The Cantatas of J. S. Bach
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2 The Cantatas of J. S. Bach
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4 The Cantatas of J. S. Bach with their librettos in german english parallel text ALFRED DÜRR Revised and translated by RICHARD D. P. JONES 1
5 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York Original edition 1992 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG Translated from the German by arrangement with Bärenreiter-Verlag Kassel-Basel-London-New York-Prag The publication of this work was supported by a grant from the Goethe-Institut Inter Nationes Oxford University Press 2005 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2005 First published in paperback 2006 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by RefineCatch Limited, Bungay, Suffolk Printed in Great Britain by Antony Rowe Ltd., Chippenham, Wilts ISBN ISBN (Pbk.) (Pbk.)
6 Preface In the course of the twentieth century, the music of Johann Sebastian Bach has undergone a revival with which that of other composers cannot be remotely compared. Even the cantatas, whose Cinderella status was still lamented in the preface to the first edition of this book (1971), have since become more familiar to music lovers through various enterprises, such as complete recordings, radio broadcasts, summer courses and so on. Owing to its specific relevance to its own time, the Bach cantata is, of course, more tied to its period than the timeless instrumental works. Yet the author takes the view that Bach s cantatas lay claim to our attention as a testimony to supreme art, Christian faith and Western cultural history, and therefore demand that we come to terms with them. This involves not only a sensitive response to their cultural context but also conscientious grappling with the question of their relevance for our time. Whoever follows the music of today with sympathy will surely be unable to deny the same sympathy to Bach s endeavour to give topical immediacy to the church music of his time. It is this attitude that the present commentaries try to instil. This book will, first of all, serve the interested lay reader as a companion during live performances, radio broadcasts, or recordings, acting as a guide to attentive listening and attempting to render comprehensible whatever is hard to understand. These aims extend to the reproduction of the cantata texts, whose poetic worth should in no way be overestimated, though they should be taken seriously as baroque poetry bound to a specific purpose. Other matters, such as symbolism, the musical doctrine of figures, and the liturgical use of the cantatas today, can be touched upon only occasionally due to the great quantity of material involved; for them the reader must be referred to specialized studies. In order to facilitate the study of the individual cantatas without overburdening the commentaries with constant repetition, certain frequently recurring ideas and concepts are elucidated in a brief introductory historical survey. The commentary on the individual cantatas that follows this is ordered according to their original occasion (largely in keeping with their assignment to volumes in the Neue Bach-Ausgabe). First the sacred cantatas are considered in liturgical order, as if through a single church year (starting with Advent), then church cantatas for other purposes or for no fixed occasion, and finally the secular cantatas. As far as possible the commentaries on the individual cantatas are formulated so that each is readable independently. Ideally, study of the commentaries should be accompanied by the score, or at least a keyboard reduction, of the work concerned. Since this will not always be
7 vi preface possible, however, each commentary is preceded by a synopsis of the relevant cantata movements. Here details of duration are drawn from the Handbuch der Kantaten J. S. Bachs (fifth edition, Wiesbaden, 1984) by Werner Neumann, with the kind permission of the author. Details of key are indicated by capital letters for a tonic with a major third and lower-case letters for a tonic with a minor third. Thus capitals denote not only major keys but the Lydian, Mixolydian and Ionian modes (for example, in the case of harmonizations of chorales in the church modes), and lower-case letters not only minor keys but the Dorian, Phrygian and Aeolian modes. Where two (occasionally three) time signatures are given, they are listed in the order in which they appear in the music. The volume ends with a bibliography of literature used here or recommended for further study, a glossary for the elucidation of technical terms (those marked with an asterisk in the main text), an index of names (excluding authors and editors listed in the bibliography), and two indexes of the cantatas, one in alphabetical order of title (i.e. first line of text), the other in order of BWV (Bach-Werke-Verzeichnis) numbers. For the reproduction of the cantata texts, the principles employed in the Neue Bach-Ausgabe apply here too: the use of modern orthography but with the retention of original verbal or phonetic forms; and the adoption of original question or exclamation marks (more frequent than those of today). Occasional small corrections nonetheless proved to be necessary in order to preserve clarity. Thus, unless grammatically justified, the dative ending -n, customary in dialect, is replaced by -m, and Küßen by Kissen (if that is what is meant), and so on. In the case of certain types of information, the author felt compelled to restrict the quantity given in order to avoid unduly overburdening the volume. Thus the texts of lost works that cannot be reconstructed are omitted; textual variants of little significance (for example, in the repeats of portions of text in choruses and arias) are suppressed; and scoring details for individual movements are often given in a generalized form (for example, brass ww str bc ), with further details following in the commentary as and where necessary. In particular, the instruments that participate in the continuo are not specified in detail, even if they are clear from the sources or to some extent differ from each other in voice-leading. Alfred Dürr Bovenden, 1995 Translator s Preface The English edition includes the cantata librettos in German English parallel text. The translator s aim has been to adhere as closely to the original German as is compatible with clear, readable modern English. One constraining factor was
8 preface vii the line-for-line approach adopted: for ease of comparison, each line of English corresponds as far as possible with the German line next to it. As a result, the English word order is not always the most natural one, but it is hoped that gross distortions have been avoided. Biblical quotations tend to echo the Authorized Version (1611) the version most familiar in English-speaking countries though exact translation of the Lutheran Bible (1534) naturally takes precedence in all cases of different readings. Readers should note that the translation does not match the scansion of the original and is not intended for performance. The introduction and commentaries have been updated to take account of recent research: in general, the English edition is designed to reflect the state of Bach scholarship by the beginning of the Bach Year With the approval of the author, all such additions and modifications are woven into the text or its footnotes and consequently remain undifferentiated from the original. The style and scope of this editorial intervention has been limited by two factors. First, the aim has been to preserve the distinctive character of Alfred Dürr s own writings. Second, in a book intended primarily for the ordinary music lover, it was regarded as expedient to restrict scholarly discussion and references to an essential minimum in order not to overwhelm the reader. For further study he or she is referred to the bibliography. The translator would like to express his gratitude to Joshua Rifkin, David Schulenberg and, above all, Michael Marissen for reading the text in manuscript with great care and making many valuable suggestions for improvements, most of which have been adopted. Any deficiencies that remain are the sole responsibility of the translator. Richard D. P. Jones Abingdon, Oxon, 2000 Note to the Reader Among the details that precede the text of each movement, capital letters denote major keys; lower-case letters, minor. Chorale texts are given in bold print, biblical texts in inverted commas. Formally distinct portions of text, such as the middle section of a da Capo aria, are indented. In the commentaries, asterisks refer the reader to the Index of Terms and Glossary.
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10 Contents List of illustrations Abbreviations xiii xiv Part 1 Introduction to Bach s Cantatas 1 History of the cantata before Bach 3 2 Development of the Bach cantata Early forms (c ) Weimar cantatas of the newer type ( ) Cöthen ( ) Leipzig cycle I (1723 4) Leipzig cycle II (1724 5) Leipzig cycle III (1725 7) Picander and his cycle (1728 9?) Other church cantatas Oratorios (1734 c. 1738) Secular cantatas of the Leipzig period 46 3 Performance practice in Bach s cantatas Preparation of the performing material Rehearsal Problems of scoring Performance Consequences for present-day performance practice 53 Music examples for the introduction 54 Part 2 Church Cantatas 1 Cantatas for the church year: Advent to Trinity First Sunday in Advent: BWV 61, 62, Second Sunday in Advent: BWV 70a Third Sunday in Advent: BWV 186a Fourth Sunday in Advent: BWV 132, 147a Christmas Day: BWV 63, 91, 110, 197a, 248 I, Second Day of Christmas: BWV 40, 121, 57, 248 II Third Day of Christmas: BWV 64, 133, 151, 248 III Sunday after Christmas: BWV 152, 122, New Year: BWV 190, 41, 16, 171, 248 IV, Sunday after New Year: BWV 153, 58, 248 V Epiphany: BWV 65, 123, 248 VI First Sunday after Epiphany: BWV 154, 124, Second Sunday after Epiphany: BWV 155, 3,
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