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{{Short description|Church cantata by Johann Sebastian Bach}} |
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{{Infobox Bach composition |
{{Infobox Bach composition |
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| |
| name = {{nowrap|{{lang|de|Die Himmel erzählen die Ehre Gottes}}}} |
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| bwv |
| bwv = 76 |
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| type |
| type = [[Church cantata (Bach)|Church cantata]] |
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| image |
| image = Thomaskirche Interior.jpg |
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| caption |
| caption = [[Thomaskirche]], Leipzig |
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| occasion |
| occasion = Second Sunday after [[Trinity Sunday|Trinity]] |
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| performed |
| performed = {{Timeline-event|date={{Start date|1723|06|06|df=y}}|location=[[Leipzig]]}} |
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| movements |
| movements = 14 in two parts (7 + 7) |
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| |
| bible = [[Psalm 19]]:1,3 |
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| text_poet = [[Anonymous work|anonymous]] |
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| bible_text = {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=19|verse=1|range=,3}} |
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| chorale |
| chorale = "{{lang|de|[[Es woll uns Gott genädig sein]]|italic=no}}" |
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| vocal |
| vocal = [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] choir and solo |
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| instrumental |
| instrumental = {{hlist | Trumpet | oboe | oboe d'amore | bassoon | 2 violins | viola | viola da gamba | continuo }} |
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| italic title = no |
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}} |
}} |
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[[Johann Sebastian Bach]] composed the [[church cantata]] |
[[Johann Sebastian Bach]] composed the [[church cantata]] '''{{lang|de|Die Himmel erzählen die Ehre Gottes}}''' ({{Lang-en|The heavens are telling the glory of God}}), '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}76''' in [[Leipzig]] for the second Sunday after [[Trinity Sunday|Trinity]] of the [[liturgical year]] and first performed it on 6 June 1723. |
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Bach [[Bach cantata|composed the cantata]] at a decisive turning point in his career. Moving from posts in the service of churches and courts to the town of Leipzig on the first Sunday after Trinity, 30 May 1723, he began the project of composing a new cantata for every occasion of the liturgical year. He began [[Bach's first cantata cycle|his first annual cycle of cantatas]] ambitiously with {{lang|de|[[Die Elenden sollen essen, BWV 75|''Die Elenden sollen essen'', BWV 75]]}}, in an unusual layout of 14 [[Movement (music)|movement]]s in two symmetrical parts, to be performed before and after the sermon. |
Bach [[Bach cantata|composed the cantata]] at a decisive turning point in his career. Moving from posts in the service of churches and courts to the town of Leipzig on the first Sunday after Trinity, 30 May 1723, he began the project of composing a new cantata for every occasion of the liturgical year. He began [[Bach's first cantata cycle|his first annual cycle of cantatas]] ambitiously with {{lang|de|[[Die Elenden sollen essen, BWV 75|''Die Elenden sollen essen'', BWV 75]] |italic=unset}}, in an unusual layout of 14 [[Movement (music)|movement]]s in two symmetrical parts, to be performed before and after the sermon. {{lang|de|Die Himmel erzählen die Ehre Gottes}}, performed a week later, has the same structure. |
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The unknown poet begins his text with a quotation from [[Psalm 19]] and refers to both prescribed readings from the [[New Testament]], the [[parable of the great banquet]] as the [[Gospel (liturgy)|Gospel]], and the [[First Epistle of John]]. Bach scored Part I with a [[trumpet]] as a symbol of God's Glory. In Part II, performed after the sermon and during [[Communion (Christian)|communion]], he wrote chamber music with [[oboe d'amore]] and [[viola da gamba]], dealing with "brotherly devotion". Both parts are closed with a stanza of [[Martin Luther]]'s [[hymn]] "{{lang|de|[[Es woll uns Gott genädig sein]]}}" (1524). |
The unknown poet begins his text with a quotation from [[Psalm 19]] and refers to both prescribed readings from the [[New Testament]], the [[parable of the great banquet]] as the [[Gospel (liturgy)|Gospel]], and the [[First Epistle of John]]. Bach scored Part I with a [[trumpet]] as a symbol of God's Glory. In Part II, performed after the sermon and during [[Communion (Christian)|communion]], he wrote chamber music with [[oboe d'amore]] and [[viola da gamba]], dealing with "brotherly devotion". Both parts are closed with a [[stanza]] of [[Martin Luther]]'s [[hymn]] "{{lang|de|[[Es woll uns Gott genädig sein]]|italic=no}}" (1524). |
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== Background == |
== Background == |
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⚫ | Johann Sebastian Bach had served in several churches as {{lang|de|[[Cantor (church)|Kantor]]}} and [[organist]], and at the courts of [[Weimar]] and [[Köthen]], when he applied for the post of ''Thomaskantor'' in [[Leipzig]]. He was 38 years old and had a reputation as an organist and organ expert.<ref name="Carus" /> He had composed church cantatas, notably the funeral cantata {{lang|la|[[Actus tragicus]]}} around 1708. In Weimar, he had begun a project to cover all occasions of the liturgical year by providing one cantata a month for four years, including works such as {{lang|de|[[Weinen, Klagen, Sorgen, Zagen, BWV 12|''Weinen, Klagen, Sorgen, Zagen'', BWV 12]] |italic=unset}}, and {{lang|de|[[Nun komm, der Heiden Heiland, BWV 61|''Nun komm, der Heiden Heiland'', BWV 61]] |italic=unset}}. |
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⚫ | Johann Sebastian Bach had served in several churches as |
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== History and words == |
== History and words == |
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⚫ | Bach composed the cantata for the [[List of church cantatas by liturgical occasion#Second Sunday after Trinity (Trinity II)|Second Sunday after Trinity]] and first performed it in a service in the [[Thomaskirche]] in Leipzig on 6 June 1723, a week after he took up the position as cantor in Leipzig with {{lang|de|Die Elenden sollen essen}}.<ref name="Wolff" /><ref name="Dürr" /> The cantata is similar in many respects to the earlier work. While BWV 75 was probably begun in [[Köthen]], this cantata may have been composed in Leipzig, according to a manuscript with many corrections.<ref name="Traupman-Carr" /> The two cantatas mark the beginning of Bach's first "annual cycle": he started to compose one cantata for each Sunday and holiday of the liturgical year,<ref name="Mincham" /> a project described by [[Christoph Wolff]] as "an artistic undertaking on the largest scale".<ref name="Wolff" /> |
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⚫ | Bach composed the cantata for the [[ |
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[[File:Teachings of Jesus 28 of 40. invitation to the great banquet. Jan Luyken etching. Bowyer Bible.gif|thumb|left|''The Invitation to the Great Banquet'', [[Jan Luyken]], [[Bowyer Bible]]]] |
[[File:Teachings of Jesus 28 of 40. invitation to the great banquet. Jan Luyken etching. Bowyer Bible.gif|thumb|left|''The Invitation to the Great Banquet'', [[Jan Luyken]], [[Bowyer Bible]]]] |
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The prescribed readings for the Sunday were from the [[First Epistle of John]], "Whoever doesn't love, remains in Death" ({{Sourcetext|source=Bible|version=King James|book=1 John|chapter=3|verse=13|range=–18}}), and from the [[Gospel of Luke]], the [[parable of the great banquet]] ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=14|verse=16|range=–24}}). The unknown poet was likely the same as for the first cantata for Leipzig, also in 14[[Movement (music)|movement]]s, also arranged in two symmetrical parts to be performed before and after the sermon.<ref name="Traupman-Carr" /><ref name="Hofmann" /> Again the cantata begins with words from a [[Psalms| |
The prescribed readings for the Sunday were from the [[First Epistle of John]], "Whoever doesn't love, remains in Death" ({{Sourcetext|source=Bible|version=King James|book=1 John|chapter=3|verse=13|range=–18}}), and from the [[Gospel of Luke]], the [[parable of the great banquet]] ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=14|verse=16|range=–24}}). The unknown poet was likely the same as for the first cantata for Leipzig, also in 14 [[Movement (music)|movement]]s, also arranged in two symmetrical parts to be performed before and after the sermon.<ref name="Traupman-Carr" /><ref name="Hofmann" /> Again the cantata begins with words from a [[Psalms|psalm]], {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=19|verse=1|range=,3}} (verses 2 and 4 in the [[Luther Bible]]), "The heavens declare the glory of God, and the firmament shows His handiwork. There is no speech or language, where their voice is not heard", connecting the Gospel to the [[Old Testament]].<ref name="Dürr" /> The poet first expands, in movements 2 and 3, the thought of the universe praising God's creation. In the following two movements he deplores, following the Gospel, that nonetheless people did not follow the invitation of God, therefore he had to invite "{{lang|de|von allen Straßen|italic=no}}" (from all streets) and bless those, as movement 6 says. Part I closes with the first [[stanza]] of Luther's [[chorale]] "{{lang|de|[[Es woll uns Gott genädig sein]]|italic=no}}" (1524),<ref name="chorale text" /> a [[paraphrase]] of [[Psalm 67]]. Part I was to be performed before the sermon, Part II after the sermon and during communion.<ref name="Gardiner" /> Part II talks about the duties of those who follow God's invitation, to pass the love of Christ in order to achieve heaven on earth, a thought also expressed in the [[Epistle]] reading. The third stanza of Luther's chorale closes the work.<ref name="Dürr" /> |
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[[File:John Eliot Gardiner at rehearsal in Wroclaw cropped portrait.jpeg|thumb|John Eliot Gardiner, 2007]] |
[[File:John Eliot Gardiner at rehearsal in Wroclaw cropped portrait.jpeg|thumb|John Eliot Gardiner, 2007]] |
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[[John Eliot Gardiner]], who conducted the [[Bach Cantata Pilgrimage]] with the Monteverdi Choir in 2000, evaluated the work, connected to Bach's first cantata for Leipzig: <blockquote>this cantata is clearly more than just a sequel to the previous Sunday's |
[[John Eliot Gardiner]], who conducted the [[Bach Cantata Pilgrimage]] with the Monteverdi Choir in 2000, evaluated the work, connected to Bach's first cantata for Leipzig: <blockquote>this cantata is clearly more than just a sequel to the previous Sunday's {{lang|de|Die Elenden sollen essen}}... together they form a diptych revealing a thematic continuity extended over two weeks, with plentiful cross-referencing between the two set Gospels and Epistles beyond the obvious parallels between the injunction to give charitably to the hungry (BWV 75) and of brotherly love manifested in action (BWV 76).<ref name="Gardiner" /></blockquote> He described the works as featuring "a characteristically Lutheran interpretation" of the [[First Epistle of John]]. He also noted the depth of metaphorical uses of "eating and drinking", highlighting "the rich man's table, from which Lazarus tried to gather fallen crumbs (BWV 75), standing in opposition to the "great supper" and God's invitation through Christ to the banquet of eternal life (BWV 76)". Summarising both pieces, Gardiner wrote: {{blockquote|evidently a lot of thought and pre-planning had gone on while Bach was still in Köthen, as well as discussions with his unknown librettist and possibly with representatives of the Leipzig clergy, before he could set the style, tone and narrative shaping of these two impressive works.<ref name="Gardiner" />}} |
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== Music == |
== Music == |
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=== Scoring and structure === |
=== Scoring and structure === |
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The cantata is structured in two parts of seven movements each, to be performed before and after the sermon. It is scored for four vocal soloists ([[soprano]] (S), [[alto]] (A), [[tenor]] (T) and [[Bass (voice type)|bass]] (B)), a [[SATB|four-part choir |
The cantata is structured in two parts of seven movements each, to be performed before and after the sermon. It is scored for four vocal soloists ([[soprano]] (S), [[alto]] (A), [[tenor]] (T) and [[Bass (voice type)|bass]] (B)), a [[SATB|four-part choir SATB]], [[trumpet]] (Tr), two [[oboe]]s (Ob), [[oboe d'amore]] (Oa), two [[violin]]s (Vl), [[viola]] (Va), [[viol|viola da gamba]] (Vg) and [[basso continuo]] (Bc). The two parts of seven movements each are composed as the same arrangement of alternating [[recitative]]s and [[aria]]s with a concluding chorale, only Part II is opened by a [[sinfonia]] instead of a chorus.<ref name="Dürr" /> The duration is given as 35 minutes.<ref name="Dürr-Jones" /> |
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In the following table of the movements, the scoring follows the [[Neue Bach-Ausgabe]]. The [[Key (music)|keys]] and [[time signature]]s are taken from [[Alfred Dürr]], using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown. |
In the following table of the movements, the scoring follows the [[Neue Bach-Ausgabe]]. The [[Key (music)|keys]] and [[time signature]]s are taken from [[Alfred Dürr]], using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown. |
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{{Classical movement header | show_text_source = yes | work = ''Die Himmel erzählen die Ehre Gottes'' |
{{Classical movement header | show_text_source = yes | work = ''Die Himmel erzählen die Ehre Gottes'' - Part 1 | instruments1 = Winds | instruments2 = Strings}} |
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{{Classical movement row |
{{Classical movement row |
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| id = m1 |
| id = m1 |
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| number = [[#1|1]] |
| number = [[#1|1]] |
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| title = |
| title = {{lang|de|Die Himmel erzählen die Ehre Gottes|italic=no}} |
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| text_source = {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=19|verse=1|range=,3}} |
| text_source = {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=19|verse=1|range=,3}} |
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| type = Chorus |
| type = Chorus |
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| id = m2 |
| id = m2 |
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| number = [[#2|2]] |
| number = [[#2|2]] |
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| title = |
| title = {{lang|de|So lässt sich Gott nicht unbezeuget!|italic=no}} |
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| text_source = {{abbr|anon.|anonymous}} |
| text_source = {{abbr|anon.|anonymous}} |
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| type = Recitative |
| type = Recitative |
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| id = m3 |
| id = m3 |
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| number = [[#3|3]] |
| number = [[#3|3]] |
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| title = |
| title = {{lang|de|Hört, ihr Völker, Gottes Stimme|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Aria |
| type = Aria |
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| id = m4 |
| id = m4 |
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| number = [[#4|4]] |
| number = [[#4|4]] |
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| title = |
| title = {{lang|de|Wer aber hört|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Recitative |
| type = Recitative |
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| id = m5 |
| id = m5 |
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| number = [[#5|5]] |
| number = [[#5|5]] |
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| title = |
| title = {{lang|de|Fahr hin, abgöttische Zunft!|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Aria |
| type = Aria |
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| id = m6 |
| id = m6 |
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| number = [[#6|6]] |
| number = [[#6|6]] |
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| title = |
| title = {{lang|de|Du hast uns, Herr, von allen Straßen|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Recitative |
| type = Recitative |
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| id = m7 |
| id = m7 |
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| number = [[#7|7]] |
| number = [[#7|7]] |
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| title = |
| title = {{lang|de|Es woll uns Gott genädig sein|italic=no}} |
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| text_source = [[Martin Luther|Luther]] |
| text_source = [[Martin Luther|Luther]] |
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| type = Chorale |
| type = Chorale |
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{{End}} |
{{End}} |
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{{Classical movement header | show_text_source = yes | work = ''Die Himmel erzählen die Ehre Gottes'' |
{{Classical movement header | show_text_source = yes | work = ''Die Himmel erzählen die Ehre Gottes'' - Part II | instruments1 = Winds| instruments2 = Strings }} |
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{{Classical movement row |
{{Classical movement row |
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| id = m8 |
| id = m8 |
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| id = m9 |
| id = m9 |
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| number = [[#9|9]] |
| number = [[#9|9]] |
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| title = |
| title = {{lang|de|Gott segne noch die treue Schar|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Recitative |
| type = Recitative |
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| id = m10 |
| id = m10 |
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| number = [[#10|10]] |
| number = [[#10|10]] |
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| title = |
| title = {{lang|de|Hasse nur, hasse mich recht|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Aria |
| type = Aria |
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| id = m11 |
| id = m11 |
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| number = [[#11|11]] |
| number = [[#11|11]] |
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| title = |
| title = {{lang|de|Ich fühle schon im Geist|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Recitative |
| type = Recitative |
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| id = m12 |
| id = m12 |
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| number = [[#12|12]] |
| number = [[#12|12]] |
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| title = |
| title = {{lang|de|Liebt, ihr Christen, in der Tat!|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Aria |
| type = Aria |
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| id = m13 |
| id = m13 |
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| number = [[#13|13]] |
| number = [[#13|13]] |
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| title = |
| title = {{lang|de|So soll die Christenheit|italic=no}} |
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| text_source = anon. |
| text_source = anon. |
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| type = Recitative |
| type = Recitative |
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| id = m14 |
| id = m14 |
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| number = [[#14|14]] |
| number = [[#14|14]] |
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| title = |
| title = {{lang|de|Es danke, Gott, und lobe dich|italic=no}} |
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| text_source = [[Martin Luther|Luther]] |
| text_source = [[Martin Luther|Luther]] |
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| type = Chorale |
| type = Chorale |
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| time = {{music|common-time}} |
| time = {{music|common-time}} |
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}} |
}} |
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{{End}} |
{{End}} |
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=== Movements === |
=== Movements === |
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[[File:BWV76-8 autograph manuscript.jpeg|thumb|upright=1.6|Sinfonia beginning second part of BWV 76. Autograph manuscript, 1723]] |
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Similar to the [[BWV 75#m1|opening chorus of BWV 75]], Bach sets the psalm in two sections, comparable to a [[prelude and fugue]] on a large scale.<ref name="Hofmann" /> An instrumental concerto unites the complete "prelude", the trumpet "calls" to tell the glory of God.<ref name="Mincham" /> The fugue in [[C major]]<ref name="Hofmann" /> is a permutation fugue, which develops the subject twice, starting with the voices, up to a triumphal entrance of the trumpet, similar in development to the first chorus of {{lang|de|[[Wir danken dir, Gott, wir danken dir, BWV 29|''Wir danken dir, Gott, wir danken dir'', BWV 29]]}}, composed much later and used twice in the [[Mass in B minor structure|Mass in B minor]].<ref name="Dürr" /> [[Joseph Haydn]] later set the same words, also in C major, in his oratorio ''[[The Creation (Haydn)|The Creation]]''.<ref name="Hofmann" /> |
Similar to the [[BWV 75#m1|opening chorus of BWV 75]], Bach sets the psalm in two sections, comparable to a [[prelude and fugue]] on a large scale.<ref name="Hofmann" /> An instrumental concerto unites the complete "prelude", the trumpet "calls" to tell the glory of God.<ref name="Mincham" /> The fugue in [[C major]]<ref name="Hofmann" /> is a permutation fugue, which develops the subject twice, starting with the voices, up to a triumphal entrance of the trumpet, similar in development to the first chorus of {{lang|de|[[Wir danken dir, Gott, wir danken dir, BWV 29|''Wir danken dir, Gott, wir danken dir'', BWV 29]] |italic=unset}}, composed much later and used twice in the [[Mass in B minor structure|Mass in B minor]].<ref name="Dürr" /> [[Joseph Haydn]] later set the same words, also in C major, in his oratorio ''[[The Creation (Haydn)|The Creation]]''.<ref name="Hofmann" /> |
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In the first [[recitative]] the strings accompany the voice, most keenly in [[Motif (music)|motifs]] in the [[arioso]] middle section, in Gardiner's words "to evoke the spirit of God moving upon the face of the waters".<ref name="Hofmann" /><ref name="Gardiner" /> Trumpet and bass voice are used to convey the call "to banish the tribe of idolaters", while the strings possibly illustrate "the hordes of infidels".<ref name="Mincham" /> The last recitative leads in an [[arioso]] to the chorale. In the chorale,<ref name="chorale melody" /> Bach has the violin play an [[obbligato]] part to the four-part setting of the voices and separates the lines by interludes, with the trumpet anticipating the line to follow. The continuo plays [[ostinato]] a motif which is derived from the first line of the chorale.<ref name="Mincham" /> |
In the first [[recitative]] the strings accompany the voice, most keenly in [[Motif (music)|motifs]] in the [[arioso]] middle section, in Gardiner's words "to evoke the spirit of God moving upon the face of the waters".<ref name="Hofmann" /><ref name="Gardiner" /> Trumpet and bass voice are used to convey the call "to banish the tribe of idolaters", while the strings possibly illustrate "the hordes of infidels".<ref name="Mincham" /> The last recitative leads in an [[arioso]] to the chorale. In the chorale,<ref name="chorale melody" /> Bach has the violin play an [[obbligato]] part to the four-part setting of the voices and separates the lines by interludes, with the trumpet anticipating the line to follow. The continuo plays [[ostinato]] a motif which is derived from the first line of the chorale.<ref name="Mincham" /> |
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Whereas Part I begins with a trumpet announcing ("{{lang|de|erzählen}}") God's glory, Part II starts on an intimate chamber music scale with oboe d'amore and viola da gamba, concentrating on "brotherly devotion" ({{lang|de|brüderliche Treue}}).<ref name="Gardiner" /> A sinfonia in [[E minor]]<ref name="Hofmann" /> for these two instruments is reminiscent both of Bach's compositions for the court in Köthen and of a [[French overture]], marked "[[Tempo (music)|adagio]]", then "vivace". Bach used the music of this movement later in his organ |
Whereas Part I begins with a trumpet announcing ("{{lang|de|erzählen|italic=no}}") God's glory, Part II starts on an intimate chamber music scale with oboe d'amore and viola da gamba, concentrating on "brotherly devotion" ({{lang|de|brüderliche Treue|italic=no}}).<ref name="Gardiner" /> A sinfonia in [[E minor]]<ref name="Hofmann" /> for these two instruments is reminiscent both of Bach's compositions for the court in Köthen and of a [[French overture]], marked "[[Tempo (music)|adagio]]", then "vivace". Bach used the music of this movement later in his organ sonata, [[BWV 528]].<ref name="Dürr" /> Gardiner calls the movement "in effect a [[sonata da chiesa]]". The tenor aria illustrates the "masochistic" "Hate me, then, hate me with all your might, o hostile race!"<ref name="Dellal" /> by a first dissonant entry on an ostinato bass line full of chromatic, leaps and interrupting rests.<ref name="Mincham" /><ref name="Gardiner" /> Oboe d'amore and viola da gamba return to accompany the last aria, and "the sombre qualities of both voice and instruments create a feeling of peace and introspection". The music of the closing chorale is identical to that of Part I.<ref name="Mincham" /> |
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== Recordings == |
== Recordings == |
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{{Cantata discography row |
{{Cantata discography row |
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| id = Werner |
| id = Werner |
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| title = |
| title = {{lang|fr|Les Grandes Cantates de J.S. Bach Vol. 1}} |
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| conductor = {{sortname|Fritz|Werner}} |
| conductor = {{sortname|Fritz|Werner}} |
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| choir = [[Heinrich-Schütz-Chor Heilbronn]] |
| choir = [[Heinrich-Schütz-Chor Heilbronn]] |
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{{Cantata discography row |
{{Cantata discography row |
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| id = Harnoncourt |
| id = Harnoncourt |
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| title = ''J. S. Bach: |
| title = ''J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 20'' |
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| conductor = {{sortname|Nikolaus|Harnoncourt}} |
| conductor = {{sortname|Nikolaus|Harnoncourt}} |
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| choir = [[Tölzer Knabenchor]] |
| choir = [[Tölzer Knabenchor]] |
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{{Cantata discography row |
{{Cantata discography row |
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| id = Rilling |
| id = Rilling |
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| title = ''{{lang|de|Die Bach Kantate |
| title = ''{{lang|de|Die Bach Kantate Vol. 18}}'' |
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| conductor = {{sortname|Helmuth|Rilling}} |
| conductor = {{sortname|Helmuth|Rilling}} |
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| choir = {{nowrap|[[Gächinger Kantorei]]}} |
| choir = {{nowrap|[[Gächinger Kantorei]]}} |
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| label = [[Soli Deo Gloria (record label)|Soli Deo Gloria]] |
| label = [[Soli Deo Gloria (record label)|Soli Deo Gloria]] |
||
| year = {{Start date|2000}} |
| year = {{Start date|2000}} |
||
| orchestra_type = Period |
|||
}} |
|||
{{Cantata discography row |
|||
| id = Milnes |
|||
| title = ''Bach Cantates BWV 76, 79, 80 "Pour Luther"'' |
|||
| conductor = {{sortname|Eric|Milnes}} |
|||
| choir = None ([[OVPP]]) |
|||
| orchestra = [[Montréal Baroque]] |
|||
| soloists = {{plainlist| |
|||
* Hélène Brunet |
|||
* Michael Taylor |
|||
* Philippe Gagné |
|||
* Jesse Blumberg |
|||
}} |
|||
| label = [[ATMA Classique]] |
|||
| year = {{Start date|2018}} |
|||
| orchestra_type = Period |
| orchestra_type = Period |
||
}} |
}} |
||
{{End}} |
{{End}} |
||
== Notes == |
|||
{{notelist}} |
|||
== References == |
== References == |
||
{{reflist |
{{reflist |
||
| refs = |
| refs = |
||
<ref name="Carus">{{cite web |
<ref name="Carus">{{cite web |
||
| url = http://www.carus-verlag.com/index.php3?BLink=JSBach&selSprache=1 |
|||
| title = Johann Sebastian Bach |
|||
| publisher = [[Carus-Verlag]] |
|||
| access-date = 15 March 2013 |
|||
| url-status = dead |
|||
|deadurl=yes |
|||
| archive-url = https://web.archive.org/web/20120510104746/http://www.carus-verlag.com/index.php3?BLink=JSBach&selSprache=1 |
|||
| archive-date = 10 May 2012 |
|||
|df= |
|||
}}</ref> |
}}</ref> |
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| last = Dellal |
| last = Dellal |
||
| first = Pamela |
| first = Pamela |
||
| |
| author-link = Pamela Dellal |
||
| url = |
| url = https://www.emmanuelmusic.org/bach-translations/bwv-76 |
||
| title = BWV 76 – "Die Himmel erzählen die Ehre Gottes" |
| title = BWV 76 – "Die Himmel erzählen die Ehre Gottes" |
||
| publisher = [[Emmanuel Music]] |
| publisher = [[Emmanuel Music]] |
||
| |
| access-date = 23 August 2022 |
||
}}</ref> |
}}</ref> |
||
Line 419: | Line 429: | ||
| last = Dürr |
| last = Dürr |
||
| first = Alfred |
| first = Alfred |
||
| |
| author-link = Alfred Dürr |
||
| title = Die Kantaten von Johann Sebastian Bach |
| title = Die Kantaten von Johann Sebastian Bach |
||
| |
| date = 1981 |
||
| publisher = Deutscher Taschenbuchverlag |
| publisher = Deutscher Taschenbuchverlag |
||
| isbn = 3-423-04080-7 |
| isbn = 3-423-04080-7 |
||
| volume = 1 |
| volume = 1 |
||
| edition = 4 |
| edition = 4 |
||
| pages = 337–340 |
| pages = [https://archive.org/details/diekantatenvonjo0002durr/page/337 337–340] |
||
| language = |
| language = de |
||
| url = https://archive.org/details/diekantatenvonjo0002durr/page/337 |
|||
}}</ref> |
}}</ref> |
||
<ref name="Dürr-Jones">{{cite book |
<ref name="Dürr-Jones">{{cite book |
||
| |
| last1 = Dürr |
||
| |
| first1 = Alfred |
||
| last2 = Jones |
| last2 = Jones |
||
| first2 = Richard D. P. |
| first2 = Richard D. P. |
||
| author2-link = Richard D. P. Jones |
|||
| url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA397 |
| url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA397 |
||
| title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text |
| title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text |
||
| publisher = [[Oxford University Press]] |
| publisher = [[Oxford University Press]] |
||
| |
| date = 2006 |
||
| isbn = 9780199297764 |
|||
}}</ref> |
}}</ref> |
||
<ref name="Gardiner">{{ |
<ref name="Gardiner">{{Cite AV media notes |
||
| last = Gardiner |
| last = Gardiner |
||
| first = John Eliot |
| first = John Eliot |
||
| |
| author-link = John Eliot Gardiner |
||
| url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG165 |
|||
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Gardiner-P02c%5Bsdg165_gb%5D.pdf |
|||
| title = Cantatas |
| title = Bach: Cantatas Nos 2, 10, 21, 76 & 135 (Cantatas Vol 2) |
||
| publisher = [[Soli Deo Gloria (record label)|Soli Deo Gloria]] (at [[Hyperion Records]] website) |
|||
| publisher = Bach Cantatas Website |
|||
| |
| date = 2010 |
||
| access-date = 11 August 2018 |
|||
| year = 2010 |
|||
| accessdate = 29 June 2011 |
|||
}}</ref> |
}}</ref> |
||
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| last = Hofmann |
| last = Hofmann |
||
| first = Klaus |
| first = Klaus |
||
| |
| author-link = Klaus Hofmann |
||
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C09c%5BBIS-CD931%5D.pdf |
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C09c%5BBIS-CD931%5D.pdf |
||
| title = BWV 76: Die Himmel erzählen die Ehre Gottes / (The heavens declare the Glory of God) |
| title = BWV 76: Die Himmel erzählen die Ehre Gottes / (The heavens declare the Glory of God) |
||
| publisher = Bach Cantatas Website |
| publisher = Bach Cantatas Website |
||
| page = 4 |
| page = 4 |
||
| |
| date = 1998 |
||
| |
| access-date = 3 July 2012 |
||
}}</ref> |
}}</ref> |
||
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| last = Mincham |
| last = Mincham |
||
| first = Julian |
| first = Julian |
||
| url = |
| url = https://www.jsbachcantatas.com/documents/chapter-3-bwv-76 |
||
| title = Chapter 3 |
| title = Chapter 3 Bwv 76 – The Cantatas of Johann Sebastian Bach |
||
| publisher = jsbachcantatas.com |
| publisher = jsbachcantatas.com |
||
| |
| date = 2010 |
||
| |
| access-date = 23 August 2022 |
||
}}</ref> |
}}</ref> |
||
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| title = Cantata BWV 76 Die Himmel erzählen die Ehre Gottes |
| title = Cantata BWV 76 Die Himmel erzählen die Ehre Gottes |
||
| publisher = Bach Cantatas Website |
| publisher = Bach Cantatas Website |
||
| |
| access-date = 10 June 2015 |
||
}}</ref> |
}}</ref> |
||
<ref name="Traupman-Carr">{{cite web |
<ref name="Traupman-Carr">{{cite web |
||
| last = Traupman-Carr |
|||
| first = Carol |
|||
| url = http://www.bach.org/bach101/cantatas/cantata76.html |
|||
| title = Cantata 76, Die Himmel erzählen die Ehre Gottes |
|||
| publisher = [[The Bach Choir of Bethlehem]] |
|||
| date = 2006 |
|||
| access-date = 28 June 2011 |
|||
| url-status = dead |
|||
|deadurl=yes |
|||
| archive-url = https://web.archive.org/web/20111001060927/http://www.bach.org/bach101/cantatas/cantata76.html |
|||
| archive-date = 1 October 2011 |
|||
|df= |
|||
}}</ref> |
}}</ref> |
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| last = Wolff |
| last = Wolff |
||
| first = Christoph |
| first = Christoph |
||
| |
| author-link = Christoph Wolff |
||
| url = https://books.google.com/books?id=8WFNr4EZk2cC&pg=PA30 |
| url = https://books.google.com/books?id=8WFNr4EZk2cC&pg=PA30 |
||
| title = Bach: Essays on his Life and Music |
| title = Bach: Essays on his Life and Music |
||
| |
| date = 1991 |
||
| isbn = 9780674059269 |
|||
}}</ref> |
}}</ref> |
||
Line 511: | Line 523: | ||
| title = Es woll uns Gott genädig sein / Text and Translation of Chorale |
| title = Es woll uns Gott genädig sein / Text and Translation of Chorale |
||
| publisher = Bach Cantatas Website |
| publisher = Bach Cantatas Website |
||
| |
| date = 2008 |
||
| |
| access-date = 29 June 2011 |
||
}}</ref> |
}}</ref> |
||
Line 519: | Line 531: | ||
| title = Chorale Melodies used in Bach's Vocal Works / Es woll (or wolle/wollt) uns Gott genädig sein |
| title = Chorale Melodies used in Bach's Vocal Works / Es woll (or wolle/wollt) uns Gott genädig sein |
||
| publisher = Bach Cantatas Website |
| publisher = Bach Cantatas Website |
||
| |
| date = 2006 |
||
| |
| access-date = 29 June 2011 |
||
}}</ref> |
}}</ref> |
||
Line 526: | Line 538: | ||
== Sources == |
== Sources == |
||
* {{IMSLP|work=Die Himmel erzählen die Ehre Gottes, BWV 76 (Bach, Johann Sebastian)}} |
* {{IMSLP|work=Die Himmel erzählen die Ehre Gottes, BWV 76 (Bach, Johann Sebastian)}} |
||
* [http://www.bach-digital.de/receive/BachDigitalWork_work_00000095?lang=en Die Himmel erzählen die Ehre Gottes BWV 76; BC A 97 / Sacred cantata (2nd Sunday after Trinity)] [[ |
* [http://www.bach-digital.de/receive/BachDigitalWork_work_00000095?lang=en Die Himmel erzählen die Ehre Gottes BWV 76; BC A 97 / Sacred cantata (2nd Sunday after Trinity)] [[Bach Digital]] |
||
* [http://www.uvm.edu/~classics/faculty/bach/BWV76.html BWV 76 Die Himmel erzählen die Ehre Gottes]: English translation, [[University of Vermont]] |
* [http://www.uvm.edu/~classics/faculty/bach/BWV76.html BWV 76 Die Himmel erzählen die Ehre Gottes]: English translation, [[University of Vermont]] |
||
* [http://webdocs.cs.ualberta.ca/~wfb/cantatas/76.html BWV 76 Die Himmel erzählen die Ehre Gottes]: text, scoring, [[University of Alberta]] |
* [http://webdocs.cs.ualberta.ca/~wfb/cantatas/76.html BWV 76 Die Himmel erzählen die Ehre Gottes]: text, scoring, [[University of Alberta]] |
||
* [http://www.allmusic.com/work/cantata-no-76-die-himmel-erzhlen-die-ehre-gottes-bwv-76-bc-a97-c4262/description Cantata No. 76, "Die Himmel erzählen die Ehre Gottes," BWV 76] ([[Allmusic]]) |
* [http://www.allmusic.com/work/cantata-no-76-die-himmel-erzhlen-die-ehre-gottes-bwv-76-bc-a97-c4262/description Cantata No. 76, "Die Himmel erzählen die Ehre Gottes," BWV 76] ([[Allmusic]]) |
||
* [http://www.bach-chorales.com/BWV0076_7_14.htm BWV 76.7=76.14] bach-chorales.com |
* Luke Dahn: [http://www.bach-chorales.com/BWV0076_7_14.htm BWV 76.7=76.14] bach-chorales.com |
||
{{Church cantatas by Johann Sebastian Bach}} |
{{Church cantatas by Johann Sebastian Bach}} |
||
{{Bach cantatas |
{{Bach cantatas}} |
||
{{Authority control}} |
{{Authority control}} |
||
{{Good article}} |
{{Good article}} |
||
{{DISPLAYTITLE:''Die Himmel erzählen die Ehre Gottes'', BWV 76}} |
{{DISPLAYTITLE:''Die Himmel erzählen die Ehre Gottes'', BWV 76}} |
Revision as of 13:00, 6 June 2023
Die Himmel erzählen die Ehre Gottes | |
---|---|
BWV 76 | |
Church cantata by J. S. Bach | |
Occasion | Second Sunday after Trinity |
Cantata text | anonymous |
Bible text | Psalm 19:1,3 |
Chorale | "Es woll uns Gott genädig sein" |
Performed | 6 June 1723 Leipzig : |
Movements | 14 in two parts (7 + 7) |
Vocal | SATB choir and solo |
Instrumental |
|
Johann Sebastian Bach composed the church cantata Die Himmel erzählen die Ehre Gottes (English: The heavens are telling the glory of God), BWV 76 in Leipzig for the second Sunday after Trinity of the liturgical year and first performed it on 6 June 1723.
Bach composed the cantata at a decisive turning point in his career. Moving from posts in the service of churches and courts to the town of Leipzig on the first Sunday after Trinity, 30 May 1723, he began the project of composing a new cantata for every occasion of the liturgical year. He began his first annual cycle of cantatas ambitiously with Die Elenden sollen essen, BWV 75, in an unusual layout of 14 movements in two symmetrical parts, to be performed before and after the sermon. Die Himmel erzählen die Ehre Gottes, performed a week later, has the same structure.
The unknown poet begins his text with a quotation from Psalm 19 and refers to both prescribed readings from the New Testament, the parable of the great banquet as the Gospel, and the First Epistle of John. Bach scored Part I with a trumpet as a symbol of God's Glory. In Part II, performed after the sermon and during communion, he wrote chamber music with oboe d'amore and viola da gamba, dealing with "brotherly devotion". Both parts are closed with a stanza of Martin Luther's hymn "Es woll uns Gott genädig sein" (1524).
Background
Johann Sebastian Bach had served in several churches as Kantor and organist, and at the courts of Weimar and Köthen, when he applied for the post of Thomaskantor in Leipzig. He was 38 years old and had a reputation as an organist and organ expert.[1] He had composed church cantatas, notably the funeral cantata Actus tragicus around 1708. In Weimar, he had begun a project to cover all occasions of the liturgical year by providing one cantata a month for four years, including works such as Weinen, Klagen, Sorgen, Zagen, BWV 12, and Nun komm, der Heiden Heiland, BWV 61.
History and words
Bach composed the cantata for the Second Sunday after Trinity and first performed it in a service in the Thomaskirche in Leipzig on 6 June 1723, a week after he took up the position as cantor in Leipzig with Die Elenden sollen essen.[2][3] The cantata is similar in many respects to the earlier work. While BWV 75 was probably begun in Köthen, this cantata may have been composed in Leipzig, according to a manuscript with many corrections.[4] The two cantatas mark the beginning of Bach's first "annual cycle": he started to compose one cantata for each Sunday and holiday of the liturgical year,[5] a project described by Christoph Wolff as "an artistic undertaking on the largest scale".[2]
The prescribed readings for the Sunday were from the First Epistle of John, "Whoever doesn't love, remains in Death" (1 John 3:13–18), and from the Gospel of Luke, the parable of the great banquet (Luke 14:16–24). The unknown poet was likely the same as for the first cantata for Leipzig, also in 14 movements, also arranged in two symmetrical parts to be performed before and after the sermon.[4][6] Again the cantata begins with words from a psalm, Psalms 19:1,3 (verses 2 and 4 in the Luther Bible), "The heavens declare the glory of God, and the firmament shows His handiwork. There is no speech or language, where their voice is not heard", connecting the Gospel to the Old Testament.[3] The poet first expands, in movements 2 and 3, the thought of the universe praising God's creation. In the following two movements he deplores, following the Gospel, that nonetheless people did not follow the invitation of God, therefore he had to invite "von allen Straßen" (from all streets) and bless those, as movement 6 says. Part I closes with the first stanza of Luther's chorale "Es woll uns Gott genädig sein" (1524),[7] a paraphrase of Psalm 67. Part I was to be performed before the sermon, Part II after the sermon and during communion.[8] Part II talks about the duties of those who follow God's invitation, to pass the love of Christ in order to achieve heaven on earth, a thought also expressed in the Epistle reading. The third stanza of Luther's chorale closes the work.[3]
John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage with the Monteverdi Choir in 2000, evaluated the work, connected to Bach's first cantata for Leipzig:
this cantata is clearly more than just a sequel to the previous Sunday's Die Elenden sollen essen... together they form a diptych revealing a thematic continuity extended over two weeks, with plentiful cross-referencing between the two set Gospels and Epistles beyond the obvious parallels between the injunction to give charitably to the hungry (BWV 75) and of brotherly love manifested in action (BWV 76).[8]
He described the works as featuring "a characteristically Lutheran interpretation" of the First Epistle of John. He also noted the depth of metaphorical uses of "eating and drinking", highlighting "the rich man's table, from which Lazarus tried to gather fallen crumbs (BWV 75), standing in opposition to the "great supper" and God's invitation through Christ to the banquet of eternal life (BWV 76)". Summarising both pieces, Gardiner wrote:
evidently a lot of thought and pre-planning had gone on while Bach was still in Köthen, as well as discussions with his unknown librettist and possibly with representatives of the Leipzig clergy, before he could set the style, tone and narrative shaping of these two impressive works.[8]
Music
Scoring and structure
The cantata is structured in two parts of seven movements each, to be performed before and after the sermon. It is scored for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir SATB, trumpet (Tr), two oboes (Ob), oboe d'amore (Oa), two violins (Vl), viola (Va), viola da gamba (Vg) and basso continuo (Bc). The two parts of seven movements each are composed as the same arrangement of alternating recitatives and arias with a concluding chorale, only Part II is opened by a sinfonia instead of a chorus.[3] The duration is given as 35 minutes.[9]
In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
No. | Title | Text | Type | Vocal | Winds | Strings | Key | Time |
---|---|---|---|---|---|---|---|---|
1 | Die Himmel erzählen die Ehre Gottes | Psalms 19:1,3 | Chorus | SATB | Tr 2Ob | 2Vl Va | C major | 3/4 |
2 | So lässt sich Gott nicht unbezeuget! | anon. | Recitative | T | 2Vl Va | |||
3 | Hört, ihr Völker, Gottes Stimme | anon. | Aria | S | Vl solo | G major | ||
4 | Wer aber hört | anon. | Recitative | B | ||||
5 | Fahr hin, abgöttische Zunft! | anon. | Aria | B | Tr | 2Vl Va | C major | |
6 | Du hast uns, Herr, von allen Straßen | anon. | Recitative | A | ||||
7 | Es woll uns Gott genädig sein | Luther | Chorale | SATB | Tr | 2Vl Va | E minor |
No. | Title | Text | Type | Vocal | Winds | Strings | Key | Time |
---|---|---|---|---|---|---|---|---|
8 | Sinfonia | Oa | Vg | |||||
9 | Gott segne noch die treue Schar | anon. | Recitative | B | 2Vl Va Vg | |||
10 | Hasse nur, hasse mich recht | anon. | Aria | T | Vg | A minor | 3/4 | |
11 | Ich fühle schon im Geist | anon. | Recitative | A | Vg | |||
12 | Liebt, ihr Christen, in der Tat! | anon. | Aria | A | Oa | Vg | E minor | 9/8 |
13 | So soll die Christenheit | anon. | Recitative | T | ||||
14 | Es danke, Gott, und lobe dich | Luther | Chorale | SATB | Tr | 2Vl Va | E minor |
Movements
Similar to the opening chorus of BWV 75, Bach sets the psalm in two sections, comparable to a prelude and fugue on a large scale.[6] An instrumental concerto unites the complete "prelude", the trumpet "calls" to tell the glory of God.[5] The fugue in C major[6] is a permutation fugue, which develops the subject twice, starting with the voices, up to a triumphal entrance of the trumpet, similar in development to the first chorus of Wir danken dir, Gott, wir danken dir, BWV 29, composed much later and used twice in the Mass in B minor.[3] Joseph Haydn later set the same words, also in C major, in his oratorio The Creation.[6]
In the first recitative the strings accompany the voice, most keenly in motifs in the arioso middle section, in Gardiner's words "to evoke the spirit of God moving upon the face of the waters".[6][8] Trumpet and bass voice are used to convey the call "to banish the tribe of idolaters", while the strings possibly illustrate "the hordes of infidels".[5] The last recitative leads in an arioso to the chorale. In the chorale,[10] Bach has the violin play an obbligato part to the four-part setting of the voices and separates the lines by interludes, with the trumpet anticipating the line to follow. The continuo plays ostinato a motif which is derived from the first line of the chorale.[5]
Whereas Part I begins with a trumpet announcing ("erzählen") God's glory, Part II starts on an intimate chamber music scale with oboe d'amore and viola da gamba, concentrating on "brotherly devotion" (brüderliche Treue).[8] A sinfonia in E minor[6] for these two instruments is reminiscent both of Bach's compositions for the court in Köthen and of a French overture, marked "adagio", then "vivace". Bach used the music of this movement later in his organ sonata, BWV 528.[3] Gardiner calls the movement "in effect a sonata da chiesa". The tenor aria illustrates the "masochistic" "Hate me, then, hate me with all your might, o hostile race!"[11] by a first dissonant entry on an ostinato bass line full of chromatic, leaps and interrupting rests.[5][8] Oboe d'amore and viola da gamba return to accompany the last aria, and "the sombre qualities of both voice and instruments create a feeling of peace and introspection". The music of the closing chorale is identical to that of Part I.[5]
Recordings
A list of recordings is provided by Aryeh Oron on the Bach Cantatas Website.[12] Ensembles playing period instruments in historically informed performance are shown with green background.
Title | Conductor / Choir / Orchestra | Soloists | Label | Year | Orch. type |
---|---|---|---|---|---|
J. S. Bach: Cantata No. 76 | Hermann ScherchenWiener Akademie-KammerchorOrchestra of the Vienna State Opera | Westminster | 1952 | ||
Les Grandes Cantates de J.S. Bach Vol. 1 | Fritz WernerHeinrich-Schütz-Chor HeilbronnPforzheim Chamber Orchestra | Erato | 1959 | ||
J. S. Bach: Cantatas BWV 76 & BWV 37 | Wilhelm EhmannWestfälische KantoreiDeutsche Bachsolisten |
|
Cantate | 1965 | |
Bach Cantatas Vol. 3 – Ascension Day, Whitsun, Trinity | Karl RichterMünchener Bach-ChorMünchener Bach-Orchester | Archiv Produktion | 1975 | ||
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 20 | Nikolaus HarnoncourtTölzer KnabenchorConcentus Musicus Wien |
|
Teldec | 1976 | Period |
Die Bach Kantate Vol. 18 | Helmuth RillingGächinger KantoreiBach-Collegium Stuttgart | Hänssler | 1978 | ||
J. S. Bach: Complete Cantatas Vol. 6 | Ton KoopmanAmsterdam Baroque Orchestra & Choir | Antoine Marchand | 1997 | Period | |
J. S. Bach: Cantatas Vol. 9 – (Cantatas from Leipzig 1725) | Masaaki SuzukiBach Collegium Japan | BIS | 1998 | Period | |
Bach Edition Vol. 20 – Cantatas Vol. 11 | Pieter Jan LeusinkHolland Boys ChoirNetherlands Bach Collegium | Brilliant Classics | 2000 | Period | |
Bach Cantatas Vol. 2: Paris/Zürich / For the 2nd Sunday after Trinity / For the 3rd Sunday after Trinity | John Eliot GardinerMonteverdi ChoirEnglish Baroque Soloists | Soli Deo Gloria | 2000 | Period | |
Bach Cantates BWV 76, 79, 80 "Pour Luther" | Eric MilnesNone (OVPP)Montréal Baroque |
|
ATMA Classique | 2018 | Period
|
References
- ^ "Johann Sebastian Bach". Carus-Verlag. Archived from the original on 10 May 2012. Retrieved 15 March 2013.
- ^ a b Wolff, Christoph (1991). Bach: Essays on his Life and Music. ISBN 9780674059269.
- ^ a b c d e f Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 337–340. ISBN 3-423-04080-7.
- ^ a b Traupman-Carr, Carol (2006). "Cantata 76, Die Himmel erzählen die Ehre Gottes". The Bach Choir of Bethlehem. Archived from the original on 1 October 2011. Retrieved 28 June 2011.
- ^ a b c d e f Mincham, Julian (2010). "Chapter 3 Bwv 76 – The Cantatas of Johann Sebastian Bach". jsbachcantatas.com. Retrieved 23 August 2022.
- ^ a b c d e f Hofmann, Klaus (1998). "BWV 76: Die Himmel erzählen die Ehre Gottes / (The heavens declare the Glory of God)" (PDF). Bach Cantatas Website. p. 4. Retrieved 3 July 2012.
- ^ "Es woll uns Gott genädig sein / Text and Translation of Chorale". Bach Cantatas Website. 2008. Retrieved 29 June 2011.
- ^ a b c d e f Gardiner, John Eliot (2010). Bach: Cantatas Nos 2, 10, 21, 76 & 135 (Cantatas Vol 2) (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 11 August 2018.
- ^ Dürr, Alfred; Jones, Richard D. P. (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Oxford University Press. ISBN 9780199297764.
- ^ "Chorale Melodies used in Bach's Vocal Works / Es woll (or wolle/wollt) uns Gott genädig sein". Bach Cantatas Website. 2006. Retrieved 29 June 2011.
- ^ Dellal, Pamela. "BWV 76 – "Die Himmel erzählen die Ehre Gottes"". Emmanuel Music. Retrieved 23 August 2022.
- ^ Oron, Aryeh. "Cantata BWV 76 Die Himmel erzählen die Ehre Gottes". Bach Cantatas Website. Retrieved 10 June 2015.
Sources
- Die Himmel erzählen die Ehre Gottes, BWV 76: Scores at the International Music Score Library Project
- Die Himmel erzählen die Ehre Gottes BWV 76; BC A 97 / Sacred cantata (2nd Sunday after Trinity) Bach Digital
- BWV 76 Die Himmel erzählen die Ehre Gottes: English translation, University of Vermont
- BWV 76 Die Himmel erzählen die Ehre Gottes: text, scoring, University of Alberta
- Cantata No. 76, "Die Himmel erzählen die Ehre Gottes," BWV 76 (Allmusic)
- Luke Dahn: BWV 76.7=76.14 bach-chorales.com