting.

Andrew Oliver wrote (February 9, 2001):
Well, I do not know whether Bach based this cantata on a (lost) concerto, but the first three movements certainly give that impression.

The following is a quotation from Oxford Composer Companions J. S. Bach:
"The cantata's basic tone of cheerful confidence is established in the opening movement... in which the alto soloist's ecstatic melismas on the 'joyful' words 'erfreute' and 'freudig' compete for attention with a virtuoso solo violin part and accompanying forces consisting of two oboes, two horns, strings and continuo. Noteworthy in the B section of the aria is the solo violin's bariolage with which Bach sounds the death-knell at 'letzten Stunde' ('last hour'). In the second movement the bass intones three verses of the Nunc Dimittis (Luke 2: 29-31) to a version of the medieval psalm tone no.8, while strings and continuo weave around it a filigree of two-part counterpoint, mostly in strict canon - almost as if the ancient melody had gathered cobwebs. The first verse is separated from the other two by a section of recitative twice interrupted by reminders of the canon... The movement is quite unlike anything else in Bach's music.
Violin virtuosity returns in the succeeding tenor aria, in da capo form, and once again the singer is called upon to match it with protracted melismas... The text is based on Hebrews 4: 16, and after a brief alto recitative, the cantata ends ... with Martin Luther's paraphrase of the same verse... which, as usual, Bach set in a plain four-part harmonization with instrumental doubling.

As I have said before, I heartily recommend this book, although it is usually expensive.

(1) I have only Harnoncourt's recording of BWV 83, and I must agree with Aryeh that the boy alto gives a very good performance in the opening aria. The one reservation I have is that he sometimes loses tempo, causing the instruments to slow down in order to match his pace. Nevertheless, I like it. The next movement may be unique in its construction, but it doesn't really appeal to me. It seems a bit too pedestrian. I don't know how the timing of this movement compares with the other recordings, but I noticed from Aryeh's report that Harnoncourt's total performance time is the slowest. Also, just occasionally, Max van Egmond seems to be slightly out of synchronization with the instruments. Equiluz gives a fine performance in the tenor aria, and I like the way the voice and solo violin act as dancing partners in this happy, bubbly torrent of notes. In contrast, the closing chorale is quite sombre.

This is not one of my top favourite cantatas overall, but the first and third movements are very pleasing.

Jane Newble wrote (February 10, 2001):
The two versions I have of this cantata are Koopman (3) and Leusink (5). Has anyone else listened to Leusink?

The Koopman comes across as more lighthearted, more joyful, but the Leusink is very beautiful in its own way, I think. The opening aria is a full minute slower than Koopman, and hearing it straight after Koopman is not a good idea.

All by itself it gives the impression of a quiet, inward joy, expressed by an almost slow Baroque dance.

Although I don't have as many problems with Sytse Buwalda as some others, I felt he was not quite up to this in some ways. But when I listened to Koopman's alto Elisabeth von Magnus, I realized there almost seems to be a competition going on between the voice and the instruments.

The bass recitative is amazing. There are echoes of older German church music, and I like the slow singing against the busy chattering of the instruments, almost as if he is giving his testimony of an inner conviction against lots of other voices.

The tenor aria is very similar in both recordings. They are almost the same speed, and both voices dance over the notes.

I cannot really decide which recording I prefer, but as I have both, I don't have to!

Harry J. Steinman wrote (February 10, 2001):
I've been listening all week to this delightful cantata and there's a few things about it that I'd like to comment on; I'd like to share my reactions.

First of all, I was very surprised, starteled even, when I first played the Koopman version (3) (the only one that I have). The first notes of the opening aria, those brassy, exultant, confident horns really took me by surprise. Whoa! It says, "Sit up and listen to ME!". I really enjoy the aria, and especially enjoy the way that the horns start to give way to the violins. If this cantata contains music from a lost violin concerto, then I would certainly wish we could find it again...

I like the sinin the soprano aria, but I'm especially drawn to the accompaniment. I wish that in the aria, the horns were a little less prominent, or perhaps that the violins were recorded a bit more prominently. I believe that they are more interesting than the repeated horn figures.

As to the recitative and aria, I find the accompaniment very interesting, they way that the continuo accompanies the Bass when he is singing the recitative, and they way the strings take over when the Bass is singing the aria. One way or another, for me, the accompaniment is smooth and eases the listener into the thematic material of this movement, which is significantly different than the opening aria. And once again, I lament the awful job of translation that is done in Koopman's recording. Sigh.

I really love the way the voice and violins have kind of a call-and-response in the tenor aria...the violins almost imitating the vocal line.

I'm not too wild about the final chorus. Did Bach take and existing religious song and adapt that to the cantata? Reason I wonder about that, in addition to everything else JSB did that was so wonderful, he wrote Damn Good Tunes...and I find that this final chorus leaves me flat. Oh well, that's what the 'program' button on the CD player is for.

I think that this is one cantata whose arias I shall recognize whenever I hear them again.

Till next week I remain your friend in Bach, in Boston,

Roy Reed wrote (February 10, 2001):
I have only one reading of BWV 83: Koopman et al (3). Altogether a fine performance. My first reaction on hearing the opening aria was, "Wow! what a racket for one alto to contend with.....brass, reeds, strings. I first thought that the placement of mikes was wrong, and then realized what a performance in any of the Leipzig churches would really sound like. Probably, about like this. On the other hand, Bach may have had one hefty, reedy alto whose voice could cut through the dense orchestration, or maybe the man just got carried away with this "creation out of a creation," and just painted himself into a corner, so to speak. Anyway it is great stuff, and Elisabeth Von Magnus is a fine singer. A great rejoicing!! Of course, with tragedy and sorrow in the picture. This is all part of Bach's faithfulness to Luther's theologia crucis, to the paradox of what is intrinsically bad being instrumentally good. Koopman's forces pull it off with great flair.

My favourite in this cantata is No.2, the aria/recitative for bass. Such fabulous combinations: the liturgical intonation of the scriptural text... something which would be known by heart by everyone.... the free text (opens with the Luther paradox), and a wonderful canon as instrumental accompaniment. Oh, Bach, you just slay me! How is this for fresh and clever! I love it how JSB can come forth with something novel and musically/intellectually intriguing, which is based on something ancient and very simple. My kind of guy. The canon has theological meaning here. It is his musical way of "following/departing" with Simeon to the throne of grace. And this is the point of the next movement, the tenor aria. A hastening song...and Bach really knows how to hasten musically. My favorite is Mvt. 2 in Cantata BWV 78. Here the triplets just tumble along....headlong....leaping, running to the source of comfort and mercy. A brief alto recitative to point us in the direction of the light, and then all the people enter in through the concluding hymn to the procession toward the light of joy and delight.

The circumstances of the day in the liturgical year are interesting, I think. My score identifies is as Mariae Reinigung: the purification of Mary. It is also known as Candlemas, because of procession with candles on that day, or as "Presentation of our Lord." In the ancient church, apparently, sometimes, as "St. Simeon's Day." The Gospel is Luke 2: 22ff. The presentation of Jesus in the temple. Mary goes to the temple in fulfillment of the Levitical requirement after childbirth. According to Lev. 12:2-6, a mother remained unclean for 40 days after the birth of a son, after which she had to come to the temple and be ritually readmitted to the faithful. The date of Feb. 2 was determined by the interval of 40 days after Dec. 25. Popular superstition has long associated this day with the weather. In medieval times, if Feb. 2 brought fair weather the winter would be long and crops bad. If Candlemas were a bad day, the winter was over and crops would be good. In America this folk tradition survives as Groundhog Day. The groundhog comes out of his burrow (forced out, poor thing) and whether or not he sees his shadow will determine the length of winter. Let's go back to candles!

Pablo Fagoaga wrote (February 11, 2001):
Well, I agree with Roy Reed's impressions about Koopman´s performance (3). Regarding the opening number, Roy, I can tell you that the intrigue about how Von Magnus would brake through the heavy, somewhat brassy "wall of sound", turns into a true and frightening mystery when it comes to listen to Harnoncourt's alto BOY (1). You know, his choice in this field is a serious bet!!!!

Not surprisingly, the boy is clearly surpassed in some passages. (I even suspect that he got some non-HIP help from the engineer, because the Concentus sounds with a volume a bit lower than what I think has to be the true sound field).

But, ALAS, he does quite a good job. It seems to me that he wisely gave up to any attempt to overcome the orchestra, but he turns his loss of volume into a remarkable control of his part.

Yes, in the standards of Harnoncout/Leonhardt's marathon, I see this boy's performance as one of the best (among the parts taken by boys, of course). To some other time I leave the juicy discussion about the super-controvertial choice: to have boys instead of female singers.

About the rest of the Cantata, I prefer Harnoncourt over Koopman. I get a more clear musical image from Harnoncourt. He gives the different lines a sharp (but non aggressive) and disctint sound. It even helps you train the ear for Barroque style!!!!

Pablo Fagoaga wrote (February 11, 2001):
Don´t get me wrong. When I pick Harnoncourt's reading (1) over Koopman's (3), you can take for granted that I'm not saying that Koopman is "cheesy", or fuzzy. Even more, in fact MANY times I prefer Koopman versions, because he sees performing issues the same way than Harnoncourt. But in cases like BWV 83, I think that Harnoncourt reaches best results when it comes to present highly defined musical lines. With Harnoncourt, it´s VERY esay to "switch" from a global perception to a "contrapunctual-focused" hearing.

Of course, I also think that in the case of Koopman, his personal style converge in the final result with the fact that he recorded in a church (undoubtly, spiritualy inspiring, but also acoustically risky!!!).

Discussions in the Week of February 26, 2006

Douglas Cowling wrote (February 23, 2006):
Cantata Discussion: Week of Feb 26, 2006

Week of February 26, 2006

Cantata 83 “Erfreute Zeit im neuen Bunde”

First Performed: February 2, 1724
First Annual Cantata Cycle, 1723-24 (Jahrgang I)

Libretto:
Anonymous, Bible (Mvt 2), Martin Luther (Mvt 5)

Texts & Translations:
See: http://www.bach-cantatas.com/BWV83.htm

Movements & Scoring:

1. Aria - Alto
“Erfreute Zeit im neuen Bunde”
2 Corno, 2 Oboes, Violin Solo, 2 Violins, Continuo

2. Intonation and Recitative - Bass
'Herr, nun lässest du deinen Diener in Friede fahren wie du gesaget hast'
2 Violins & Viola unison, Continuo

3. Aria - Tenor
'Eile, Herz, voll Freudigkeit vor den Gnadenstuhl zu trete.'
Violin solo, 2 Violins, Viola, Continuo

4. Recitative Alto
“Ja, merkt dein Glaube”
Continuo

5. Chorale Choir
“Es ist das Heil” (mel: “Mid Fried’ und Freud”)

Liturgical Comments:

Written for the Feast of the Purification of the Blessed Virgin Mary February 2
Purification is one of the three Marian feasts in the Lutheran Calendar, the others being Annunciation and Visitation These holydays usually falls on a weekday.

The orders for Mass and Vespers can be found in an appendix at the end of this posting. Extracted from Wolff.

Texts of Readings:

Readings: Epistle: Malachi 3: 1-4; Gospel: Luke 2: 22-32
See: http://www.bach-cantatas.com/Read/Purification.htm

Introduction to Lutheran Church Year:
http://www.bach-cantatas.com/Lutheran.htm

Chorale usedc in this cantata:

1. "Das Nunc dimittis". See:
CT: http://www.bach-cantatas.com/Texts/Chorale089-Eng3.htm
CM: http://www.bach-cantatas.com/CM/Das-Nunc-dimittis.htm

2. "Mit Fried un Freud". See:
CT: http://www.bach-cantatas.com/Texts/Chorale011-Eng3.htm
CM: http://www.bach-cantatas.com/CM/Mit-Fried-und-Freud.htm

http://www.bach-cantatas.com/IndexCM.htm

Piano Vocal Score: (free PDF download)
See: http://www.bach-cantatas.com/Scores/BWV083-V&P.pdf

Recordings:

Complete: http://www.bach-cantatas.com/BWV83.htm
Individual Movements: http://www.bach-cantatas.com/BWV83-2.htm

Music (free streaming download): http://www.bach-cantatas.com/Mus/BWV83-Mus.htm

Links to Commentaries: See Recordings Page

Previous Discussion: http://www.bach-cantatas.com/BWV83-D.htm

Performances of Bach Cantatas: http://www.bach-cantatas.com/Concert-2006.htm

Appendix:

ORDER OF SUNDAY & HOLYDAY MASS (Amt) - 7:00 -10:00 am

1. Choir: Hymn in figural or polyphonic setting
2. Organ: Prelude introducing Introit
3. Choir: Introit Motet in figural or polyphomic setting

4. Organ: Prelude introducing Kyrie
5. Choir: Kyrie in figural setting
6. Choir: Gloria in figural setting (minister sings intonation from altar)

7. Minister & Altar Singers (lower form boys):
Salutation & Collect (Prayer of Day) sung from altar
8. Minister: Epistle sung from altar steps

9. Organ: Prelude introduing Hymn
10. Congregation: Hymn of Season (de tempore)
11. Minister & Altar Singers: Gospel with responses sung from altar steps

12. Organ: Prelude introducing cantata
13. Choir: First Cantata

14. Choir:: Credo sung in chorale setting, minister intones from altar steps
15. Organ: Prelude introducing Wir Glauben
16. Congregation: Wir Glauben All (German Credo)

17. Minister: Spoken annoucement of Sermon from altar
18. Organ: Prelude introducing hymn
19. Congregation: Hymn
20. Minister: Text of Sermon & Lord’s Prayer from pulpit
21. Minister: Sermon (8:00 a.m., 1 hour)
22. Minister: Prayers, Announcments & Benediction from pulpit

23. Organ: Prelude introducing hymn
24. Congregation Hymn
25. Mnister & Altar Singers: Preface in Latin from altar
26. Choir: Sanctus in figural setting (without Osanna or Benedictus)
27. Minister: spoken Communion admoniton, Words of Institution
28. Congregation: Distribution of Communion at altar steps

29. Organ: Prelude introducting Communion Cantata
30. Choir: Second Cantata

31. Organ: Prelude introducing hymn
32. Congregation: Hymn during Communion
33. Minister & Altar Singers: Collect with responses sung from altar
34. Minister: spoken Benediction

35. Organ: Prelude introducing Hymn
36. Congregation: Hymn
or
36. Choir: Hymn in figural setting (festal days)

ORDER OF AFTERNOON VESPERS 1:30 pm

1. Organ: Prelude introducing Hymn
2. Choir: Hymn in figural setting

3. Choir: Cantata (repeated from morning)

4. Organ: Prelude introducing Hymn
5. Congregation: Hymn
6. Minister & Altar Singers: Psalm
7. Minister: Lord’s Prayer from altar steps

8. Organ: Prelude introducing hymn
9. Congregation: Hymn

10. Minister: Annoucement of Sermon from pulpit
11. Congregation: Hymn
12. Minister: Sermon from pulpit
[13. Choir: Passion or narrativer oratorio, no cantata]
14. Minister: spoken Prayers, Collect & Benediction from pulpit

15. Organ: Prelude introducing Magnificat
16. Choir: LatinMagnificat in figural setting
17. Congregation: German Magnificat Hymn (Meine Seele)

18. Minister: spoken Responsary, Collect & Benediction from altar
19. Congregation: Hymn Nun Danket Alle Gott

Richard wrote (February 23, 2006):
Douglas Cowling wrote:
< Week of February 26, 2006
Cantata 83 - "Erfreute Zeit im neuen Bunde"
First Performed: February 2, 1724
First Annual Cantata Cycle, 1723-24 (Jahrgang I) >
This Cantata will be played in Paris on Sunday 4^th March on period instruments by Ensemble XVIII-21 Musique des Lumières.
Temple du Foyer de l'âme, 7 rue du Pasteur Wagner, 75011 Paris

Julian Mincham wrote (February 23, 2006):
BWV 83

A cantata which, for all of its positive assertiveness is not one of the easiest to come to, particularly the enigmatic second movement (Bass aria/recit).

The first movement poses some interesting questions upon which to speculate. It has very much the feeling of an Italian concerto type movement with the bold positive opening, relatively full scoring and solo violin part throughout. Interestingly it shares the same opening motive as the double harpsichord concerto in C BWV 1061---the three rising notes the second of which is trilled. The material then follows different paths but the opening idea is striking enough to be noticeable as an unusual Bachian repitition.

BWV 1061 is almost certainly a rewrite of an earlier work as all of Bach's keyboard are thought to be. It has also been suggested that it originated as a duet for two solo keyboards (rather in the manner of the Italian Concerto BWV 971) and that the (rather rudimentary) string parts were added later when Bach needed single and multiple keyboard concerti. Whatever the genesis it is fascinating to conjecture whether both the first movements of the concerto and cantata have a common genesis.

The scoring strongly brings to mind Brandenburg 1 (BWV 1046) but there are other links with these earlier works. The form (along with that of the later tenor aria) is one which derives from Bach's structural innovations from the time of the Brandenburgs and is virtually identical to that of the last movement of Brandenburg 6 (BWV 1051).

It is, firstly a large ternary form da capo (A-B-A) movement. However, it is also an Italian ritornello movement with the opening tutti, or parts of it, separated by soloistic episodes. However, the restating of the complete orchestral ritornello (it comes four times at the beginning and at the end of each 'A' section) also gives a large scale rondo feeling. Thus Bach has taken the fundamental principles of three crucial music forms (ternary, ritornello and rondo) and combined them to produce movements with a quite specific shape. The analogy does not end there as the key structure of all three movements is identical. In the A sections Bach moves, traditionally enough, from the tonic to the dominant and back, in the B section he begins in the relative minor and ends in the mediant minor.

i.e. CANTATA F C F D- A- F C F
BRANDENBURG CONCERTO Bb F Bb G- D- Bb F Bb
(This process, and particularly the effect of the rondo feel is more readily noticeable in the Brandenburg movement because of its more concise scale--but the principles are the same)

Right in the middle of the first Leipzig cantata cycle and under great pressure to meet his schedules, it is not surprising if he looked back over earlier works astructural experiments for inspiration?

The second movement of 83 is a weird movement indeed and one that may well not immediately appeal; possibly due to the lack of melodic interest of the bass singer's line (the intoning of verses of the Nunc dimittis to a medieval psalm). One simply is not used to a Bachian vocal line largely stuck upon one or two notes. Boyd (Oxford Composer Companions: J. S. Bach p157) has an interesting and illuminative comment. '-----strings and continuo weave around it' (i.e. the psalm as sung by the bass) --'a filigree of two part counterpoint, mostly in strict canon----------almost as if the ancient melody had gathered cobwebs' (my italics--I don't know about others but I find that an imaginative and insightful image of this kind can take one back to the music with 'new ears'). He goes on to say 'the movement is quite unlike anything else in Bach's music'.

The recitative uses the same key progression as the middle sections of the arias (D- to A-)---another example of Bach's organic approach to the structuring of the whole work.

The choir is only used for the concluding chorale and this might seem a strange decision when one considers the joyous assertiveness of the piece. Bach's decisions to give the choir the minimum to do were often pragmatic as he was clearly sensitive to the problems of overload (evidence for this can be found elsewhere at prime workload times e.g. at Christmas and Easter). Schweitzer suggested a century ago that Bach, through experience, may have had little faith in the capabilities of choirs got together for Festive cantatas.

Peter Smaill wrote (February 25, 2006):
One wonders if anyone has actually extracted BWV 83/1 and 83/3 from "Erfreute Zeit im neuen Bunde" and recreated them as a "lost" violin concerto; at least that way sales would be many times the level for this relatively neglected Cantata for the Feast of the Purification of the BVM. It is overshadowed by the exquisite BWV 125, "Mit Fried und Freud," and by the sublime BWV 82, "Ich habe genug", both of which capture Simeon-like resignation to death in the knowledge of the Saviour in a wholly different and numinous fashion.

The suggestion by some that BWV 83/2 is also part of a lost concerto is strange, since its unique Intonation of the plainchant associated with the "Nunc Dimittis," and the sombre, indeed harsh pursuit of canonic form, marks it as ecclesiastical in purpose.

The common element with BWV 125 is the closing chorale, which Thomas Braatz emphasises is the last verse of Luther's "Mit Fried und Freud, namely the stanza, "Er ist das Heil und Selig Licht". Reimenschneider does not bother to restate the BWV 125 version which seems to be to be identical save for instrumentation. Even the words are the same. Passed over as a "simple" harmonisation, and felt to be an anticlimax in one contribution to the last set of BCW discussions, it may I think merit a little more attention beyond concurring with Whittaker - that it is a beautiful setting.

The chorale accentuates the archaic feel of BWV 83/2 by being essentially a modal, Dorian, tune. However, starting in D minor and ending in the Christian assurance of D major, it also ends successive short lines in the unusual descending sequence of A major, G major and F major, each I think creating a tierce de Picardy against the modal path of the Chorale. Finally, at the penultimate bar, a C sharp announces that Bach has abandoned the modal tune in favour of modern harmony and the salvific affekt of the resolution to D major.

Bach also achieves the same ambiguity of tonality in the much more famous Orgelbuchlein setting of "Mit Fried und Freud", BWV 616. "Its conclusion is unusually chromatic and dissonant" (Stinson"), and also settles on D major in the end.

The Cantata is I feel distinguished by both the overlooked key symbolism of the Chorale, and the more analysed sequence in the Intonation, BWV 83/2. Here the progression is B flat - C minor - Gminor; G, B flat, E flat, F minor, modulating to C minor at "der todesfurcht", "death-fear." A further intonation at A flat, we then move to Fminor - B flat minor, modulation to E flat; and the circle of keys completes in the host B flat. Whittaker, who identifies this sequence, sees in it "the effective sinking of the intonation in pitch, as if Simeon were growing weaker and weaker, [but with] beauty in some places."

It would be interesting to see what Eric Chafe makes of the key scheme in BWV 83 given his extensive work on modal and key significance elsewhere in the Bach Cantatas.

Scott Sperling wrote (February 26, 2006):
Text in Cantata BWV 83

The Readings for the Sunday for which Cantata BWV 83 was written, are Malachi 3: 1-4 and Luke 2: 22-32. The Reading in Luke speaks of the purification ceremony of Mary after childbirth, and the consecration to the service of God of Jesus, as the first-born male in the family. At that ceremony was a man named Simeon, who was led by the Spirit of God to be there. "It had been revealed to him by the Holy Spirit that he would not die before he had seen the Lord's Christ" (Luke 2: 26). When he saw Jesus, he recognized Him as the Messiah, and said, "Lord, now let Your servant depart in peace, according to Your word, for my eyes have seen Your salvation, which You have prepared in the sight of all people" (Luke 2: 29-31).

Cantata BWV 83 takes as its subject this utterance of Simeon (Luke 2: 29-32), and projects it to the everyday Christian. The Cantata specifically focuses on Simeon's mental state with regard to death, his readiness to "depart in peace." The textual theme of the Cantata may be summarized by the words of Paul (echoing Hosea): "O death, where is thy sting? O grave, where is thy victory" (I Corinthians 15:55; also Hosea 13:14). The Cantata is practically a celebration of death. In the 1st Mvt Alto Aria, the Christian sings: "Wie freudig wird zur letzten Stunde die Ruhestatt, das Grab, bestellt, die Ruhestatt, das Grab, bestellt!" ("How joyful at the last hour will our resting place, the grave, be prepared, will our resting place, the grave, be prepared!").

From a worldly point of view, what an odd sentiment. In the world, one rarely hears the words "joyful" and "grave" used in the same sentence. Yet, the Christian, can by faith, look forward to the grave, because for him, on the other side of death lies the fulfillment of the heavenly promises of God. The 2^nd Mvt Bass Recitative speaks of the contrast between the world's view of death, and the Christian's: "Was uns als Menschen schrecklich scheint, ist uns ein Eingang zu dem Leben" ("What seems so dreadful for humans, is for us an entrance into life").

The structure of the 2^nd Mvt is quite interesting. The Recitative is bracketed (in the Intonation) by the words of Simeon from the Reading in Luke. The beginning of the 2^nd Mvt is from Luke 2: 29: "Herr, nun lassest du deinen Diener in Friede fahren, wie du gesaget hast" ("Lord, now let Your servant depart in peace, according to Your word"). Then, the end is from Luke 2: 30-31: "Denn meine Augen haben deinen Heiland geschen..." ("For my eyes have seen Your salvation..."). The Recitative (in between), in meditation upon these words of Simeon, points out the similarity between the case of the Christian concerning death, and the case of Simeon: "Und weil der Heiland nun der Augen Trost, des Herzens Labsal is, was Wunder, dass ein Herz des Todes Furcht vergisst!" ("And since the Savior now is the comfort of our eyes, the delight of our hearts, what wonder, such that a heart forgets the fear of
death!"). Simeon was told in a dream that he would not die before he had sthe Messiah, the Savior of his people. Having seen the salvation of the Lord in Jesus, Simeon felt that he could "depart in peace". So also, the Christian having seen the salvation of the Lord, is able to "depart in peace": the sting of death is gone, the grave will have no victory.

This conquering of the fear of death is something to be desired for all who dwell in their earth-bound frames. The 3^rd Mvt Tenor Aria expresses the joy of discovering the forgiveness of sins that conquers death: "Eile, Herz, voll Freudigkeit, vor den Gnadenstuhl zu treten!" ("Hurry, heart, full of joy, approach the throne of grace"). The text in this Aria directly refers to the beloved passage in Hebrews concerning our free access to the salvation of our Lord through prayer: "Let us therefore come boldly unto the throne of grace, that we may obtain mercy, and find grace to help us in time of need" (Hebrews 4:16).

Now, though the Christian has no reason to fear death, there may still be reason for anxiety about the process of dying. In most cases, there is pain as the body moves toward death. Just as through the travails of childbirth, we passed into this life; so through the travails of death, we move on to the next. But we can be assured that our Lord will be with us through that journey. This is expressed in the 4^th Mvt Alto Recitative: "Ja, wenn des Grabes Nacht die letzte Stunde schrecklich macht, so wirst du soch gewiss sein helles Licht im Tode selbst erkennen" ("Yes, when the grave's night makes the last hour terrifying, you will certainly see His bright light in death itself").

For the Christian, the glories of heaven are not nonsensical mythology, but our splendid hope. They are the fulfillment of the promises of a God who does not break His promises. Our actions and behavior, especially as we approach death, should reflect this. They should be a light to a world still in darkness. Our mien should reflect the light of the Lord, which has been poured out upon us. As the Final Chorale summarizes: "Er ist das Heil und selig Licht" ("He is salvation, and blessed light").

Continue on Part 2

Cantata BWV 83: Complete Recordings | Recordings of Individual Movements | Discussions: Part 1 | Part 2

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Last update: ýMarch 23, 2006 ý20:19:48