O Lord, me poor sinner

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Bach cantata
O Lord, me poor sinner
BWV: 135
Occasion: 3rd Sunday after Trinity
Year of origin: 1724
Place of origin: Leipzig
Genus: cantata
Solo : ATB
Choir: SATB
Instruments : Cn Tb 2Ob 2Vl Va Bc
text
unknown
List of Bach cantatas
Parable of the lost penny , etching by Jan Luyken

Oh Lord, poor sinner me ( BWV 135) is a church cantata by Johann Sebastian Bach . He composed it in Leipzig in 1724 for the 3rd Sunday after Trinity. It is the fourth cantata of his second annual cycle of cantatas in which he wrote choral cantatas .

Story and words

Bach composed the cantata in Leipzig in 1724 for the third Sunday after Trinity as the fourth cantata of his second annual cycle and performed it for the first time on June 25, 1724, after Christ our Lord came to the Jordan , on St. John's Day .

The prescribed readings for Sunday were 1 Petr 1,5–11  LUT , “Throw all your worries on him, because he cares for you”, and Lk 15,1–10  LUT , the parables of the lost sheep and the lost penny . The cantata is based exclusively on the chorale Ach Herr, mich poor Sünder (1597) by Cyriakus Schneegass , who rewrote the penitential psalm 6 into six stanzas. An unknown poet kept the first and last stanzas verbatim and worked the middle four stanzas into a sequence of as many alternating recitatives and arias . The references to the readings are loose, the consolation from the Lord (sentence 3) and the destruction of the enemy (sentence 5) refer to the epistle , the joy over a repentant sinner mentioned in the Gospel is related to the penitential chorus.

Occupation and structure

The cantata is set for three soloists, alto , tenor and bass , four-part choir, zinc , trombone , two oboes , two violins , viola and basso continuo .

  1. Coro: Oh Lord, me poor sinner
  2. Recitativo (tenor): Oh heal me, doctor of souls
  3. Aria (tenor): Comfort me, Jesus, my mind
  4. Recitativo (Alto): I'm tired of sighing
  5. Aria (bass): Back off, all you evildoers
  6. Chorale: Honor be in heaven's thrones

music

The opening choir is a chorale fantasy like in the chorale cantatas of the previous weeks. In the first cantata of the cycle, Bach placed the cantus firmus of the chorale melody in the soprano; in this fourth work, after alto and tenor, it is the bass's turn. Christoph Wolff sees in the opening choirs of the first four cantatas of the cycle a group that consciously performs different forms of choral fantasy. A French overture ( BWV 20 ), a motet ( BWV 2 ) and an Italian concerto ( BWV 7 ) are followed by a fabric of vocal and instrumental polyphony , with all parts containing motifs from the chorale melody. John Eliot Gardiner notes that the four movements make a fascinating and varied collection. Bach used the melody, originally a secular love song ("Mein G'müt is confused, that makes a Jungfraw tender"), which he later used as the first chorale in his Christmas oratorio , How shall I receive you , and several times in his Matthäus- Passion , for example O head full of blood and wounds . All eight lines are first performed instrumentally, then vocal. The instrumental performance is, without continuo, a trio of oboe I and oboe II against the cantus firmus of the strings conducted in unison. In stark contrast to this high-lying movement, the four-part choral movement is dominated by the cantus firmus in the bass, which is reinforced by trombone and continuo. The strings play colla parte with the other voices. In response to the words “that I may live forever”, the cantus firmus is widened to a three times slower pace.

In the tenor recitative, rapid tone sequences illustrate the "rapid floods" of the tears of the repentant sinner. It ends with a verbatim line from the chorale, "Oh, Lord, how long?" In the tenor aria, which is accompanied by two oboes, falling sevenths depict sinking into death. The text "Because everything is quiet in death" is made clear by long pauses. The alto recitative begins with a line of the chorale, “I'm tired of sighing”, which is shown as a variation of the first line of the chorale melody. The bass aria is a call, "Back off, all you evildoers". The strings play a powerful two-bar phrase that is repeated twice in the lower register and then climbs over nearly three octaves. A remark in the Bach obituary, written by Carl Philipp Emanuel Bach and Agricola and published in 1754, refers to subjects like this, describing Bach's melodies as strange and peculiar. The cantata closes with a simple four-part chorale, with the soprano reinforced by zinc.

Recordings

LP / CD

DVD

literature

Web links

Individual evidence

  1. ↑ Oh Lord, me poor sinner at Bach Cantatas (English)
  2. ↑ Chorale Melodies used in Bach's Vocal Works / Command you your ways ( en ) bach-cantatas.com. 2006. Retrieved July 4, 2011.
  3. ↑ a b Julian Mincham: Chapter 5 BWV 135 Oh Lord, me poor sinner ( s ) jsbachcantatas.com. 2010. Retrieved July 4, 2011.
  4. ^ A b John Eliot Gardiner : Cantatas for the Feast of St John the Baptist / St Giles Cripplegate, London ( en ) solideogloria.co.uk. 2008. Archived from the original on October 5, 2011. Info: The archive link was automatically inserted and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved July 4, 2011. @1@ 2Template: Webachiv / IABot / www.solideogloria.co.uk
  5. ↑ Tenor aria Consoling me, Jesus, my mind. On the YouTube channel of the JS Bach Foundation; Retrieved October 4, 2012.
Cantatas (BWV), oratorios and passions by Johann Sebastian Bach
Sacred cantatas

1 • 2 • 3 • 4 • 5 • 6 • 7 • 8 • 9 • 10 • 12 • 13 • 14 • 16 • 17 • 18 • 19 • 20 • 21 • 22 • 23 • 24 • 25 • 26 • 27 • 28 • 29 • 30 • 31 • 32 • 33 • 34 • 35 • 36 • 37 • 38 • 39 • 40 • 41 • 42 • 43 • 44 • 45 • 46 • 47 • 48 • 49 • 50 • 51 • 52 • 54 • 55 • 56 • 57 • 58 • 59 • 60 • 61 • 62 • 63 • 64 • 65 • 66 • 67 • 68 • 69a • 70 / 70a • 71 • 72 • 73 • 74 • 75 • 76 • 77 • 78 • 79 • 80 • 80a • 81 • 82 • 83 • 84 • 85 • 86 • 87 • 88 • 89 • 90 • 91 • 92 • 93 • 94 • 95 • 96 • 97 • 98 • 99 • 100 • 101 • 102 • 103 • 104 • 105 • 106 • 107 • 108 • 109 • 110 • 111 • 112 • 113 • 114 • 115 • 116 • 117 • 118 • 119 • 120 • 121 • 122 • 123 • 124 • 125 • 126 • 127 • 128 • 129 • 130 • 131 • 132 • 133 • 134 • 135 • 136 • 137 • 138 • 139 • 140 • 143 • 144 • 145 • 146 • 147 / 147a • 148 • 149 • 150 • 151 • 152 • 153 • 154 • 155 • 156 • 157 • 158 • 159 • 161 • 162 • 163 • 164 • 165 • 166 • 167 • 168 • 169 • 170 • 171 • 172 • 173 • 174 • 175 • 176 • 177 • 178 • 179 • 180 • 181 • 182 • 183 • 184 • 185 • 186 • 187 • 188 • 190 • 191 • 192 • 193 • 194 • 195 • 196 • 197 • 199 • 244a

Bachsiegel.svg
Secular cantatas

30a • 34a • 36c • 134a • 173a • 198 • 201 • 202 • 203 • 204 • 205 • 206 • 207 • 207a • 208 • 209 • 210 • 210a • 211 • 212 • 213 • 214 • 215 • 216a • 249a

Cantatas not preserved

App. 1 • App. 2 • App. 3 • App. 4 • App. 4a • App. 5 • App. 6 • App. 7 • App. 8 • App. 9 • App. 10 • App. 11 • App. 12 • App. 13 • App. 14 • App. 15 • App. 16 • App. 17 • App. 18 • App. 19

Passions

St. Matthew Passion (BWV 244) • St. John Passion (BWV 245) • St. Luke Passion (BWV 246) (Bach's authorship questioned) • St. Mark Passion (BWV 247)

Oratorios

Ascension Oratorio (BWV 11) • Christmas Oratorio (BWV 248) • Easter Oratorio (BWV 249)