Luogo e data di registrazione		- s'Gravenwezel Castle (Belgium) - July 2005 - (BWV 186) - Predikherenkerk, Leuven (Belgium) - Sempember 2005 - (BWV 168) - Academiezaal, Sint Truiden (Belgium) - April 2009 - (BWV 134) - Predikherenkerk, Leuven (Belgium) - 3/4 December 2012 - (BWV 54)
	Registrazione: live / studio		studio
	Recording Staff		Eckhard Steiger
	Prima Edizione CD		ACCENT - ACC 25317 - (1 CD) - durata 77' 51" - (p) 2005-12 (c) 2013 - DDD
	Note		-

COMMENTARY on the cantatas presented here “Ärgre dich, o Seele, nicht,”, BWV 186 for the seventh Sunday after Trinity. A. Dürr describes in detail how this cantata for the 11th July 1723 came about from an original Weimar Advent Cantata of 1716, that is during Bach’s first year in Leipzig. Because all the recitatives and the chorale, which closes both parts, were newly added, a two-part cantata of more substantial dimensions was created. The aria texts were adapted, where necessary, to the new requirements. From the original Weimar text of Salomon Franck only the opening chorus and the aria no. 8 “Die armen will der Herr umarmen” (The Lord will embrace the poor) remain. The text of the chorales (nos. 6 and 11) is from the hymn “Es ist das Heil uns kommen her” (It is our salvation approaching) (P. Speratus 1523). The author/compiler of these various old and newer parts is unknown. It is conceivable that Bach himself made a contribution in such cases. The first half of the Cantata (before the sermon) begins with an impressive Chorus (No. 1): The “Ärgre dich, o Seele, nicht” (Fret thee not, O my soul) is sung after the oppressive harmony of the instrumental introduction by the four singers, and is immediately imitated by the wind instruments (oboe and oboe da caccia). The next three lines are then set in a dense Fugato. This double structure is repeated in another key and form, which leads back to the G minor of the beginning. Noteworthy is the constant repetition, in the basso continuo, of an ascending arpeggio-figure of four quavers each time. It could be an expression of agitation, of the fretting, how the mind tries to make its conflicts known ... The text of this chorus is calling us to accept the Mystery of the Incarnation of God in its paradoxical incomprehensibility: God, the Supreme Light disguised as a servant! In the following Bass Recitative (No. 2) the meaning of these lines is made clear: not only does Christ want to be poor and ordinary – the Christian should also strive to be like that, but at the same time discourage his egotism. The Aria “Bist du, der mir helfen soll” (Art thou the one who will help me)” for Bass and basso continuo (No. 3) is like a courante, as we often find in Bach. Is it an allusion to the content of the text “Eilst du nicht, mir bei zu stehen?” (Dost thou not hasten, to stand by me?) in the second line of the aria? The text, set in the active trochee metre, implores us here to seek all of God’s help. Our faint-heartedness and insularity are vividly presented in the succeeding Tenor Recitative (No. 4), and in a lyrical arioso section Christ’s friendship opposes it, which will stand by us in our sorrow. This central thought is developed further in the following Aria (No. 5) “Mein Heiland lässt sich merken” (My Saviour lets Himself be seen). The violins, in unison with the first oboe, accompany the entry of the soloist and say farewell to him at the end in just as flowery a manner. A picture of the ‘works of grace’ in the second line? On the words “den schwachen Geist zu lehren / den matten Leib zu nähren” (To teach the weak mind / to nourish the weary body) the high instruments cease their activity and just play a weak held note. The Closing Chorale of this first part (No. 6) is surrounded by concertante instrumental passages, which, with their frequently interrupted dialogue, reflect the interrupted thoughts. “Ob sichs anliess, als wollt er nicht / lass dich es nicht erschrecken etc.” (Although it appears that He does not wish to care for thee / be not frightened etc.). The movement is vocally simple, though not homophonic. The 1523 text reminds us that we should never doubt the presence and word of Jesus. A meditative Recitativo accompagnato (bass and strings, No. 7) introduces the second part of the Cantata (after the sermon). Only if we withdraw ourselves from the world, can the word of Jesus find a place in out hearts. Just as He showed his compassion (as described in the Gospel according to St. Mark) in the feeding of the four thousand, so will He also stand by us in our need every time and bless us. The Aria for strings and soprano (No. 8), “Die Armen will der Herr umarmen” (The Lord will embrace the poor), begins with a two-part prelude in which the ‚embracing‘ is portayed almost visually by the alternating lines. Rising chromatic passages in the violins describe how we will be received into God‘s mercy. Then the alto again explains with richer language (in a recitativo secco, with arioso interjections, No. 9), how the faithful soul, who always hungers after Christ, will receive a crown from Him in Paradise. The Duet (No. 10, for soprano, alto and all the instruments) “Lass, Seele, kein Leiden von Jesu dich Scheiden” (O my soul, let no suffering separate thee from Jesus) is like a joyful dance (gigue?). The text and music call cheerfully for trust in God and constant faithfulness. In the B-part, written in a rather more complicated way, more stress is put on the Mercy, which awaits the faithful, if he frees himself from the bonds of the body. This second part concludes (No. 11) with the same colourful Chorale as the first part, but setting a different stanza of the old hymn. “Tue Rechnung! Donnerwort”, BWV 168 (Give an account of thyself! Word of thunder), for the ninth Sunday after Trinity The text of this cantata from 1725, for the ninth Sunday after Trinity (which was the 29th July), is by Salomon Franck: taken from the “Evangelische Andachts-Opffer” (Weimar, 1715), in which just the closing chorale dates from 1588 (Bartholomäus Ringwalt). The main idea is: the believer must account to the Lord for his actions. He has only received his life from God as a loan, of which he must make the best use possible. But over and above that, the Lord will show him mercy, for Jesus (the Lamb) has taken his guilt upon himself. This two-layered message is again apparent in this Cantata. The first half (No. 1 to No. 3) deals with the idea of the ‘outstanding debt‘, the second (No. 4 to No. 6) with the ‘debt crossed out‘. The poet sometimes used in these lines almost technical terms of finance – a unexpected effect! The opening text is packed straight into a restless and imperious Aria for bass and strings (No. 1). A single bass voice is better suited than a four-part vocal ensemble to shout the commandment “Give an account of thyself!“ (see St. Luke 2.16 – the Gospel reading for this Sunday), as if it was the Vox Domini from heaven. It is regarded by the poet as a “word of thunder“, which “die Felsen selbst zerspaltet” (splits the rock itself) and which our “Blut erkaltet” (freezes our blood). The rapid running triplet setting gives urgent power to the statement (mostly in the basso continuo, taken several times by the first violin or by the soloist, and a few times even performed in unison by all instruments). The frightening affekt is created by the dotted rhythm of the violins and viola. The Bpart of the text (“Ach, du musst Gott wiedergeben” etc. – Ah, thou must give back to God etc.) is sung by the bass alone, with the continuation of the triplets in the continuo and, in turn, the full material of the A-part. There follows a passionate Recitativo Accompagnato for tenor (No. 2), 2 oboes d‘amore and basso continuo. The believer recognizes that God has given him everything “zum Verwalten / und treulich damit hauszuhalten” (to administer / and faithfully to look after) – and how he ‘callously’ dealt with it. He now fears God‘s punishment (“Wie kann ich dir, gerechter Gott, entfliehen?” – How can I escape Thee, righteous God?). Why do we find the oboes d‘amore in this Accompagnato instead of the usual strings? Bach‘s reasons are sometimes very simple and natural: the ‘d‘amore-idea‘ perhaps only points to God‘s love, from which He actually bestows all his gifts, as the text emphasises. In addition Bach ‘displays‘ in this passage the mountains, the hills and the lightning, of which the three last lines speak. The following Aria (No. 3) also for tenor has the same instrumentation. Is it too far-fetched to suppose that the unexpected, uncomfortable and continuous unison of the two oboes may illustrate the “Kapital und Interessen” (capital and interest) of the text? The Aria is a perfect trio movement, in which Bach refrained from further word-illustrations. After this aria the poet finally takes the side of the frightened being: the Recitativo secco for the bass (No. 4) announces that the believer‘s debt has been “quittiert” (cleared) through “des Lammes Blut” (the blood of the Lamb). There is, however, a moral obligation attached thereto, and he should also strive from now on “den Mammon klüglich anzuwenden” (to use the wealth of Mammon wisely), and he will “in Himmelshütten sicher ruhn” (rest safely in heaven‘s dwellings). A short Duet (No. 5) for soprano and alto with basso continuo (“Herz, zerreiße des Mammons Kette” – Heart, break the chains of Mammon) follows. That this text is set as an imitative duet clearly indicates that the faithful should emulate this effort. A figure is repeated 27 times by the basso continuo (3x3x3, Eternity?), which again expresses very well the ‘breaking’ of the chain. The simply set Closing chorale (No. 6), with the 1588 text, summarizes once again the whole idea running through the Cantata. Salomon Franck‘s text for this Cantata is an example of how the Baroque imagery can sometimes push to the limit what we now think of as ‘poetic‘ – and occasionally even beyond it, so we might describe it as ‘shoddy work‘ or even ‘kitsch‘. De gustibus et coloribus non disputandum est! (There is no accounting for taste and colour!). It is certain that Bach, in his great wisdom did not allow that to stop him from setting this text to music with his best creative power. Sigiswald Kuijken ”Ein Herz, das seinen Jesus lebend weiß”, BWV 134 (A heart, that knows that his Jesus lives) for the third day of Easter 1724, here in the later version of 1731 This piece is also, like the Easter Oratorio, a parody of an earlier secular Cantata for a special occasion, and, in fact, of a 1719 New Year’s Cantata for Prince Leopold von Anhalt-Köthen, Bach’s employer from 1717 to 1723. Prince Leopold was a Calvinist, which meant that, in the church services at his court, there was no place for elaborately conceived Cantatas, as was usual with the Lutherans. In practice, there were in Köthen only two annual occasions when Bach was required to provide a (non-religious) Cantata: at New Year and for Prince Leopold’s birthday. The texts for these occasional pieces were written mostly by Christian Friedrich Hunold (1681-1721, his pseudo nym was Menantes). They were so-called Serenatas, a kind of short opera libretti, which were undoubtedly staged (if only minimally) with gestures. At that time they called for professional singers, who were able to perform the sung texts with the appropriate conventional gestures. The model of our church cantata (BWV 134a, “Die Zeit, die Tag und Jahre macht” (Time, that makes days and years) was a dialogue between two allegorical persons: Die Zeit (Time) (sung by the tenor) and Die göttliche Vorsehung (Divine Providence) (Alto). In the closing movement of the Serenata the soprano and bass were added, with no specific name or rôle but only for vocal strength, so that the piece could end with a festive four-part madrigal-like movement. Bach in 1724 – maybe under some time-pressure – composed the parody for the third day of Easter, keeping the original instrumental forces of the 1719 Köthen Serenata. This religious remodelling must have been particularly important to him, since in 1731 he brought it out again and even refined it here and there with the new text. This was then published (in Texte zur Leipziger Kirchen-Music, auf das heilige Osterfest, und beyden nachfolgenden Sonntagen, anno 1731 (Texts for Leipzig church music, for Holy Easter, and for both the following Sundays, 1731), in which this Cantata is marked “On the third day of Holy Easter, in the church of St. Nicolai”). Even in the final 1731 version, therefore, the work is still very close to the secular original. As in the Serenata of Hunold there is no opening chorus, and it starts directly with a Recitativo secco for two voices (unusual for church cantatas). In the arias and in the four-part finale there is still the original Köthen music of 1719. Furthermore there is no Chorale in this work, and the new poet (unknown) does not use the readings for the day – he only refers to the crucifixion of Jesus and the meaning of that for the faithful. The piece is scored for two oboes and strings. As in the original Serenata the alto and tenor are the main vocalists, and the soprano and bass only join them in the final movement. No. 1, Recitativo for two voices. The tenor begins secco: a heart that believes in the living Jesus “empfindet Jesu neue Güte / und dichtet nur auf seinen Heilands Preis” (feels new goodness from Jesus / and speaks only praise of its Saviour), to which the Alto adds (in cheerful figures dialoguing with the continuo) “Wie freuet sich ein gläubiges Gemüte” (how a faithful soul rejoices). So this beginning is laid out like a theatrical event. The real opening music of the Cantata is a festive Aria for tenor (No. 2), with all the instruments – dance-like music (reminiscent of a Passepied, a faster Menuet), in ABA form. With “Auf, Gläubige, singet die lieblichen Lieder / Euch scheinet ein herrlich verneuetes Licht” (Up, believers, sing the lovely hymns / on thee a glorious light shineth anew) the tenor connects with the words of the preceding recitative, where it commanded “und dichtet nur auf seinen Heilands Preis” (and speak only praise of its Saviour). A lively 3/8 motif enters three times imitatively in the two upper voices (each time one oboe and one violin part) and the basso continuo. After 24 bars of the introduction the tenor takes up the same motif, singing on his own. The three successive entries of the main motif remains the principal theme throughout the A-part. The B-part brings new words and music, initially in rather a lyrical mood, but Bach readopts the main motif from the A-part after a while (even if it is in G minor instead of the original B flat major). The Da Capo repeats the full A-section. There follows a Recitativo secco for tenor and alto (No. 3). In itself, this text does not require any dialogue, but Bach has cleverly divided it between the two protagonists, as was the case in the 1719 Serenata. In Baroque pictures we are reminded that Jesus died on the cross for the salvation of man, and descended to hell, where even “Satan furchtsam zittern muss” (faint-hearted Satan must tremble). The alto speaks directly to Christ: “Mir Siegeskronen zu bereiten / Nahmst du die Dornenkrone dir” (to prepare for me a crown of Victory / Thou took for thyself the crown of thorns). The greater frequency of the dialogue towards the end is very effective, when the poet declares how even the grave and death are no longer an enemy of the Christian. This recitativo dialogue leads quite naturally into the next Duet (No. 4) with strings and basso continuo. The alto and tenor always sing at the same time their praise and thanks with almost competitive enthusiasm. In the B-part of the piece terms like ‘Sieg’ (victory) and ‘Streit’ (strife) stand out in the text. In the original Serenata these were also the main ideas, and the music was appropriately conceived. The first violins throughout the piece play vigorously active figures, with positive support from the others. The text here is: “Der Sieger erwecket die freudigen Lieder / Der Heiland erscheinet und tröstet uns wieder / Und stärket die streitende Kirche durch sich” (The victor gives rise to the cheerful hymns / The Saviour appeareth and comforts us again / And through Himself strengthens the struggling Church). Note the trumpet-like figure on “Der Heiland erscheinet”, sung impressively twice by the tenor. In the following Recitativo secco (No. 5) for tenor and alto the tenor first asks for continued support and comfort, so that near to death we only “die for a time”, and through that we “enter into Thine Glory». The alto then continues with renewed thanksgiving and praise, in which the basso continuo in the final bars, after offering only functional harmonic support for the recitativo secco up till then, suddenly becomes active in the moving statement. The Cantata then ends with a monumental festive Closing chorus (No. 6) in ABA form. As in the original 1719 Serenata, the alto and tenor, now with the participation of all the instruments, are framed by the soprano and bass. The movement is reminiscent in time signature (3/8) and tempo to the tenor aria (No. 2) – again a kind of Passepied. After 32 bars of concertante introduction full of illustrative ascending motifs the tenor and alto one after another begin with: “Erschallet, ihr Himmel / Erfreue dich, Erde” (Ring out, ye heavens / Rejoice, O earth). The vocalinstrumental tutti joins in with “Lobsinge dem Höchsten / Du glaubende Schar” (Sing praises to the Highest / Thou faithful throng). The A-part then further develops in organic variety the motifs and contrasts which had been introduced. The B-part brings in a new text and atmosphere. The tenor and alto (still the main people), supported only by the basso continuo sing here: “Erschauet und schmecket ein jedes Gemüte / des lebenden Heilands unendliche Güte” (Each soul beholds and tastes / the eternal goodness of the living Saviour), in which, after four bars, the first oboe includes the full principal motif from the A-part in a long solo. The next line, “Er tröstet und stellet als Sieger sich dar” (He comforts us and reveals himself as the victor), is heard in the four voices in an imitative style, doubled by the instruments (the oboe solo spans like a bridge over this turning point of the line when it also doubles the soprano). As in the previous A-part, this B-part also develops with ever new variations of the existing elements, until a homophonic coda with surprising prosody suddenly merges into the Da Capo of the A-part, so the whole is rounded off symmetrically. Widerstehe doch der Sünde", BWV 54 (Stand firm against sin) It remains debatable whether this cantata from Weimar (1714) was intended for Oculi-Sunday (that is the third Sunday in Lent), or more likely the seventh Sunday after Trinity (See Dürr, J.S. Bach, Die Kantaten p. 292 ff.). The text is suitable for both occasions. The poet G. Chr Lehms (“Gottfälliges Kirchen-Opffer”, Darmstadt 1711) takes ideas from both the Epistle readings. This Cantata is a wonderful example of Bach‘s early work. From March 1714 Bach had to provide the Weimar court with a Cantata every month, under his contract as concertmaster. In the course of that he had often used the rather archaic five-part writing for the strings (2 violins, 2 violas and bass, here, in my opinion, Violoncello da spalla), in which every part could well have been played by a single string. Thus, in this cantata as well and moreover: only one singer, the alto, is involved. This Cantata with only three movements is a permanent reminder that we should not give way to sin, because that leads to death. The only bright spot is the remark just before the end: “[die Sünde], wenn man ihren schnöden Banden mit rechter Andacht widerstanden, hat sie sich gleich davon gemacht” ([the sins], if one can withstand their vile bonds with true devotion, one has caused them to flee). Thus what happens is up to us. Bach immediately makes us afraid at the very beginning of the opening piece (No. 1). Without preparation a dissonant chord is heard, which has a penetrating effect through constant repetition, is then briefly resolved before immediately returning to the dissonance – a symbol of sin, which holds us – with only small breaks – in its power. The rising motif, which is first heard in the second violins depicts well the arduous and painstaking ‘withstanding‘ (rising seventh, arriving on the dissonance!). It is at once imitated in canon by the first violin a tone higher. The alto begins with the same image: “Widerstehe doch der Sünde, / Sonst ergreifet dich ihr Gift” (Stand firm against sin, / else its poison overcomes thee). The two violins and the alto are the three active parts which imitate each other and intertwine. The violas and basso continuo, however, just repeat the slowly changing harmony with constant emphasis. On “ergreifet“ there is a dense weave in the active parts – the entanglement and intertwining in sin. “Widerstehe“ finally receives twice a very long-held note by the alto – the withstander, the ‘non-giver-up‘. Bach is here again a painter at work, enigmatic but masterful! In the B-part of the aria (“Lass dich nicht den Satan blenden etc” (Do not let Satan blind thee etc.) the alto supplies new melodic material. Meanwhile, the basso continuo takes over the opening motif interplaying with the violins, and then the A-part is repeated. This aria is one of Bach‘s most remarquable creations. The following Recitativo secco (No. 2) is an extended contemplation by the poet. He explains that sin is only superficially attractive, but in reality “ein leerer Schatten und übertünchtes Grab” (an empty shadow and a whitewashed grave) and a “scharfes Schwert, das uns durch Leib und Seele fährt” (sharp sword, which pierces us through body and soul). The “Sodomsäpfel” (apples of Sodom) are, according to old evidence, fruits, which look as if they are edible, but when we touch them, they go up in smoke and ashes, like deceitful sin. At the end of Recitativo the image of the “scharfes Schwert das uns durch Leib und Seele fährt” is given to the basso continuo. Faster, always rising, figures in semiquavers (meaning the attack?) appear one after another until they end up in a decline. Then the Closing Aria (No. 3) is heard, with the five strings, in which the two violins and the two violas all perform in unison. The result is pure fourpart writing, with three higher parts (violins, violas, vocal soloist) and the basso continuo. The aria is a strict fugue-like web, in which the various motifs alternate and are combined in fugal imitation. The instrumental bass underneath seems at first to play a quasi ‘objective‘ quaver accompaniment – in which, however, this gesture is also certainly thematic, for on the words “denn dieser hat sie aufgebracht” (since he has brought this forth) we find exactly this motif again. The descending chromatic main theme on “Wer Sünde tut” (Whoever committeth sin) acts as the principal motif, on “Teufel“ (Devil) there is a long melisma, which could actually be regarded as a snake-like motion (the snake as a diabolical symbol!). In the B-part text of the aria (“Doch wenn man ihren schnöden Banden / Mit rechter Andacht widerstanden etc” – if one can withstand their vile bonds with true devotion etc.), the vocal part frees itself from the previously strictly limited material, and the whole structure is made rather less severe. The sin, which “sich gleich davongemacht” (at once fled away), is even illustrated in striking figures by the strings and the basso continuo. This work, with its very chamber music quality, ends here without a Chorale. In later cantatas for solo voice, we will find several examples in which, at the close, three singers join up with the soloist, to round the piece off with a prayer. Sigiswald Kuijken Translation: Lindsay Chalmers-Gerbracht, Christopher Cartwright