Luogo e data di registrazione		Predikherenkerk, Leuven (Belgium) - 3/4 December 2012
	Registrazione: live / studio		studio
	Recording Staff		Eckhard Steiger
	Prima Edizione CD		ACCENT - ACC 25318 - (1 CD) - durata 73' 55" - (p) 2012 (c) 2014 - DDD
	Note		-

COMMENTARY on the cantatas presented here ”Wachet! betet! betet! wachet!”, BWV 70 [Watch ye, pray ye, watch and pray], composed in Leipzig in 1723 for the 26th Sunday after Trinity (21 November). The 26th Sunday after Trinity is normally the last Sunday before Advent except if Easter is extremely early, in which case there are 27 Sundays between Trinity and Advent. In very seldom cases, there are only 25. This cantata is one of the liveliest ever written by Bach. It was originally composed in 1716 for the second Sunday in Advent in Weimar; this version has not survived but is however simple to reconstruct on the basis of the Leipzig version as sung on this CD. The text was by Salomon Franck as is the case for numerous Bach cantatas dating from the Weimar period. As already mentioned, no cantatas were performed during Advent in Leipzig. Unlike the custom in Weimar, no cantatas were performed during Advent in Leipzig. Bach had however undertaken alterations to this former Advent composition from his Weimar period to make it suitable for the 26th Sunday after Trinity and it was this version which was performed in Leipzig in 1723. The Gospel reading for the second Sunday in Advent is taken from St. Luke devoted to the second coming of Jesus, the signs accompanying this event and warning Christians to be prepared for this through “wachen” (watching) and “beten” (praying). The reading for the 26th Sunday after Trinity is taken from St. Matthew on a virtually identical theme: the Day of Last Judgement. This permitted the retention of Franck’s basic text and only necessitated the compilation of several (four) recitatives and a new chorale movement concluding the Prima Pars to be suitable for its new purpose. The Advent cantata performed in Weimar consisted of the movements 1, 3, 5, 8, 10 and 11 of the Leipzig version (this Weimar reconstruction has been allocated the BWV No. 70a); the other movements (i.e. 2, 4, 6, 7 and 9) are the additional sections added in Leipzig. The 11-movement version for Leipzig was performed in two parts: seven movements before and four movements after the sermon. The instrumental scoring specified by Bach for this cantata does not display the colourful character of many ‘genuine’ Leipzig compositions; when we look to the hereunder discussed Weimar Cantata BWV 182, we will see that the musical forces were in principle smaller than those available in Leipzig. Here in the Cantata BWV 70, the only wind instruments alongside the strings are one tromba da tirarsi (slide trumpet) and one oboe. From the sources, we can identifythat a bassoon was additionally required. It is also certain that the violins were doubled in Leipzig and perhaps also the bass line in the strings. Bach performed this cantata on a further occasion in Leipzig in 1731 in which the obbligato organ part in No. 3 (in effect an ornamented continuo part) was allocated to a violoncello. We have retained this version (played here on the violoncello da spalla) although this violoncello was not utilised in any other of the fragments retained; it is most likely that a violinist or viola player laid down their instrument in this movement and played the obbligato part on the small ‘shoulder cello’. Despite the relatively small-scale instrumental scoring of this cantata, Bach has nevertheless displayed great inventiveness and efficiency. The fragments added in Leipzig are a perfect match to the earlier composed Weimar movements. No. 1, the opening chorus “Wachet! betet! betet! wachet!” [Watch and pray, pray and watch] begins with a 16-bar instrumental introduction: we hear a trumpet motif twice in succession (supported by the strings and oboe) representing an appeal to awaken. This has a specific connection with the text from the Gospel of St. Luke concerning the second coming of Christ: we must always keep this in our thoughts and remain watchful. (Incidentally, this motif is also utilised by Bach in the second Gavotte of the Orchestra Suite No. 1 unisono in the violins and violas in which the motif is allocated a particularly witty and decorative function). This trumpet motif in the introduction leads into an extremely nimble C major tutti texture in lively semiquavers which later crop up repeatedly in the vocal parts. At the end of the introduction, the trumpet motif is heard again twice before the soprano and alto entries closely followed by tenor and bass with an ascending scale motif in thirds set to “wachet!”; the orchestra then plays a da capo of the beginning which is followed by two emphatic homophonic four-voice settings of “wachet!” and a final polyphonic setting of this word with orchestral accompaniment in semiquavers. The tone of the music changes with the introduction of the word “betet!”. The vocal quartet sings two powerful extended notes in succession on this word in two distinct groups above the continuing figures in the orchestra and then continues with first ascending then descending semiquaver figure sung to “wachet!”. This produces a state of confusion only intensified by the two wind instruments which sustain the long notes of “betet!” as if in a double strand. Bach continues with these mechanisms creating a constant and effective variety in texture before reaching the dominant key of G major at which point the next lines of text are introduced: “Seid bereit / Allezeit” [Be prepared, night and day]. Here the orchestra pauses briefly, permitting the singers to call out the text back and forth (above a simple basso continuo). As the elements of this movement have already been sufficiently elucidated, I will conclude the detailed description of the movement at this point. The trumpet frequently fuels the fire of action with its motif and the chorus is concluded with a powerful tutti. No. 2, an accompagnato recitative for the bass, was added to the Leipzig version. The bass assumes the function of Vox Dei (the voice of God), initially addressing sinners and accompanied by bellicose instrumental passages; “Erschrecket, ihr verstockten Sünder / Ein Tag bricht an / vor dem sich niemand bergen kann,” [Oh tremble, all ye hardened sinners! The day is near Which all the wicked rightly fear.]. He then turns to the “Auserkorenen” (chosen few) with joyful words sung in serene melismas: “der Heiland holet euch / wenn alles fällt und bricht / vor sein erhöhtes Angesicht / Drum zaget nicht” [The Lord will fetch you thence, When all in dust is laid, Before His mighty presence. Hence: Be not afraid.]. This is Bach as composer of theatrical music: he clearly also feels at home within this sphere – and with him, so do we. The ensuing No. 3 (in principle originally from the Weimar version, 1716) is an aria for alto with obbligato violoncello (see above) to the words of Salomon Franck: “Wann kömmt der Tag an dem wir ziehen / aus dem Ägypten dieser Welt / Ach lass uns bald aus Sodom fliehen / eh uns das Feuer überfällt” [When comes the Day for which we’re sighing? When bonds of earth we cease to bear, Ah! from Sodom soon let us be flying, Before the fire consumes us there]. The cello (da spalla) executes endless chains of triplet figures leaping across extensive intervals. This is presumably intended as a representation of the problems of this world. The alto also contributes to the tone-colouring on the words “Feuer” (fire) and “fliehen” (flee) with faster notes. Section B contains the following text: “Wacht, Seelen, auf von Sicherheit / Und glaubt, es ist die letzte Zeit!” [Awake, ye souls, from apathy. For this your final hour may be.]: we should awaken out of our false sense of security. The cello plays ascending arpeggio figurations: perhaps the “ausziehen”, i.e. flight from Sodom? After a varied da capo of the text, the movement closes with the initial 12 bars of the introduction. No. 4 was also added to the Leipzig version: a brief secco recitative for tenor in which the librettist describes the human condition. Our body holds the spirit captive (“der Geist ist willig / doch das Fleisch ist schwach” [The spirit is willing, Yet the flesh is weak]). This is followed by the Aria No. 5 for soprano with strings in unison (violins and violas) “Lass der Spötter Zungen schmähen / es wird doch und muss geschehen / dass wir Jesum werden sehen” [Though the mocking tongues revile us, They cannot from faith beguile us, That one day our souls we render]. The “mocking tongues” are depicted in rapid instrumental figures which are occasionally taken up by the bass. The aria contains detailed notation of how the unisono passages can be varied through the involvement of additional voices or a reduced scoring: this is a rare feature. An extremely positive attitude attempts to overcome the doubt as expressed in the previous text passages. Like No. 4, No. 6 is a brief secco recitative for tenor which continues on a positive note: God will hold his protecting hand over his servants and place them in paradise. The first part of the cantata in the Leipzig version concludes in joyful triple time with a simple setting of a chorale verse (No. 7) taken from a chorale dating from 1620 (“Freu dich sehr, o meine Seele” [Rejoice greatly, O my soul]). Christ “calls away the spirits from this vale of tears (“ruft die Seele aus diesem Jammertal”). They will be bestowed eternal joy and will rejoice with the angels. At this point, the sermon was presumably given. The Seconda Pars of the cantata begins with the Aria (No. 8) for tenor with strings and oboe: “Hebt euer Haupt empor / und seid getrost, ihr Frommen” [Hold ye your heads now high, And be assured, ye faithful]. This movement in G major is an aria of simple beauty and long remains in our hearts . The tenor and instrumental upper voices (1st violin in unison with the oboe) maintain a constant dialogue above the regular pace of the middle voices and continuo. The ensuing striking accompagnato recitative (No. 9) for bass and instrumental ensemble (excluding the oboe) was newly composed in Leipzig. The (unknown) librettist reiterates how man could be filled with “doubt, fear and terror” (“Zweifel, Furcht und Schrecken”) on the great Day of Judgement. Bach utilises numerous theatrical interjections in the string parts providing a further illustration of the terrifying images of the Day of Judgement. He also had the wonderful idea of including the chorale melody “Es ist gewisslich an der Zeit” [It is certainly time] on the trumpet (without a vocal part!) which soars high above the raging string parts. The congregation would definitely have been familiar with this melody and understood its associations – to a greater degree than we do today. Suddenly, a completely different atmosphere is created: man should have no fear as “The Saviour cannot hide His deep compassion. He pities now my lot,” (“der Heiland kann sein Herze nicht verhehlen, so von Erbarmen bricht”). On the word “compassion” (“Erbarmen”) we hear plaintive chromaticism in the vocal parts and “sighing” figures in the strings up to the end of the recitative. The movement concludes with the text “Wohlan, so ende ich mit Freuden meinen Lauf” [‘Tis well! when comes the Day with joy will I away]; on the word “Freuden”, Bach writes an extended vocalise for the bass as the sighing motifs on the strings gradually fade away. The bass is also allotted the next Aria (No. 10 with strings and trumpet solo). This movement characterised by unbelievable contrasts is divided into three sections: first of all, the bass sings a Molt’Adagio in triple time accompanied only by continuo: “Seligster Erquickungstag / Führe mich zu deinen Zimmern!” [Hail, thou day when I may dwell High above with God in Heaven.]. This is one of Bach’s most lyrical inventions in which the musical concept bewitches the listeners: we are overwhelmed by an almost celestial tranquillity. This is however interrupted without any transition and the librettist (S. Franck) focuses our attention towards the end of time: “Schalle, knalle, letzter Schlag / Welt und Himmel, geht zu Trümmern!” [Crash and crackle, roar and knell, When creation meets destruction]. Here the strings and trumpet are again permitted to run wild. The final emphatic orchestral chord is however not a genuine conclusion, but leads into an extended slightly dissonant chord with the seventh in the basso continuo, capsizing the effect into an atmosphere of astonishment. The bass now sings in Adagio: “Jesus führet mich zur Stille / an den Ort da Lust die Fülle” [Jesus leads me far from sadness, There with Him where all is gladness.]. A state of mystical peace has now been achieved, the music returns to the initial Molt’Adagio which concludes this movement. The cantata ends with the final chorale (No. 11), the fifth verse of the hymn ‘Meinen Jesus lass ich nicht’ [I shall not let my Jesus go] by Christian Keymann (1658): “Nicht nach Welt, nach Himmel nicht / Meine Seele wünscht und sehnet” [Not for Heaven nor the world Is my weary spirit yearning]. The fourpart vocal harmonisation (with oboe and trumpet doubling the soprano) is accompanied by the independent voices of the three upper string parts, making a total of seven voices simultaneously! I leave the listeners to decide independently on the significance of the number seven. Bach must however have had a specific intention in this scoring, as he would otherwise have composed this choral in a customary four-part setting. Sigiswald Kuijken Translation: Lindsay Chalmers-Gerbracht ”Es ist das Heil uns kommen her”, BWV 9 [Now is to us salvation come] This cantata dates from the period 1732-1735 and was composed for the 6th Sunday after Trinity in Leipzig as one of the late choral cantatas. The text has been taken from a 14-verse hymn by Paul Speratus dating from 1523 which had become an integral part of this particular Sunday service: the text is based on the Gospel reading from the Sermon on the Mount (Matthew 5, 20.26) which describes the Christian concept of justice in contrast to the Pharisaic tradition. The two final verses of this hymn are a paraphrase of the Lord’s Prayer, but these were not selected for the cantata by whoever compiled the text. The librettist combined the first twelve consecutive verses divided into seven individual sections which in certain places display traces of reworking and editing: - No. 1 (coro) is the unaltered first verse by Speratus, 1523; - No. 2 (secco recitative), reworking of verses 2 – 3 – 4 - No. 3 (aria), free fantasy on the final idea of the previous recitative; - No. 4 (secco recitative), reworking of verses 5 – 6 – 7; - No. 5 (duet aria), reworking of verses 8; - No. 6 (secco recitative), reworking of verses 9 – 10 – 11; - No. 7 (simple chorale) is verse 12 in its original form. This method of ‘reworking’ had been utilised in many of the early choral cantatas, mostly with the retention of the first and last verses in their original form. The three secco recitatives are allocated to the bass who provides a unified strand throughout the entire work: a self-contained train of thought almost in the manner of a sermon. In the first version, the organ did not play in the movements 2, 3, 4 and 6, probably due to tuning problems: at times, the music modulates into very rarely used keys which would sound overtly dissonant on the contemporary organ tuning of the time. The scoring of this Leipzig cantata is fairly modest: alongside the four singers, the instrumental forces are limited to strings, transverse flute and oboe d’amore. No. 1 Coro (transverse flute, oboe d’amore, strings, SATB and basso continuo) Here is a summary of the content of the first chorale verse: Salvation came to us by grace and purest favour; it is not so much good works that help us, but our faith directed towards Jesus: he did much for us and is the true intercessor. The cantata is written in E major, a transparent key without violence or demonstrative force. The entire texture of the work is coloured by its key. A 24-bar introduction precedes the first entry of the voices. The woodwind instruments play a principal role, occasionally combined with the two violini primi; the basso continuo provides a regular rhythmic scaffolding throughout the entire movement. The second violin and viola primarily fulfil a filling-out function in this extended movement. The choral melody is sung by the soprano in extended notes with no instrumental doubling. Under this melodic line, as frequently encountered in Bach’s music, the other three vocal lines form a freely developed contrapuntal texture in which the imitation is largely based on a single principal motif. The seven lines of the chorale verse are divided into blocks each interspersed by instrumental interludes which also display a certain similarity to each other. This lends the movement length and continuity with an almost intoxicating effect. Particularly poignant is the brief section in the penultimate verse “Der hat gnug für uns all getan” [Who hath enough done for us all] where the three lower voice parts reinforced by viola and basso continuo sing each individual syllable incisively in equally short notes. At this point, Bach was apparently making an extra effort to engage the listeners’ interest, enabling them to assimilate each word of the text! I interpret the selection of the two woodwind instruments which dominate the work with their dialogue as representing the constant activity of the Holy Spirit, the Spiritus, which is inherent in Christ’s grace and favour. Spiritus also means breath, i.e. also tender care; this is reminiscent of the aria “Aus Liebe will mein Heiland sterben” [Out of love my saviour iswilling to die] in the St. Matthew Passion in which the soprano is exclusively accompanied by wind instruments. Is the fact that wind instruments transform breath into musical sound not their most profoundly attractive characteristic? The next movement No. 2 is the first secco recitative for the bass. We must consider all three bass recitatives as a single train of thought interrupted twice by the arias (Nos. 3 and 5). One could think that Bach was here lending the bass the authority of a catechetical instructor (comparable with the Vox Dei which is almost always assigned to the bass). The first recitative tells us that man is never capable of withstanding sin, even though God gave him laws (the rules of the Old Testament) and a certain natural but imperfect notion of good and evil. In this recitative, the declamation of the bass is frequently accompanied by dissonant harmonies reinforced in the basso continuo. Movement No. 3 (Aria for tenor, with obbligato violin and B.c.) is a commentary on the previous concepts: “Wir waren schon zu tief gesunken / Der Abgrund schluckt uns völlig ein” [We were ere then too deeply fallen, The chasm sucked us fully down]. The aria is notated in the rare time signature of 12/16 and begins with a twelve-bar introduction with violin and basso continuo in which Bach introduces the thematic content of this movement: the “tief gesunken” [deeply fallen] is represented by a long descending scale in legato accompanied by a simple bass-line. The violin additionally introduces a series of triplet motifs which repeatedly incorporate a substantial descending leap, frequently as a lamentation (once again the “sinking” concept). The instrumental bass is initially also allocated a few triplet figures. At the entry of the vocal line, the tenor adopts the sinking motif of the violin, both voices entering into an intense dialogue in which the basso continuo becomes increasingly involved. After a twelve-bar interlude (a variant of the introduction), we hear the B section of the text (the last three verses from “Die Tiefe drohte schon den Tod” [The deep then threatened us with death]) in which the concept of “threat” is expressed by a vocal line with an ascending tendency in progressive intensification; the descending figure remains omnipresent. The three-part texture now displays all kinds of melismas; this movement is unique and truly awe-inspiring. The bass takes over once more in No. 4 (secco recitative): the law had to be fulfilled and therefore Jesus came down to us. He “stilled his father’s wrath” (seines Vaters Zorn gestillt) through his own “guiltless dying” (“unschuldig Sterben”). For this reason, Christians must trust in Jesus: they will achieve entry to heaven if they recognise the true faith and embrace Jesus firmly. This text is like the previous recitative given a distinct rhetorical slant with powerful harmonies; in the last verse, “und fest um Jesu Armen schlingt” [And firmly Jesus’ arms embrace], Bach writes “arioso”: the secco style is abandoned and a two-voice texture is created in a measured tempo in which the two melodic lines are indeed “entwined”. This instructional recitative is now interrupted by the Duet (No. 5, soprano and alto with both wind instruments and basso continuo) with the text “Herr, du siehst statt guter Werke / auf des Herzens Glaubensstärke” [Lord, thou look’st past our good labors, To the heart’s believing power]. The fact that faith is more important than good works has already been elucidated in the opening chorus. This is the leitmotif which recurs at this point. The invisible internal process of faith is beautifully captured by the two wind instruments: the process of breathing, i.e. the Spiritus, is indeed also invisible and has an effect on a profound level. In the introduction to section A, the flute and oboe d’amore hold their own dialogue; this passage contains 24 bars just as the introduction to No. 1. The first aria has an introduction consisting of 12 bars (perhaps there is a concealed significance in the number combinations?). But this is not all: in each section, flute and oboe d’amore play in a strict canon at the lower fifth (a bar apart and the oboe a fifth below the flute). Then the vocal soloists enter, also singing the first three verses in a strict canon at the fifth whereas the wind instruments continue in their own strict imitation, now at the upper fourth. In bar 44, the woodwind dialogue resumes (at this point with less strict imitation) for an interlude of a mere four bars, before soprano and alto re-enter, in canon as before and alongside the flute and oboe. By this point, a fourvoice texture containing two independent quasi-strict canons running simultaneously has emerged, accompanied discretely by the basso continuo. Following an extended interlude (again 24 bars!), section B commences; here Bach alters his compositional style: in these verses, the wind instruments now merely accompany the vocal lines (with some ornamentation) “Nur der Glaube macht gerecht / alles and’re ist zu schlecht” [Nought but faith dost thou accept. Nought but faith shall justify]. The fact that Bach reduces the complicated contrapuntal fourvoice texture created by the four soloists (the uninvolved basso continuo only plays a supporting role) to a purely two-part texture (through instrumental doubling) could have been suggested to him by the text: “Nur der Glaube macht gerecht”, i.e. it ‘simplifies’ and ‘clarifies’. Incidentally, this doubled canon in section B is also in strict form for the first twelve bars, but is slightly freer in the ensuing bars. Section A is then repeated in conclusion. In this outstanding duet (actually a ‘double duet’!), the general impression is of freely flowing and natural music despite the fact that Bach has in fact utilised an extremely strict but simultaneously enigmatic structure. The bass now rounds off his train of thoughts (secco recitative, No. 6). We hear a sort of recapitulation: according to the words of the Gospels, we should always be joyful and can depend on Jesus Christ. We do not know how long our time will be here on earth, but we can depend on his benevolence; he will not play a game of deceit, but knows what is good for us. As in the previous recitatives, the harmony is always dictated by the affect of the text and, in my opinion, even goes a step further than the occasionally ominous words. Now we come to the original twelfth verse of the hymn dating from 1523 (No. 7, Chorale), again focusing on the fundamental concept that we must trust in God, even if we do not always understand Him and are sometimes inclined to negate Him. The chorale is sung in a simple four-voice texture. A highlight is the setting of the word “grauen” (horror) for which Bach could not resist giving a final harmonic touch with a madrigal flavour. Sigiswald Kuijken "“Himmelskönig, sei willkommen”", BWV 185 Bach composed this cantata in Weimar in 1714 for Palm Sunday which that year fell on 25 March, on the same date as the feast of the Annunciation [Annunciatio] (also occurring nine months before Christmas). He subsequently organised a second performance of the cantata with certain alterations in Leipzig under the title Annunciatio Cantata; although no music was permitted in church services in Leipzig during Lent, an exception was made for the Feast of the Assumption, even if 25 March fell within the ‘silent period’ (which was not observed in Weimar). On this recording, we perform the original version composed in Weimar in 1714. This was the first cantata composed by the 29-year-old Bach on his appointment as concert master at the Weimar Court (on 2 March 1714). His duties included the performance of a new cantata once a month. The text was compiled by Salomon Franck (1659-1725), one of the leading cantata poets of his time and also the court poet in Weimar. Bach took particular pleasure in setting his texts during his period in Weimar (and occasionally also in his subsequent career). As the castle chapel in Weimar was relatively small, there was only space for a modest musical ensemble: in his Weimar cantatas Bach employs four singers and normally an instrumental group consisting of two violins, two violas, a stringed bass instrument (often designated as “Violoncello”) and organ (as for example in BWV 54 Widerstehe doch der Sünde [Stand firm against Sin]). In the Cantata BWV 182 however, instead of two violins, we hear a recorder partnered with a violin. The string bass line is here also undertaken by a violoncello (da spalla i.e. in my opinion) a shoulder cello. The recorder stipulated by Bach in this work is tuned to the low chamber pitch (Kammerton, A = ca. 392 Hz) as was customary for instruments constructed in the contemporary French tradition which had also extended into Germany during the late seventeenth century. This means that the recorder is tuned a minor third lower than the other instruments which were tuned to the high choral pitch utilised in the Weimar chapel including the organ (Chorton, A = 465 Hz). This permits additional notes to be played in the lower range of the reorder which Bach exploits on a number of occasions. If the cantata is performed as stipulated in Bach’s original Weimar score, the simultaneous utilisation of the two pitches is necessary. In contrast, the later version for Leipzig was performed in adaptation to the local circumstances: the Leipzig orchestra played a whole tone lower than the organ (i.e. A = 415), necessitating adjustments to the recorder part in the Weimar score. The Gospel reading for Palm Sunday is taken from St Matthew (21, 1-9): Jesus entering Jerusalem. Jesus enters the city riding on a donkey surrounded by his disciples. I consider the image of Jesus as a ‘king’ arriving on a donkey to be most likely an interpretation post facto, but it nevertheless elucidates its essential element. Is the donkey not the means of transport used by the poor? This image therefore makes direct reference to the inner world of this spiritual king (who is neither rich nor worldly); incidentally, the Flight into Egypt also took place on the back of a donkey. No. 1 Sonata: The instrumental introduction neatly illustrates the content of the Bible reading: the King of Heaven arrives on the back of a donkey with little pomp and is nonetheless a king. The music reflects this unexpected humility despite its grandeur with minimal orchestration. The familiar dotted rhythms of an overture which normally resound in full orchestration in celebration of a festive occasion are played here only on recorder and violin; the festive atmosphere is merely alluded to by a pair of delicate instruments. The accompanying pulsing pizzicato in the other instrumental parts presumably suggests the firm steps. Towards the end of the introduction, the accompanying strings play an extended sustained note (the arrival?); ultimately they also join in the dotted rhythms; the character of the event is perfectly captured despite the limited resources. No. 2 Chorus This movement more resembling a madrigalesque fragment than a monumental structure is divided into two brief sections. In the A section (“Himmelskönig, sei willkommen / Lass auch uns dein Zion sein!”” [King of Heaven, ever welcome, Make our hearts Thy dwelling place!] ), the text is presented by the four singers successively in imitation (fugato) accompanied by basso continuo (beginning with the soprano and progressing down to the bass). This is immediately repeated with the strings doubling the vocal lines. After the final (‘tutti’) bass entry, the recorder enters with the theme as the fifth voice but not doubling the vocal line and thereby effecting the transition to the next section (2nd verse). Here the text “Lass auch uns dein Zion sein” is also presented on a new motif by all voices entering in imitation, this time beginning with the bass and ending with the soprano (with instrumental doubling). In this fugato, the recorder also enters as the fifth voice before the motif is combined in fugato in the four vocal parts descending from soprano to bass. Following this second fugato, Bach concludes the A section with a homophonic repeat of the text of both verses divided clearly into separate elements by intermittent answering phrases on the strings. The recorder and violin additionally play in dialogue utilising the second motif. Without doubt, Bach’s selection of entry sequences in this A section is a clear example of ‘tone painting’. At the beginning (“Himmelskönig sei willkommen”), we hear the entries in descending order (the King descends from heaven), and then the order is reversed from bottom to top in the verse “Lass auch uns dein Zion sein” pointing the way up to heaven (let us also partake of heaven!) and then back down to earth where we are actually based during our lifespan. Finally, the entire depicted image is consolidated in the homophonic conclusion of this section. The B section also begins in a homophonic texture in the vocal quartet with the words “Komm herein” [bide with us]. The instruments answer with the initial motif in the recorder part from section A. The next verse “Du hast uns das Herz genommen” [Our hearts are in your keeping] is presented above a protracted pedal note, further extended in a fourvoice canon with the initial verse Himmelskönig, sei willkommen and augmented by additional instrumental entries without text in the upper strings, recorder and violoncello. On this last cello entry, the soprano re-enters with the second verse Lass uns doch dein Zion sein which is then immediately presented in fugato by alto, tenor and bass. At this point, the same procedure as at the beginning of the B section is repeated, but this time a whole tone lower: Komm herein is sung in a homophonic texture followed by the pedal note for Du hast uns das Herz genommen / Himmelskönig sei willkommen. The B section concludes with a brief piano passage in which the line is repeated in a homophonic structure; simultaneously, the recorder adds a swift ascending figure up to its highest note: the heavenly Zion! Section A is then repeated in full. This chorus has a remarkably concentrated structure: it probably takes far longer to read the above description of the compositional process than to actually listen to this movement. This is frequently the case with Bach: we can pinpoint his working methods which provide a fascinating subject for research, but the music itself passes by so swiftly with exceptional intensity in a mere few moments. The next movement is a Recitative (No. 3) for bass who undertakes the role of Vox Dei as is so often the case with Bach: the text originates from Psalm 40, verses 8-9 (“Siehe, ich komme, im Buch ist von mir geschrieben. Deinen Willen, mein Gott, tue ich gerne“ [Lo, I come, I am with you, for so it is written of Me: I delight O my Lord, my God, my God, I delight to do Thy will]). From the words Deinen Willen, the secco recitative is superseded by an ariosa dialogue marked Andante between the bass singer and the basso continuo with a walking rhythm (perhaps evoking the “Komme“ from the beginning of the text?). In the ensuing Aria (No. 4) for bass and strings (without recorder), the librettist provides a commentary for the previous Psalm text: “Starkes Lieben / das dich, großer Gottessohn / von dem Thron / deiner Herrlichkeit getrieben” [Love unending, ‘Twas for love that God’s own Son came to us, Down from His exalted station. The King of Heaven has not come down to rule as a secular monarch. In this movement, the violin enters into a permanent dialogue with the bass soloist; the other strings illustrate “Getrieben werden”, the sense of being driven, through quaver runs filling out the harmony in a swift Andante. On a few occasions, the instrumental bass line imitates the principal theme augmented by the two violas, creating a three-voice texture of thematic motifs. This is followed by a further Aria (No. 5) without a preceding recitative scored for alto solo, recorder and basso continuo. The text continues where the words of the previous movement left off, urging Christians to devote themselves in their faith entirely to the King of Heaven: “Leget euch dem Heiland unter / Herzen, die ihr christlich seid” [Bow your heads before your Saviour, Ever keep as pure as He]. The Aria is marked Largo (and the second section Andante, although the tempo cannot be very different). The recorder which was absent from the preceding aria now assumes a solo role. The recorder is frequently utilised to illustrate the theme of love, but is additionally associated with sorrow, pain and death. And all this is required in this movement. The aria discusses life seen as a whole, i.e. also including pain and death. The lower-pitched (French) recorder is exploited to its full tonal range in this aria. The principal motif has clearly evolved out of the image contained in the text: the line “leget euch unter” calls out for descending movement with a sinking motif which recurs repeatedly in the two principal voices of alto and recorder. The basso continuo accompanies in a simple, regularly paced line. In section B (“Tragt ein unbeflecktes Kleid” [wear an unspotted robe]), a new motif without descending movement is introduced in the vocal line; the recorder however retains the initial theme, permitting both sections of the text to be correspondingly intricately entwined. A notable feature is the long note on “Leget” depicting immobility and protraction. A third Aria (No. 6) for tenor and basso continuo (violoncello and organ) also follows without a preceding recitative: “Jesu, lass durch Wohl und Weh / mich auch mit dir ziehen! / Schreit die Welt nur „Kreuzige!” / so lass mich nicht fliehen” [Jesus, Lord, through weal and woe, Keep me ever by thee. When the world shrieks Crucify! Let me never, let me not deny Thee]. We immediately recognise where Bach has found his principal material for the aria in the basso continuo introduction: the “Fliehen” [fleeing] is represented in swift semiquaver runs on cello and organ; this agitation is only interrupted at a few points and then immediately resumed. The agitation stands in great contrast to the preceding aria. Here it is man speaking who must follow his path “through weal and woe” (“durch Wohl und Weh”), fortifying himself during his tribulations through the example of Jesus Christ. The final lines have the following text: “Herr, vor deinem Kreuzpanier / Kron und Palmen find ich hier”, which can be interpreted as “salvation can be found by imitating Christ”. When these three consecutive arias are considered as a whole, the clearly imaginative diversity of the Baroque stands out with its extreme and effective contrasts: this is Johann Sebastian Bach again at work as both painter and architect. No. 7 (Chorale) is a choral arrangement in the style of the late seventeenth century à la Pachelbel. The text (set to a melody dating back to the sixteenth century) was written by Paul Stockmann (the 33rd verse of a church hymn originating in 1633). He relates that the suffering of Christians has been overcome by the passion of Jesus and that they can look forward to a place in heaven after death. The soprano, doubled by the recorder and violin, sings the choral melody in extended notes; the eight verses are distinctly separated from one another. The three lower voices develop an intense contrapuntal texture in which the motifs of the following verses are frequently announced in shorter note-values and in decorated form. The verses 1, 3, 5, 7 and 8 are thereby clearly recognisable in advance in the lower vocal parts. The cantata concludes with the Chorus No. 8 “So lasset uns gehen im Salem der Freuden” [So let us then hasten to Salem rejoicing]. This is an innately joyful movement in 6/8 time; we re-encounter the initial theme almost unchanged at a later point in Leipzig in the opening movement of the Epiphany Cantata BWV 5 “Sie werden aus Saba alle kommen” [They will all come forth out of Sheba] but incorporated in a much more festive and large-scale format. Recorder, violoncello and (only a single!) violin begin the movement as a solo trio; the violas and basso continuo (the organ only plays at this point) answer this beginning in the ensuing tutti with the theme in the bass. This is followed by a section in fugato style with the verse “So lasset uns gehen” sung by the four singers from top to bottom (SATB) above the continuo accompaniment. Three additional entries follow on from the vocal entries played by the recorder, the violin (doubled in the soprano) and finally the two middle instrumental voices (violas) with the cello at the octave. The next verse “Begleitet den König in Lieben und Leiden” [Accompany the King in love and sorrows] follows with a motif in the accompanying continuo bass line which has clearly been adopted from the principal theme: this motif is then taken up by the soprano. The da capo of the instrumental introduction rounds off section A. Section B “Er gehet voran” [He goes before] is led by the vocalists: here in a literal interpretation of the text, the bass hastens with the words “er gehet voran”. This could not be illustrated more simply: a descending motif subsequently appearing in imitation represents Christ descending to earth. This is contrasted by a mirrored counterpoint in the recorder part (i.e. ascending) which recalls the initial theme. The simultaneous utilisation of ascending and descending lines lucidly illustrates the image in the text “eröffnen, breit aufmachen der Bahn” [He goes before and opens the way]. A further conspicuous feature in section B are the long held notes on the word “Bahn” [way] in all voices (including the instrumental parts without text!). The cantata concludes with a da capo of section A. Despite its modest instrumental and vocal forces, this work possesses an extremely concentrated and monumental structure which is rich in imaginative tonal images. Sigiswald Kuijken Translation: Lindsay Chalmers-Gerbracht, Christopher Cartwright