Whoever offers thanks praises me
| Bach cantata | |
|---|---|
| Whoever offers thanks praises me | |
| BWV: | 17th |
| Occasion: | 14th Sunday after Trinity |
| Year of origin: | 1726 |
| Place of origin: | Leipzig |
| Genus: | Church cantata |
| Solo : | SATB |
| Choir: | SATB |
| Instruments : | 2Ob 2Vl Va Bc |
| text | |
| Ernst Ludwig I. , Johann Graumann | |
| List of Bach cantatas | |
Whoever sacrifices thanks, praises me ( BWV 17) is a church cantata by Johann Sebastian Bach . He wrote it in 1726 for the 14th Sunday after Trinity and performed it for the first time on September 22nd, 1726.
Story and words
In his fourth year in Leipzig, Bach composed the cantata for the 14th Sunday after Trinity. It is assigned to his third cycle of cantatas. The prescribed readings for Sunday were Gal 5,16-24 LUT , Paul on the "works of the flesh and the fruit of the Spirit", and Lk 17,11-19 LUT , the healing of the ten lepers .
In that year Bach performed 18 cantatas by his relative Johann Ludwig Bach , who was court music director in Meiningen . Bach also seems to have been impressed by his texts and set some texts of a similar structure to music: Seven movements in two parts, which are played before and after the sermon, the first part starting with a quote from the Old Testament , the second with a quote the New Testament .
Bach composed some texts that his relative had also used, including this cantata. It was written by Ernst Ludwig I of Sachsen-Meiningen , according to Christoph Wolff .
The poet takes from the Gospel the idea that man is indebted to God. As a biblical connoisseur, he begins with Ps 50.23 LUT and bases the recitative that begins Part II on verses 15 and 16 of the Gospel. He alludes to other Bible passages, in sentence 2 to Ps 19,5 LUT , in sentence 3 to Ps 36,6 LUT , at the price of God's creation . In sentence 6 the phrase "love, peace, justice and joy in your spirit" refers to Rom 14.17 LUT . The final chorale is the third stanza of " Nun lob, mein Seel, den Herren " by Johann Graumann (Poliander), published in 1530.
Bach first performed the cantata on September 22, 1726. He later used the first movement as a template for the conclusion “Cum sancto Spritu” in the Gloria of his Missa in G major, BWV 236 .
Occupation and structure
The cantata consists of four soloists, soprano , alto , tenor and bass , four-part choir, two oboes , two violins , viola and basso continuo . Her seven movements are divided into two parts, which were played before and after the sermon. Both parts begin with a quote from the Bible.
part One
- Coro: Anyone who sacrifices thanks praises me
- Recitativo (alto): The whole world must become a silent witness
- Aria (soprano): Lord, your kindness extends as far as heaven is
Part II
- Recitativo (tenor): But one of them
- Aria (tenor): What an excess of goodness
- Recitativo (bass): Look at my will, I know what I am
- Chorale: How a father has mercy
music
The opening chorus introduces the psalm verses in two fugitive sections, which are introduced by an instrumental sinfonia. All recitatives are secco. In the first aria , the soprano and two obbligato violins illustrate the text “as far as the clouds go” in ascending lines, whereby the words “praise” and “show” are emphasized by extensive coloratura.
The biblical quotation in the recitative at the beginning of Part II has a narrative character and is therefore entrusted to the tenor voice, similar to the evangelist in Bach's oratorios and passions. The second aria is accompanied by all strings. Both arias have the same unusual structure. They are in three parts, the third part is not a da capo vocal , but at the same time the introductory ritornello is repeated, which gives the movement a coherence. John Eliot Gardiner particularly admires the four-part movement of the twelve-line final chorale for his tone painting to the autumnal words “Like the grass from the rake, a flower and falling leaves, the wind just blows over it”, and compares it with the central movement of the motet Singet dem Herren a new song, BWV 225 .
Recordings
- JS Bach: Cantatas BWV 110, BWV 17. Hans Thamm , Windsbacher Knabenchor , Südwestdeutsches Kammerorchester Pforzheim , Herrad Wehrung , Emmy Lisken , Georg Jelden, Jakob Stämpfli . Cantate, 1961.
- Bach: Sacred Cantatas, Vol. 1, BWV 1–14, 16–19. Nikolaus Harnoncourt , Vienna Boys Choir , Chorus Viennensis , Soloist of the Vienna Boys Choir, Paul Esswood , Kurt Equiluz , Max van Egmond . Teldec , 1972.
- Bach Cantatas Vol. 4 - Sundays after Trinity I. Karl Richter , Munich Bach Choir , Munich Bach Orchestra , Edith Mathis , Julia Hamari , Peter Schreier , Dietrich Fischer-Dieskau . Archive production , 1977
- The Bach Cantata Vol. 17. Helmuth Rilling , Gächinger Kantorei , Bach-Collegium Stuttgart , Arleen Augér , Gabriele Schreckenbach, Adalbert Kraus , Walter Heldwein. Hänssler, 1982.
- Bach Edition Vol. 8 - Cantatas Vol. 3. Pieter Jan Leusink , Holland Boys Choir , Netherlands Bach Collegium , Ruth Holton, Sytse Buwalda, Knut Schoch , Bas Ramselaar. Brilliant Classics , 1999.
- Bach Cantatas Vol. 7: Ambronay / Bremen. John Eliot Gardiner , Monteverdi Choir , English Baroque Soloists , Malin Hartelius , Robin Tyson, James Gilchrist , Peter Harvey . Soli Deo Gloria, 2000.
- JS Bach: Complete Cantatas Vol. 17. Ton Koopman , Amsterdam Baroque Orchestra & Choir , Sandrine Piau , Bogna Bartosz, Christoph Prégardien , Klaus Mertens . Antoine Marchand, 2002.
- JS Bach: Cantatas for the Complete Liturgical Year Vol. 5. Sigiswald Kuijken , La Petite Bande , Gerlinde Sämann, Petra Noskaiová, Jan Kobow , Dominik Wörner . Accent, 2006.
- JS Bach: Cantatas Vol. 46 - Cantatas from Leipzig 1723 / IV - BWV 46, 95, 136, 138. Masaaki Suzuki , Bach Collegium Japan , Hana Blažíková , Robin Blaze , Gerd Türk, Peter Kooij . UNTIL 2009.
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 .
- Arend Hoyer: What makes music reverent. Three Leipzig church cantatas by Johann Sebastian Bach, examined from a liturgical point of view. Theological Publishing House Zurich: Zurich 2018, ISBN 978-3-290-18139-0 [BWV 17, 25, 78].
- Werner Neumann : Handbook of the cantatas Johann Sebastian Bach . Breitkopf and Härtel, Leipzig 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; Carus-Verlag, Stuttgart 2006 (Edition Bach-Archiv Leipzig), ISBN 3-374-02390-8 (Evang. Verl.-Anst.), ISBN 3-89948-073-2 (Carus-Verlag).
- Christoph Wolff , Ton Koopman : The world of Bach cantatas . Verlag JB Metzler, Stuttgart / Weimar 2006, ISBN 978-3-476-02127-4 .
Web links
- Whoever sacrifices thanks, praises me, BWV 17 : Sheet music and audio files in the International Music Score Library Project
- Cantata BWV 17 Whoever sacrifices thanks, praises me in Bach Cantatas (English)
- Anyone who sacrifices thanks will praise me on the Bach.de website
- BWV 17 Whoever sacrifices thanks, praises me Text, structure and composition on the personal homepage of Walter F. Bischof at the University of Alberta
Individual evidence
- ↑ a b c Klaus Hofmann: Whoever sacrifices thanks, praises me, BWV 17 (PDF; 3.5 MB) bach-cantatas.com. Pp. 13, 15. 1998. Retrieved September 7, 2012.
- ↑ Christoph Wolff : For the third Leipzig cantatas year (1725–1727), II (PDF; 497 kB) bach-cantatas.com. Pp. 15, 17. 1998. Retrieved September 7, 2012.
- ↑ Now praise, my 'Seel', the gentlemen / Text and Translation of Chorale ( en ) bach-cantatas.com. 2008. Retrieved September 4, 2012.
- ↑ a b Julian Mincham: Chapter 24 BWV 17 Whoever sacrifices thanks, praises me ( en ) jsbachcantatas.com. 2010. Retrieved September 4, 2012.
- ↑ John Eliot Gardiner : Cantatas for the Fourteenth Sunday after Trinity / Abbaye d'Ambronay ( en , PDF; 84 kB) bach-cantatas.com. S. 6. 2006. Accessed September 7, 2012.
