Explore me, God, and experience my heart

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Bach cantata
Explore me, God, and experience my heart
BWV: 136
Occasion: 8th Sunday after Trinity
Year of origin: 1723
Place of origin: Leipzig
Genus: cantata
Solo : ATB
Choir: SATB
Instruments : Co Ob 2Vl Va Bc
text
unknown
List of Bach cantatas

Explore me, God, and experience my heart , BWV 136, is a church cantata by Johann Sebastian Bach , written in Leipzig in 1723 for the eighth Sunday after Trinity , July 18, 1723.

Story and text

The cantata was performed in Leipzig on the eighth Sunday after Trinity. However, the sources only show a composition at this point in time for the middle part of movement 3 and the final chorale. Other parts are probably based on a lost secular or ecclesiastical cantata. The text for the opening chorus is Psalm 139 , verse 23. The prescribed readings for Sunday were as Epistle Rom 8 : 12-17  LUT , "Those who are led by the Spirit of God are God's children", and as the Gospel Mt 7:15 - 23  LUT , a section from the Sermon on the Mount , the warning about false prophets. The poet of the recitatives and arias , which are closely related to the readings, is unknown. The chorale is verse 9 of Johann Heermann's Where shall I flee to (1630), based on the melody of To my dear God , which Bach used again in 1724 for his cantata Where shall I flee .

Cast and structure

The cantata is composed for three soloists and a four-part choir, horn , oboe , oboe d'amore , two violins , viola and basso continuo .

  1. Coro: Explore me, God, and experience my heart
  2. Recitativo (tenor): Oh, that the curse hits the ground there
  3. Aria (alto, oboe d'amore): A day will come
  4. Recitativo (bass): The heavens themselves are not pure
  5. Aria (tenor, bass, violins): The spots of sins hit us
  6. Choral (violin): Your blood, the noble juice

music

The opening choir consists essentially of two parts, A and A ′, choir fugues on the same topics for the entire text. An extensive instrumental ritornello , determined by the horn, sounds at the beginning, between the parts and at the end. The first fugue is preceded by a vocal “motto”. During the whole movement the oboes do not play independently, but instead reinforce the violins in the ritornelles and the soprano in the choir parts. Bach later used the movement for Cum Sancto Spiritu of his Missa in A major.

The two recitatives are mostly secco , only in the last bars of movement 4 do they merge into arioso .

The aria is accompanied by the oboe d'amore, the middle section (which was certainly composed in 1723) is overwritten presto . Both violins accompany the duet in unison , while the singing voices sometimes imitate and sometimes sing homophonically , similar to the duets that Bach wrote in Koethen.

The chorale is extended to five voices by a violin, as in the chorale of Schallet, you songs, resound, you strings! .

Recordings

Web links

Individual evidence

  1. a b Gardiner: Cantatas for the Eighth Sunday after Trinity Christkirche Rendsburg ( en ) Soli Deo Gloria. 2000. 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 July 15, 2010. @1@ 2Template: Webachiv / IABot / www.solideogloria.co.uk
  2. ^ Bach: Cantatas Vol 11 / Suzuki, Bach Collegium Japan . Arkivmusic. 1999. Retrieved July 15, 2010.
  3. John Quinn: Johann Sebastian BACH (1685-1750) The Bach Cantata Pilgrimage - Volume 5 Cantatas for the Eighth Sunday after Trinity ( en ) Musicweb-international.com. 2009. Retrieved July 15, 2010.