Resound, you songs, resound, you strings!
| Bach cantata | |
|---|---|
| Resound, you songs, resound, you strings! | |
| BWV: | 172 |
| Occasion: | Pentecost |
| Year of origin: | 1714 |
| Place of origin: | Weimar |
| Genus: | cantata |
| Solo : | SATB |
| Choir: | SATB |
| Instruments : | 3Tr Ti Ob 2Vl 2Va Vc Fg Bc |
| text | |
| Salomon Franck ? | |
| List of Bach cantatas | |
Resound, you songs, resound, you strings! ( BWV 172) is a sacred cantata by Johann Sebastian Bach . He composed it for Pentecost in Weimar in 1714 and performed it there for the first time in the palace chapel on May 20, 1714.
Emergence
Bach was the court organist of Johann Ernst von Sachsen-Weimar in Weimar and was appointed concertmaster on March 2, 1714. This was accompanied by the task of performing a spiritual cantata in the castle church every month. Come on, you songs is the third cantata in this series, composed after weeping, lamenting, worries, fears . The poem is attributed to Salomon Franck , although the work is not found in his printed works. However, several stylistic features - the biblical word as a recitative in the second movement instead of as an opening chorus, aria sequences without connecting recitative, dialogues in a duet - can all be found in this cantata. The first performance material has been preserved and proves that the cantata was performed again in Leipzig in 1724. Bach revised it there again in 1731. A part for obbligato organ instead of oboe and cello in the fifth movement exists for an even later performance. Alfred Dürr concludes: "All of these changes show how much Bach put into this work, which he [...] seems to have particularly loved."
Cast, text basis and structure
The cantata is set for four soloists, a choir and a festive orchestra: three trumpets, timpani, oboe (in later versions oboe d'amore or organ), strings, violoncello, bassoon and basso continuo. The text for sentences 1 and 3 to 5 is attributed to Salomon Franck. The recitative (2) is based on Joh. 14, 23: Whoever loves me will keep my word . Movement 5 is a duet of soul (soprano) and spirit (alto), underlined by an instrumental quotation from Martin Luther's chorale Komm, Heiliger Geist, Herrre Gott , which is based on Veni creator spiritus . The chorale (6) is the fourth stanza of Philipp Nicolais How beautifully the morning star shines .
- Coro: Sound out, you songs, sound out, you strings
- Recitativo (bass): Those who love me will keep my word
- Aria (bass, trumpets and timpani): Most Holy Trinity
- Aria (tenor, strings): O soul paradise
- Aria (soprano - soul, alto - spirit, oboe, violoncello): Come on, don't make me wait any longer
- Choral (violin): From God comes a joyful note
- (in the first version :) Repetition of the opening choir
music
- The opening chorus is a festive concert movement, the words and music of which may be based on an earlier lost congratulatory cantata. An edition of Franck's works contains a cantata for New Year's Eve again, congratulatory songs that may have served as a model. The sentence is in da capo form. The first part is opened by trumpet fanfares, which alternate with coloratura of the strings. The singing voices begin homophonically and repeat both the fanfare motifs and the string figures. The climax is reached in long chords on the first syllable of "blessed times" while the instruments continue the fanfares. In the middle section the trumpets pause, the voices express in polyphonic imitation the thought “God wants to prepare souls for the temple”. In a first sequence from the lowest to the highest voice, the next voice begins after three or four bars, in a second sequence from the highest to the lowest voice, the entries are even closer after one or two bars.
- The recitative relates to the reading of the day and emphasizes the idea of “staying with him” in melismatic lines, accompanied by motifs in the cello that are similar to those of movement five. Bach describes the final rest in God with a long final note C on the lowest note that he demanded from a soloist.
- The aria on the Trinity is accompanied only by the three trumpets, timpani and basso continuo, a rare combination that corresponds to the content. The theme is formed from the three notes of the major triad.
- In great contrast, flowing string lines in the Tenoraria O Seelenparadies illustrate the spirit “that blew in creation”.
- The last solo movement, referred to by Bach as the aria, combines four voices: two vocal parts, oboe and violoncello solo. Soprano and alto sing about their unity (“I pass when I miss you” one, “I am yours and you are mine!” The other), the oboe plays the ornate Whitsun chorale, and the cello plays a melody rich in figures throughout .
- The mentioned joy is illustrated by a lively violin part to the four-part choir.
- In the first performance, Bach then asked for the opening choir to be repeated by stating “chorus repetatur ab initio” in the manuscript.
Recordings
- JS Bach: Cantatas BWV 68 & BWV 172. Ursula Buckel , Irma Keller, Theo Altmeyer , Jakob Stämpfli , vocal ensemble Kassel, German Bach soloists , conductor Klaus Martin Ziegler . Cantate / Nonesuch, mid-1960s?
- Cantatas BWV 172 & BWV 78 . Adele Stolte , Annelies Burmeister , Peter Schreier , Theo Adam , Thomanerchor , Gewandhausorchester , conductor Erhard Mauersberger . Eterna, 1970.
- Cantatas. Selections (BWV 172-175). Eva Csapò, Doris Soffel , Adalbert Kraus , Wolfgang Schöne , Frankfurter Kantorei, Bach-Collegium Stuttgart , conductor Helmuth Rilling . Hänssler, 1975.
- JS Bach The cantatas. Arleen Augér , Ortrun Wenkel , Peter Schreier, Theo Adam, Thomanerchor, Gewandhausorchester, conductor Hans-Joachim Rotzsch . Berlin Classics 1981
- JS Bach: Das Kantatenwerk - Sacred Cantatas Vol. 9. Matthias Echternach (soloist of the Knabenchor Hannover), Paul Esswood , Marius van Altena , Max van Egmond , Knabenchor Hannover (choir director Heinz Hennig ), Collegium Vocale Gent , Leonhardt-Consort , conductor Gustav Leonhardt , Teldec 1987
- JS Bach: Complete Cantatas Vol. 2 - Barbara Schlick , Kai Wessel , Christoph Prégardien , Klaus Mertens , Amsterdam Baroque Orchestra & Choir , conductor Ton Koopman , Antoine Marchand 1995
- Bach Cantatas Vol. 26. Lisa Larsson , Derek Lee Ragin , Christoph Genz , Panajotis Iconomou , Monteverdi Choir , English Baroque Soloists , conductor John Eliot Gardiner . Soli Deo Gloria, 2000.
- Thomanerchor Leipzig. Conductor Georg Christoph Biller . St. Thomas, 2009.
- Resound, you songs, resound, you strings! Eva Oltiványi, Markus Forster, Bernhard Berchtold, Raphael Jud. Choir and Orchestra of the JS Bach Foundation , Rudolf Lutz . Georg Kohler (reflection). DVD. Gallus Media, 2007.
literature
- Alfred Dürr : Johann Sebastian Bach: The Cantatas. Bärenreiter, Kassel 1999, ISBN 3-7618-1476-3
- Dietrich Kilian: "Bach Schallet, you songs", Vocal Score based on the Urtext of the New Bach Edition. 1965.
- Werner Neumann : Handbook of JS Bach's Cantatas , 1947, 5th edition 1984, ISBN 3-7651-0054-4
- Hans-Joachim Schulze: The Bach Cantatas: Introductions to all of Johann Sebastian Bach's cantatas . Leipzig: Evangelical publishing company; Stuttgart: Carus-Verlag 2006 (Edition Bach-Archiv Leipzig) ISBN 3-374-02390-8 (Evang. Verl.-Anst.), ISBN 3-89948-073-2 (Carus-Verl.)
- Christoph Wolff , Ton Koopman : The world of Bach cantatas . Verlag JB Metzler, Stuttgart, Weimar 2006, ISBN 978-3-476-02127-4
Web links
- Sound out, you songs, sound out, you strings !, BWV 172 : Sheet music and audio files in the International Music Score Library Project
- BWV 172 Sound out, you songs, sound out, you strings! Text, structure and line-up on Walter F. Bischof's personal homepage at the University of Alberta
- Cantata BWV 172 Sound out, you songs, sound out, you strings on bach-cantatas (English)
