Luogo e data di registrazione		Predikherenkerk, Leuven (Belgium) - 30 April / 1 May 2008
	Registrazione: live / studio		studio
	Recording Staff		Eckhard Steiger
	Prima Edizione CD		ACCENT - ACC 25310 - (1 CD) - durata 73' 23" - (p) 2009 (c) 2010 - DDD
	Note		-

COMMENTARY on the cantatas presented here Bach Ascension Oratorio and Cantatas BWV 108, 86 and 44 The Ascension of Christ is central to the Christian credo. Forty days after the Feast of the Resurrection (Easter) the church celebrates the Feast of the Ascension; ten days after that is Whitsun, when the sending of the Holy Ghost from Heaven to the Apostles is celebrated (the illustrations show the Apostles and the Mother of God with small flames around their heads, as a symbol of “enlightenment”!). One Sunday later still (Trinity) the faithful celebrate the now complete Trinity: Father – Son – Holy Ghost. The cycle, which began with Advent, the coming of Jesus Christ the Son of God, is complete. This recording contains the Cantatas for the fourth, fifth and sixth Sundays after Easter, and the Oratorio for the Feast of the Ascension, which occurs on the Thursday between the fifth and the sixth Sunday. Certain Sundays in the church year are specially named, and so named, in fact, after the opening words of the Latin Introitus hymn for the respective Sunday services: so these three Sundays mentioned above are Cantate, Rogate and Exaudi. Traditionally the gospel readings for the third Sunday after Easter (the Jubilate not included here) up to Whit Sunday come from fragments of the great sayings of Jesus, as noted by St. John. The essential passages (chaps. 12 to 17) cover the time from Jesus’s entry into Jerusalem to the start of the Passion. On “Cantate” Sunday it comes from St. John ch. 16, v. 5-15, with the key passage “Wenn ich nicht weggehe von Euch, dann kommt auch der Helfer (Tröster) nicht zu Euch” (If I go not away, the Comforter will not come unto you). St. John alludes here to the forthcoming events (Passion, Crucifixion, Resurrection, Ascension and finally Whitsun, when the Holy Ghost appears). On “Rogate” Sunday St. John ch. 16, v. 23-30 is read. There it is written: ”Wahrlich ich sage euch: was ihr vom Vater fragt in meinem Namen, wird er euch geben” (Verily, I say unto you, Whatsoever ye shall ask the Father in my name, he will give it you). On “Exaudi” Sunday (the Sunday after Ascension Day) St. John ch. 15, v. 26 to ch. 16, v. 4 is read; here are rather unwelcome words: “Man wird euch aus den Synagogen verbannen wegen eures Zeugnisses über mich” (They shall put you out of the synagogues, because of your witness of me), and, even worse: “Es kommt eine Zeit, wo derjenige, der euch tötet, glauben wird, er tue eine Tat der Gottesverehrung” (The time cometh, that whosoever killeth you will think he doeth God service). The titles of the three Cantatas for these Sundays indicate their main themes: BWV 108 “Es ist euch gut, dass ich hingehe” (It is good that I leave you) (Cantate) BWV 86 “Wahrlich, wahrlich, ich sage euch” (Verily, verily I say unto you) (Rogate) BWV 44 “Sie werden euch in den Bann tun” (They will excommunicate you) (Exaudi) The text of the Ascension Oratorio (BWV 11) is based on passages from various New Testament books: The Gospel according to St. L uke, The Acts of the Apostles and The Gospel according to St. Mark, in which the Ascension is described. “Es ist euch gut, dass ich hingehe”, BWV 108 (For Cantate Sunday, 29th May 1725) The text of this Cantata comes from Christiane Mariane von Ziegler, an exceptional woman who led an eventful life. She was from a respected family, born in Leipzig in 1695, married at 16, widowed after a few years, married again and lost her second husband after a few years as well as the children from both husbands. Aged 27 she was living again in the parental home. She developed her inborn feeling for art, played several musical instruments and made her house a meeting place for artists from the most different directions. Since the arrival in Leipzig of the well-known poet and theorist Gottsched in 1724, she created for herself a distinctive image through her literary talents. In 1728 and 1729 she published two collections of poems and in 1731 a collection of letters. Her work then became academically recognised, she married for a third time in 1741 and died in Frankfurt in 1760. Bach set nine of her cantata texts. She published these nine later, in 1728 (“Versuch in gebundener Schreib-Art ”). In this connection, it must be noted that Bach sometimes amended her verses in his cantatas – often without even respecting the rhymes – he apparently had other priorities of form... The Cantata starts with a literal quotation from St. John ch. 16, v.7: “Es ist euch gut, dass ich hingehe” etc. (It is good that I leave you). Here this is considered to be the Word of God, so Bach puts it, as he does occasionally, in the mouth of a basso solo as VOX DEI (the voice of God), not as an opening chorus with the complete vocal quartet. This piece (No. 1) is no ordinary aria, because the St. John quotation is not set as a poem but as a prose text. It is also not in the usual da capo form. Very often with Bach such Vox Dei words are conceived as a dialogue with an instrumental soloist. To the rather ‘imperious’ phrase of God belongs, almost self-evidently, the tromba (which clearly suggests the image of God, and which, even today, is also sometimes dominant, with God as a human King, whose authority is expressed with an almost military splendour). This section of text, however, has none of the character of an Old Testament Commandment – quite the opposite: it is rather a mystery for the listener. The power and splendour of the trumpet would not be appropriate here. Yet here Bach also ‘doubles’ the statement of the text, dividing it in a dialogue with ... Yes, with whom? Above all, I would say, with our ‘soul’, with our inner selves. Here there is a dialogue between the oboe d’amore and the Vox Dei. Grant me the naïve thought that, with the decision to use a d’amore instrument for the Voice of God, Bach actually wants to remind us of the Love of God. The Baroque artist does not shy away from such simple associations, and neither does Bach. The instrumentation, with the bass striding steadily wider, clearly suggests the ‘going’, thus the ‘going away’ here. On the words hin gehe and sende Bach writes long onamented melismas for the singer. They had already been announced in the oboe d’amore-introduction, and strengthen the vivid picture, thus creating even more strongly the unconscious echo in our inner self. The whole piece is a wonderful combination, on the one hand, of a distinct description of the passage of time (the ‘march’ in the basso continuo) and, on the other hand, an extremely lyrical dialogue between the two main voices. No. 2 is an Aria for Tenor, with a solo violin and basso continuo. Here the poetess (Mariane von Ziegler) ‘answers’ the Voice of God. (Though here Bach ‘doubles’ the text with the help of the solo violin, which plays in dialogue with the tenor). The poetess, without in the least doubting the Word of God – thus also comforted, declares that she will share in the Redemption through the Ascension of Jesus. “Mich kann kein Zweifel stören ...” (No doubt can disturb me). The busy violin part illustrates well the doubting search, and the tenor in his melismas likewise describes the concept of Zweifel (doubt) and stören (disturb): unusual intervals follow one after another in the vocalise – until suddenly there is a standstill on a long note for the words “ich glaube”. The violin also imitates this point of rest in its part. The meaning of the words “gehst du fort” (goest thou away) and “Erlösten” (the redeemed) are also portrayed. Under the dialogue there beats a regular tempo, which for the first ten bars again and again falters through a quaver rest on the third beat: the doubt? the disturbance? This rhythmical form in the bass line accompanies the whole aria, and in large measure decides the affekt of the piece. No. 3, Secco Recitative for the tenor, now follows, with a typical Baroque expression, “durch Dein Hingehen wird also der Geist zu mir kommen” (thus, through Thy going, the Spirit comes to me). It is a skilful introduction to No. 4 (Chorus): once again a literal quotation from St. John’s Gospel (ch. 16, v. 13). It is a three-part verse, which Bach also clearly structures in three parts: “Wenn aber jener, der Geist der Wahrheit, kommen wird, der wird euch in alle Wahrheit leiten. / Denn er wird nicht von ihm selber reden, sondern das, was er hören wird, das wird er reden; / und was zukünftig ist, wird er verkündigen” (Howbeit when he, the Spirit of truth, is come, he will guide you into all truth: for he shall not speak of himself; but whatsoever he shall hear, that shall he speak: and he will shew you things to come). This text is once again rather enigmatic and abstract in its middle section; I think that here St. John is suggesting the ineffable core of the mystical Trinity: “der Geist wird nicht aus sich selber reden, sondern nur das vermitteln, was er vom Vater und dem Söhne hat ...” (the Spirit will not speak his own words, but only transmit what he has from the Father and the Son). This relatively long prose fragment is a subject matter which is not simple to set – it is a theological statement, for which neither poetic metaphorical  language nor lyrical excess would have led directly to a musical setting. Bach treated the three sections of the St. John quotation in three short rather objective sounding fugatos, each with its own theme – of which the third is clearly derived from the first. The natural word accents of this Lutheran translation of St. John’s text are strictly respected in Bach’s setting. Thus he writes music, which appears rather ‘instrumental’, of great intellectual power and beauty, but which can also fascinate ‘unpractised’ ears. The instruments here are just used to double the voices – only the basso continuo at the beginning of the second and third sections is briefly heard independently under the theme. Now follows an Aria for Alto, Strings and Basso Continuo (No. 5) “Was mein Herz von dir begehrt / Ach, das wird mir wohl gewährt” etc. (What my heart desires from Thee / Ah! that will certainly be granted to me). The text by Mariane von Ziegler consists of three verses of two lines in trochaic metre (long/short). The ‘key words’ which Bach has chosen to influence his design are: in the first two lines the word “begehrt” (desires);this idea is emphasised by constantly breaking therhythmic impulse (which incidentally reminds us of a minuet); the ‘desire’ is of course the longing after a ‘something’ which is still ‘missing’, and with the moment of breaking each time the “missing” is expressed, that is to say even through the failing. in the two following lines “Überschütte mich mit Segen / Führe mich auf deinen Wegen” (Overwhelm me with blessings / Lead me in Thy way) the word “Überschütte”; as if looking forward, there is a long spun out line in continuous rhythm – a highly imaginative description. It is already indicated by the first violin in the middle of the fifth bar, and repeated often throughout the whole piece. in the last two lines (“Dass ich in der Ewigkeit /Schaue deine Herrlichkeit” – That I, through all Eternity / behold Thy Glory) the word “Ewigkeit”, which is underlined by the soloist with a long-held note. Incidentally, this note was already present in the instrumental introduction, but, on first hearing, we do not know its meaning until later. With these three main components Bach devises an endless number of combinations in this aria. Noteworthy also is the beautiful upward swinging figure on “Schaue” (behold) (the eyes will be led upwards as it were!). This aria does not have the traditional da capo form in the treatment of the text; though it comes full circle with the instrumental opening repeated as the ‘ending’. A simple Chorale (no. 6) closes the Cantata (1653, Paul Gerhardt). It emphasizes very appropriately the way shown by the power of the Holy Ghost. “Wahrlich, wahrlich, ich sage euch”, BWV 86 For Rogate Sunday, the 14th May 1724. The words in St. John ch. 16, v. 23 “Wahrlich ich sage euch: so ihr den Vater etwas bitten werdet in meinem Namen, so wird er’s euch geben” (Verily, I say unto you, Whatsoever ye shall ask the Father in my name, He will give it you), which is found in the Gospel reading for this Sunday, is the leitmotif of the whole Cantata. The anonymous poet emphasizes the absolute confidence in the validity of this statement by Jesus which the Christian ought to have. But still it indicates best how little it is given to mankind to know when exactly the gift will take place; only God knows this best... The St. John text is presented first by the Bass Solo (No. 1), accompanied by the four strings. Again we hear the Vox Dei – here it is woven into five voices for the most part. The piece is conceived in the strict old polyphonic style, with a ‘Quinta Vox’ as the only sung part. The main theme, which follows the prosody of the words exactly, is always bound compositionally to its counter-subject (Dux and Comes). A superb example of Bach’s unsurpassed contrapuntal style! There follows an Aria (no. 2) for Alto, with violin solo and basso continuo: “Ich will doch wohl Rosen brechen / Wenn mich gleich die Dornen stechen” (Yet I will gladly pick roses / even though the thorns prick me). With this picture the poet declares that if the Christian who gets into difficulties trusts in God (behind the thorns, roses!), then God keeps his given word. The violin part is very active, with passaggi and arpeggi surely symbolising the work, the difficulty (although Dürr’s interpretation could also be valid: he sees in this violin part more the radiance of God over all earthly hardship). In addition the voice in the A-part has quite a lot of broken lines (the picking, pricking?) - in the B-part, on the other hand, (“Denn ich bin der Zuversicht, dass mein bitten und mein flehen / Gott gewiss zum Herzen gehen ...” – Then I am confident that my prayers and my pleading / to God will surely go to His heart) the line is more supple and lyrical. After this comes a Chorale arrangement (No. 3) for soprano with two oboes d’amore and basso continuo of verse 16 of the hymn “Come here to Me, saith the Son of God” by Georg Grünwald (1530): “Und was der ewig gütig Gott / In seinem Wort versprochen hat” etc. (And what the eternally just God / has promised by his word). The joyful three-part instrumental movement contains the chorale melody in long notes, like a cantus firmus – thus one could think of the Trinity, which protects mankind. A Secco Recitativo for Tenor (No. 4) wants to stress the faithfulness of God even more, and actually does so through a negative comparison with the “world / which promises much and does little” (“... Welt / die viel verspricht und wenig hält”). The recitative leads directly into the Tenor Aria (No. 5) with strings “Gott hilft gewiss” (God’s help is certain), whose affekt was already announced in the last line of recitative through “Lust und Freuden” (pleasure and joy). The first violin has an intensive dialogue with the solo voice, the other strings supporting them. The B-part of the aria states more precisely: “Wird gleich die Hülfe aufgeschoben / Wird sie doch drum nicht aufgehoben” (If the help is put off / it does not mean that it will not happen); once again we are bidden to have patience and trust. This Cantata is closed with a simple Chorale (No. 6): verse 11 of the hymn “Now has salvation come to us” by Paul Speratus (1523) “Die Hoffnung wart’ der rechten Zeit / was Gottes Wort zusaget” (Hope awaits the right time / for what the Word of God promises) – which once again summarizes the main theme. “Lobet Gott in seinen Reichen”, BWV 11 (Ascension Oratorio, 1735) For the Feast of the Ascension Bach has left us four liturgical works, and all of them were written in Leipzig (1724, 1725, 1726 and 1735). The Ascension Oratorio is thus the last of the series. By 1735 Bach had composed several oratorios, with texts largely from the hand of Picander, whom we also know as the librettist of the St. Matthew Passion (mind you, at that time the Ascension Oratorio was not included in the collected edition of Picander’s poetry; which gives rise to some doubt about his authorship). These Oratorios are not fundamentally different from the ‘normal’ cantatas. It is typical that – as in the Passions – an Evangelist (the tenor) appears, who recites the words of the episode from the Gospels. Then around these words the whole web of the work is developed further, with arias, accompanied recitatives, choruses and chorales. Thus there emerged the Christmas Oratorio (which in reality is a series of six cantatas), the Easter Oratorio (a modification of an earlier Easter Cantata) and this Ascension Oratorio. The assembled text use quotations from the Gospels of St. Mark and St. Luke, as well as the Acts of the Apostles. These fragments are thus adopted literally and/or combined; in addition to that it had separate verses composed, as ‘commentary’ or moments of prayer. As a third layer of text there are included – as in all cantatas – old church hymns (chorales). The first part closes with a simple Chorale – the second part, in contrast, with a wide-ranging concertante piece, which encircles a Chorale. In this church piece, which was first heard on the 19th May 1735, Bach borrowed much from his earlier works – which it is known he often did, and which is no discredit, for the new version always fits perfectly into the new surroundings. The opening chorus is an adaptation of the opening chorus from a secular cantata “Froher Tag, verlangte Stunden” (Happy Day, longed-for hours), written for the dedication of the renovated School of St. Thomas in Leipzig in 1732), the music of which is lost. The two arias are adaptations from arias of a wedding cantata of 1725 “Auf, süß entzückende Gewalt” (Up, sweet delightful force) with a text by Gottsched. The music of the original has also gone missing. The Opening chorus (No. 1) of this Ascension Oratorio has as ‘new’ text “Lobet Gott in seinen Reichen” (Praise God in his kingdoms) – a text in trochaic metre, which appears to come from an old psalm, but yet is by the librettist (Picander?). The music fully matches the contents of the text with trumpets and drums. A richly colourful instrumental introduction precedes the homophonic entry of the solo voices, who soon let the “Lobet” ring out one after the other in imitation, giving a three-dimensional effect, as if several singing angels were in the sky. In the second half, at “Sucht sein Lob recht zu vergleichen“ (Seek to compare His praise properly), the “seek” is illustrated in the soprano part with shaking syncopation. The whole works in a very concerto-like and brilliant fashion. Then follows the first Secco Recitativo for the Evangelist (No. 2), after St. L uke ch. 24, v. 50 and 51: “Der Herr Jesu hub seine Hände auf“ (The Lord Jesus lifted up his hands). Here the basso continuo depicts the blessing with a rising phrase and, at “da er sie segnete” (as he blessed them) with a downward phrase. This is an extremely simple description, yet Bach did not wish to do without it! Jesus blessed his disciples and scheidet von ihnen (parted from them), as it is told in the text. The Ascension itself is not yet mentioned here – the poet will imagine the departure for the first time in a passionate accompanied recitative (No. 3) and a touching aria text (No. 4). The Accompanied Recitative (No. 3) is assigned to the bass voice, in which it is accompanied by two transverse flutes and basso continuo. The text is full of rhetorical questions and answers, as was proper in the Baroque era. The flutes, with groups of soft staccato semiquavers, illustrate the “heißen Tränen die von den blassen Wangen rollen” (hot tears which roll down pale cheeks); frequently the number of these notes is exactly the same as the number of syllables in the preceding text; so one can describe, for example, the first group as an ‘echo’ of the words “ist dein Abschied schon so nah?” (is Thy departure already so close?). The following Aria (No. 4) for Alto with the violins and basso continuo later formed for Bach the basis for his famous Agnus Dei in the B minor Mass. This version of the aria in the Ascension Oratorio, however, is already (as noted above) an arrangement from a missing secular cantata of 1725. The Agnus Dei is a second arrangement of the original. The text of the present aria springs from the idea of the Abschied (parting): “Ach bleibe doch, mein liebstes Leben / Ach fliehe nicht so bald von mir!” (Ah, just stay, my dearest life / Ah, flee not so soon from me!) etc. It is a true Lamento, in which the solo singer and the violin carry on a close dialogue, supported by the slow and steady step of the basso continuo. This music speaks of a mute ‘incomprehension’, a kind of calm sadness. The disciples of Jesus did not really understand what was happening, but would feel how irreversible his parting was, would beg him to stay, although they would see that he is going away (whither they still would not know for the present). The violins set the tone in a long introduction; the alto starts with the same violin motif, but soon stops, in order to let the violins continue; he repeats his opening and afterwards resumes the dialogue with the violins. A short interlude leads to the B-part of the aria, “Dein Abschied und dein frühes Scheiden / Bringt mir das allergrößte Leiden / Ach ja, so bleibe doch noch hier” (Thy farewell and Thy departure / brings me the greatest sorrow / Ah truly, just stay here for a while). A new motif is soon heard in both parts. For a while there is a parallel movement, but soon the violins fall back to the sad Lamento motif from the A-part; the alto once again brings in a new motif answered by the violins, after which the Lamento begins again. The aria ends with a quasi da capo of the A-part. Allow a short examination here of this particular aria with regard to its later re-use as Agnus Dei. Here the departure of Jesus is described – in the Agnus Dei, however, the Ascension has already taken place, and this departure from the world became to sit on the right hand of God, and an existence as the Lamb of God. This new connection corresponds to an important adaptation of the Agnus in the B-minor Mass, compared to its position in the Ascension Oratorio aria; the alto begins the Agnus with a completely new motif, which does not stem from the violin introduction: instead of common experience with the parting (the aria in the Ascension Oratorio) the Agnus essentially shows a reality on two levels – as if the singer moves in a different world to the instruments. The Jesus who ascends to heaven becomes for the faithful the Lamb of God (Agnus Dei) in heaven. By using this aria again as the Agnus Dei in the B-minor Mass, the devout Bach shows us, in his own way, how the Ascension led to the Glorifcation. After these two lyrical moments by the poet (the accompanied recitative and aria) there is a simple Secco Recitative (No. 5) by the Evangelist (Tenor), which relates the story with words from Holy Scripture (Acts of the Apostles ch. 1, v. 9 and St. Mark ch. 16, v. 9): “Und ward aufgehaben zusehends und fuhr auf gen Himmel; eine Wolke nahm ihn weg vor ihren Augen, und er sitzet zur rechten Hand Gottes” (and he was rapidly taken up and ascended unto heaven; a cloud received him out of their sight, and he sits on the right hand of God). There follows a simple Chorale (No. 6) “Nun lieget alles unter dir” (Now all is subject to Thee) by J. Rist (the fourth verse of the hymn Thou Prince of Life, Lord Jesus Christ, 1641). The hymn is in triple time; this gives it an almost folk-like appeal. The astonishment about the extraordinary events of the Ascension (here quite certainly understood as an actual physical happening) is apparent here. The Evangelist (7a) now tells how suddenly, after the actual Ascension, two men in white apparel appeared (as stated in the Acts of the Apostles ch. 1, v. 10-11), who proclaimed to the Apostles that the ascended Jesus would return as they had previously seen him go into heaven. Here Bach allows the Evangelist (tenor), together with the bass, to present the words of the two men as a duet. This is an example that shows, in Bach’s concept, the Evangelist is not only the Evangelist absolutely. He also sings words which are outside his rôle. One can see in this a confirmation of the practice, in general, of working with only four singers and no chorus in the modern sense. It would in fact have been quite simple and obvious to give the rôle of the two men to two other singers, if they had been available... The duet of the two men changes in bar 8 to a canon at the fifth, which announces “Dieser Jesus... wird kommen wie ihr ihn gesehen habt gen Himmel fahren” (This Jesus ... will return, just as you have seen Him ascend to Heaven). The canon draws a picture of the later coming. The first voice actually comes back to the identical second entry – once again an example of how Bach takes his idea of form from the content of the text. Next, in an Accompanied Recitative (7b) with transverse flutes, the poet describes, in a truly Baroque gesture, devout mankind, which, with passionate impatience, awaits the imminent return of Jesus. (Komme bald, ... sonst wird mir jeder Augenblick verhaßt und Jahren ähnlich werden – Come soon, ... else every moment will be hateful to me and the years will be the same). After this accompanied recitative the Evangelist (7c) carries on relating the Epilogue of the events, as the Apostles with great joy return to the city of Jerusalem. After this narration of the key events of the Oratorio, there follows another kind of epilogue: an aria for Soprano solo, which has obbligato wind, as does the closing chorus. The Soprano Aria (No. 8) is accompanied by two transverse flutes in unison and an oboe, with violins and viola in unison as an octave higher ‘bassetto’ (the bass instruments are silent). Bach had taken this piece from the Wedding Cantata (“Auf! süss entzückende Gewalt” – Up! Sweet delightful force – of 1725, text by Gottsched), from which the earlier aria No. 3 also came. The Gottsched text of this aria was called “Unschuld, Kleinod reiner Seelen” (Innocence, jewel of pure souls). These words had inspired Bach in 1725 to work only with the high instruments (the childlike innocence?), and with the bass instruments an octave higher than usual. The text of this aria is “Jesu, deine Gnadenblicke kann ich doch beständig sehen” (Jesus, Thy look of mercy I can still see constantly); thus the same configuration fits here exactly. The look of mercy of Jesus enthroned in heaven comes from on high ... This is delightfully underlined by the high ‘close harmony’ without a genuine bass. The character of this music is almost Christmassy, as if we hear (and see) the angels themselves making music. The Closing Chorus (No. 9) is appropriately symmetrical with the opening chorus in its instrumental splendour; in this brilliant web, with the different pairs of instruments passing on the motif to each other, is embedded the Chorale of G. W. Sacer (1697) “Wenn soll es doch geschehen / Wenn kömmt die liebe Zeit?” (When shall it happen / When cometh the precious time?) The melody is sung by the soprano with long notes, augmented by the wind instruments; underneath the three usual voices unfold a polyphonic imitative movement. With “Du Tag, wann wirst du sein?” (O day! When willst thou arrive?) they take up the instrumental figuration more and more, and sing about their passionate longing for the day of Jesus’s return, which was promised at the time of the Ascension. Thus in the great totality of this work there is a vivid and passionate description of the wondrous event of the Ascension, which tradition has handed down. “Sie werden euch in den Bann tun”, BWV 44 for Exaudi Sunday, written in Leipzig for the 21st May 1724 (a week after the above Cantata BWV 86). After the Feast of the Ascension the Sunday liturgy focuses again on the great sayings of Jesus from the Gospel according to St. John. On “Exaudi” Sunday one reads in ch. 15 (v. 26) to ch. 16 (v. 4) a discussion between Jesus and his disciples, which contains: When the Comforter is come, whom I will send unto you from the Father, even the Spirit of truth, which proceedeth from the Father, he shall testify of me: And ye also shall bear witness, because ye have been with me from the beginning (...) They shall put you out of the synagogues: yea, the time cometh, that whosoever killeth you will think that he doeth God service. And these things they will do unto you, because they have not known the Father, nor me. But these things have I told you, that when the time shall come, ye may remember that I told you of them. And these things I said not unto you at the beginning, because I was with you). (Only the underlined text is referred to in Cantata 44. Surely no welcome message for the Apostles. The poet of this Cantata concludes from this that, above all, the devout Christian must always take sorrow upon himself. The Antichrist persecutes him, but to no avail though, because he is like a palm tree. Ever more weight hangs from its branches; ever higher and straighter grows its stem. Exactly in that way the Christian soul grows, so that he withstands his persecution. The two chorales also, which are combined in the libretto, follow the same thoughts. The quotation from St. John (ch. 16, v. 2) is divided into two parts by Bach. Initially, (No. 1, a Duet for Tenor and Bass with two oboes, bassoon and basso continuo), he only uses the phrase “Sie werden euch in den Bann tun” (They will excommunicate you). The piece in C minor, a sad key, is a five-part composition (three instrumental and two vocal parts). In the three-part introduction the oboes present the main theme, the tenor and bass enter one after the other with the same material. On “Bann” there is every time a long-held note, which becomes disssonant (the Bann, the excommunication!) and the line tries as it were to close down. Once again an example of how the text inspires Bach’s method of composition. Without a transition we come upon the second phrase of the St. John quotation (No. 2, Four-part tutti piece for all the singers and instrumentalists) “Es kommt aber die Zeit, dass, wer euch tötet, wird meinen, er tue Gott einen Dienst daran” (The time cometh, that whosoever killeth you will think that he doeth God service). Over a continuously busy instrumental bass the four singers scan this threatening text homophonically, imitated by the instruments to increase the effect. The little word “dass” is emphasized in isolation, which is particularly curious. Then the text “wer euch tötet” follows quite quietly (piano), and suddenly loud again (forte) comes “wird meinen, er tue Gott einen Dienst daran”. Next the whole section “es kömmt” (etc.) is repeated in a complex polyphony, with a graphic chromaticism on “tötet”. This No. 2 is one of the most vivid passages in Bach’s cantatas. There follows a delightful Aria (No. 3, for Alto with Oboe and Basso Continuo): “Christen müssen auf der Erden Christi wahre Jünger sein” (Christians on earth must be Christ’s true disciples), an addition by the poet to the main theme. The true Christian should be ready to bear persecution and discrimination (torment, excommunication and suffering) to the end. A steady rhythm (the steadfastness?) supports the three-part movement, which reminds us of a dance (Chaconne, Polonaise?). In the B-part a long-held note comes again on “Bann” and “Pein” – but also once on “selig” (blessed)! No. 4 is a Chorale arrangement for tenor and basso continuo – a true sleight-of-hand, which one comes across only in J. S. Bach. The tenor proclaims the four lines of the old Chorale melody quite simply; the lines, however, are separated from each other with an interlude in the basso continuo, which repeats the first Chorale line, lightly amended chromatically and with the respective closing cadence, seven times in various keys. The text of the Chorale is by M. Moller, 1587 – it fits in particularly well in this context. This old hymn text allows the poet to follow it with a Baroque recitative (No, 5, Secco Recitative for Bass). He brings the Antichrist, who seeks in vain to destroy the faithful, onto the stage. (Here comes the simile of the palm trees, mentioned above, which grow ever higher through increasing weight). The next Aria (No. 6, for Soprano and all the instruments) glorifies the loyalty of God. He wacht von seine Kirche (keeps watch over His church). The aria is very highly charged and dynamic. In the B-part a picture from nature is brought to the simile: “Denn wenn sich gleich die Wetter türmen / So hat doch nach den Trübsalstürmen / die Freudensonne bald gelacht” (For when the storms also build up / yet after the storms of sorrow / the sun of joy has soon shone brightly). As expected, Bach reaches into his reserve here; the türmen is vividly portrayed in the score and acoustically for our ears; above a steadily pulsating bass note successive sixth chords climb upwards; as soon as the top is reached the bass itself becomes fully chromatic. The voice also contributes to the picture, with an rising set phrase. The Freudensonne which “lacht” is drawn with fast triplets in the vocal part, supported by the basso continuo. This combination is repeated once again just before the expected “da capo”. The Closing Chorale (No. 7) is by Paul Fleming (1642): the 7th verse of the hymn “In allen meinem Taten” (In all my deeds) – “So sei nun, Seele, deine / Und traue dem alleine / Der dich erschaffen hat” (So now be His, my soul, / and trust none other / than He who created thee). It is presented simply in four parts (the tune is also known as “O Welt, ich muss dich lassen” – O world, I must leave thee). Sigiswald Kuijken Translation by Christopher Cartwright and Godwin Stewart