In all my deeds, BWV 97
| Bach cantata | |
|---|---|
| In all of my actions | |
| BWV: | 97 |
| Occasion: | for no specific reason |
| Year of origin: | 1734 |
| Place of origin: | Leipzig |
| Genus: | cantata |
| Solo : | SATB |
| Choir: | SATB |
| Instruments : | 2Ob Fg 2Vl Va Bc |
| text | |
| Paul Fleming | |
| List of Bach cantatas | |
In all my deeds ( BWV 97) is a church cantata by Johann Sebastian Bach . He composed the choral cantata in Leipzig in 1734 without a known cause on nine unchanged stanzas of the hymn by Paul Fleming .
Story and words
Bach wrote the cantata in 1734, about a decade after his first cantatas in Leipzig, in the same year as the Christmas Oratorio and a year after Kyrie and Gloria, which he later expanded to form the B minor Mass . He himself dated the manuscript of the score, but the reason for the composition is unknown. Originally, the work may have been intended for a wedding, because sentence 7 is crossed out “after the wedding”. A later copy notes the 5th Sunday after Trinity . The text consists of nine unchanged stanzas from Paul Fleming's hymn , published in 1642. The six lines of each stanza rhyme in pairs, 1 and 2, 4 and 5, 3 and 6. The poet wrote the song in 1633 at the beginning of a long and dangerous journey to Moscow and emphasizes a "beginning in God's name". Bach structured the stanzas into as many movements. It framed a series of arias and recitatives with an opening chorus and a closing chorale. After the first performance of the cantata, at least two other performances between 1735 and 1747 are documented.
Occupation and structure
The cantata consists of four soloists, soprano , alto , tenor and bass , four-part choir, two oboes , bassoon , two violins , viola and basso continuo .
- Coro: In all of my actions
- Aria (bass): Nothing is late and early
- Recitativo (tenor): Nothing can happen to me
- Aria (tenor): I trust his grace
- Recitativo (alto): He wants my sins
- Aria (alto): I'll lie down late
- Aria (soprano, bass): Did he decide?
- Aria (soprano): I surrendered to him
- Chorale: So be now, soul, yours
music
In the two choral movements, Bach used the melody of the song, but he composed the other movements of the work independently of it. The poet wrote the text for the melody of " Innsbruck, I must let you " by Heinrich Isaac . Bach had used it twice in his St. Matthew Passion , in sentences 10 (It's me, I should atone) and 37 (Who hit you like that).
In keeping with the idea of the beginning and awakening, Bach designed the opening choir in the style of a French overture , followed by a slow introduction with dotted rhythms, followed by a faster fugal section. As early as 1714 in Nun komm, der Heiden Heiland, BWV 61 , Bach had designed a choral setting as a French overture to begin a new church year. The slow part, called Grave , is instrumental; in the fast part, Vivace , the orchestra plays fugal music, in which the soprano cantus firmus is inserted line by line, while the lower voices take part in the imitation of the instruments. After the last line, all voices conclude the movement in emphatic homophony .
Bach structures the internal movements, which he calls "Versus" (Latin: stanza), as five arias and two recitatives, increasing the voices from the lowest to the highest and developing the instrumentation from a pure continuo movement to obbligato instruments. He sticks to the two-part form of the song verse in all movements except movement 7, a duet in a modified da capo form. The recitatives are kept simple, the first (Versus 3) is secco, the second (Versus 5) is accompanied by the strings. Versus 2 is introduced by a vocal ritornello , the subject matter of which is taken over by the singer. Versus 4 is brightened up by a highly virtuoso violin part, possibly as an image of God's grace (“I trust his grace”). John Eliot Gardiner compares the violin part with Bach's sonatas and partitas for solo violin . The strings begin Versus 6 with motifs that illustrate calm and movement, which makes sense as soon as the alto sings: “I lay down late”, “wake up”, “lie down or move away”. Versus 7 is a duet with continuo. The ritornello begins with a theme that is later adopted by the singing voices and ends with a characteristic motif that expresses determination: “I want to go untiringly to my fate!” In the last aria, the oboes support the soprano, who in extensive melismas sings: "I have surrendered to him to die and live".
In the final chorale, the strings play three independent voices for the four-part vocal movement, while the oboes reinforce the chorale melody. Dürr describes the unusual instrumentation as the "anthemic coronation", as a counterbalance to the solemn opening and as an emphasis on the summary text.
Recordings
CD
- The Bach Cantata Vol. 69. Helmuth Rilling , Gächinger Kantorei , Bach-Collegium Stuttgart , Helen Donath , Helrun Gardow, Adalbert Kraus , Philippe Huttenlocher . Hänssler, 1974.
- JS Bach: Das Kantatenwerk - Sacred Cantatas Vol. 5. Nikolaus Harnoncourt , Tölzer Knabenchor , Concentus Musicus Wien , soloist of the Tölzer Knabenchor, Paul Esswood , Kurt Equiluz , Ruud van der Meer (movement 2), Philippe Huttenlocher (movement 7). Teldec , 1979.
- Bach Edition Vol. 9 - Cantatas Vol. 1. Pieter Jan Leusink , Holland Boys Choir , Netherlands Bach Collegium , Ruth Holton, Sytse Buwalda, Knut Schoch , Bas Ramselaar. Brilliant Classics, 1999.
- Bach Cantatas Vol. 25: Dresden / Sherborne. John Eliot Gardiner , Monteverdi Choir , English Baroque Soloists , Katharine Fuge, Robin Tyson, Steve Davisilim, Stephan Loges. Soli Deo Gloria 2000.
- JS Bach: Complete Cantatas Vol. 21 , Ton Koopman , Amsterdam Baroque Orchestra & Choir , Sandrine Piau , Bogna Bartosz, James Gilchrist , Klaus Mertens . Antoine Marchand 2002.
DVD
- "In all of my deeds". Cantata BWV 97. Rudolf Lutz , choir and orchestra of the JS Bach Foundation , Monika Mauch, Ruth Sandhoff, Daniel Johannsen , Klaus Mertens. Including an introductory workshop and reflection by Kerstin Odendahl . Gallus Media, St. Gallen 2012.
literature
- Alfred Dürr : Johann Sebastian Bach: The Cantatas. Bärenreiter, Kassel 1999, ISBN 3-7618-1476-3 and Deutscher Taschenbuchverlag, Munich 1995, ISBN 3-423-04431-4 .
- Werner Neumann : Handbook of the cantatas JSBachs . 1947. 5th edition. 1984, ISBN 3-7651-0054-4
- Hans-Joachim Schulze : The Bach Cantatas: Introductions to all of Johann Sebastian Bach's cantatas . Evangelische Verlags-Anstalt, Leipzig 2006, ISBN 3-374-02390-8 ; Carus-Verlag, Stuttgart 2006, ISBN 3-89948-073-2
- Christoph Wolff , Ton Koopman : The world of Bach cantatas Verlag JB Metzler, Stuttgart / Weimar 2006, ISBN 978-3-476-02127-4 .
Web links
- In all my actions, BWV 97 : Sheet Music and Audio Files in the International Music Score Library Project
- Cantata BWV 97 In all my deeds at Bach Cantatas (English)
- In all of my deeds on the Bach.de website
- BWV 97 In all my actions, text, structure and composition on the personal homepage of Walter F. Bischof at the University of Alberta
Individual evidence
- ↑ a b Christoph Wolff : The late church cantatas from Leipzig, I ( en ) 2002, p. 21 (accessed on January 14, 2012).
- ↑ In all my deeds / Text and Translation of Chorale . bach-cantatas.com. 2006. Retrieved January 9, 2012.
- ↑ a b c d John Eliot Gardiner : For the Fifth Sunday after Easter (Rogate) / Annenkirche, Dresden ( en , PDF; 129 kB) bach-cantatas.com. 2008. Retrieved January 14, 2012.
- ^ A b c d Alfred Dürr : The cantatas by Johann Sebastian Bach , Volume 1. Bärenreiter-Verlag, 1971, OCLC 523584 .
- ↑ Chorale Melodies used in Bach's Vocal Works / O Welt, I have to leave you with Bach Cantatas (English)
- ↑ Modified text of the reflection, see: Kerstin Odendahl: Trust in God as a force for change - The uprising in the Arab world as reflected in the Bach cantata "In all my deeds." In: Neue Zürcher Zeitung , April 2, 2011; Retrieved October 9, 2012.
