My soul lifts up the gentleman

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Bach cantata
My soul lifts up the gentleman
BWV: 10
Occasion: Visitation of the Virgin Mary
Year of origin: 1724
Place of origin: Leipzig
Genus: cantata
Solo : SATB
Choir: SATB
Instruments : Tr 2Ob 2Vl Va Bc
text
unknown
List of Bach cantatas
Visitation , Rubens School , Union Church, Idstein

My soul rises the gentlemen ( BWV 10) is a church cantata by Johann Sebastian Bach . He composed it in Leipzig in 1724 for the Feast of the Visitation of the Virgin Mary , which is celebrated on July 2nd. It is the fifth cantata of his second annual cycle of cantatas in which he wrote choral cantatas , but it is not based on a chorale, but on the Gregorian chant Magnificat .

Story and words

Bach composed the cantata in Leipzig in 1724 for the Feast of the Visitation of the Virgin Mary as the fifth cantata of his second annual cycle. The prescribed readings for the feast day were Isa 11,1-5  LUT , the promise of the Messiah , and Lk 1,39-56  LUT , Mary's visit to Elizabeth , where she started her hymn of praise, the Magnificat. An unknown poet based his text on the German Magnificat and added the doxology to it , as it concludes the chants in Vespers . Bach not only used the text of the Magnificat, but also its traditional 9th psalm tone of the Gregorian chant, which was sung regularly in the movement of Johann Hermann Schein in Leipzig during Vespers . The poet kept some verses of the Magnificat verbatim, 46–48 for sentence 1, 54 for sentence 5, and the doxology for sentence 7. He rewrote verse 49 for sentence 2, 50–51 for sentence 3, 52–53 for sentence 4, and 55 for sentence 6, supplemented by a reference to the birth of the Savior.

Bach had already set the Latin Magnificat the previous year and performed it in the Christmas Vespers, enriched with four Christmas insertions.

He performed the cantata again in the 1740s.

Occupation and structure

The cantata is set for four soloists, soprano , alto , tenor and bass , four-part choir, trumpet , two oboes , two violins , viola and basso continuo . The trumpet serves exclusively to reinforce the cantus firmus and was possibly a tromba da tirarsi , a slide trumpet.

  1. Coro: My soul lifts up the gentlemen
  2. Aria (soprano): Lord, who are strong and mighty
  3. Recitativo (tenor): The highest good and faithful
  4. Aria (bass): God pushes the mighty from her chair
  5. Duetto (alto, tenor) e chorale: He thinks of mercy
  6. Recitativo (tenor): What God gave to the fathers of old times
  7. Choral: Praise and praise be to God the Father

music

The opening chorus begins with an instrumental introduction that is independent of the psalm tone. The violins, doubled by the oboes, play in a trio with the continuo, the viola fills the harmony. The chorale fantasy is entitled "vivace", its main motif stands for joy and is developed in ascending motion. After twelve bars the choir begins with the cantus firmus in the soprano, reinforced by the trumpet, while the lower voices take up motifs from the introduction in free polyphony . Bach treats the second verse in a similar way, but the cantus firmus is now in the alto, since the text "For he has looked at his wretched maid" speaks of humility. The movement closes with a choral movement without the cantus firmus, embedded in the music of the introduction, which thus frames the movement.

The soprano aria is a concert of the voice with the oboes, accompanied by the strings. The following recitative leads as an arioso to the bass aria, which is only accompanied by the continuo. In movement 5 the text returns to the German Magnificat, and the psalm tone sounds again in the music, this time instrumental in the oboes and trumpet, while alto and tenor imitate duets. Bach later rewrote this sentence as one of his Schübler chorales , BWV 648. The recitative that addresses God's promise to the forefathers begins secco, but on the words “His seed had to spread like sand on the sea and star in the firmament "The Savior was born," begin the strings and emphasize the fulfillment of the promise. In the last movement the two verses of the doxology are set in four parts to the psalm tone, accompanied by all instruments colla parte .

Recordings

literature

Web links

Individual evidence

  1. ^ A b c John Eliot Gardiner : Cantatas for the Second Sunday after Trinity / Basilique Saint-Denis, Paris ( en ) solideogloria.co.uk. 2010. Archived from the original on October 5, 2011. Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved June 27, 2011. @1@ 2Template: Webachiv / IABot / www.solideogloria.co.uk
  2. ↑ a b Julian Mincham: Chapter 6 BWV 10 My soul lifts up the gentlemen ( English ) jsbachcantatas.com. 2010. Retrieved June 27, 2011.


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

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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)